AOYAMA

Record No.55

Daido MORIYAMA

10/5 - 10/28/2023
GALLERY HOURS | Thu.–Sat. 11:00–13:00, 14:00–19:00
CLOSED | Sun–Wed., National Holidays

Akio Nagasawa Gallery Aoyama is pleased to present 'Record No.55', a solo exhibition by Daido Moriyama.
This exhibition will feature works from the latest issue of Moriyama's RECORD series, No. 55. All previous issues of RECORD (in stock only) will also be available for purchase at the venue. Please visit us and enjoy Daido Moriyama's ongoing journey.

 

On some days it may be 60 or 70, on others no more than 20 - always only so much that I feel satisfied.

With that being said, I can't deny a certain feeling that the images of the Shinjuku cityscape are gradually fading from my mind. And in my case, this means something's wrong.

– from the afterword by Daido Moriyama (a part)

Artist

Born 1938 in Osaka. After working as an assistant for photographers Takeji Iwamiya and Eikoh Hosoe, he went independent in 1964. He has been publishing his works in photography magazines among others, and received a New Artist Award from the Japan Photo Critics Association for Japan: A Photo Theater in 1967. Between 1968 and ’70 he was involved in the photo fanzine Provoke, and his style of grainy, high-contrast images that came to be referred to as “are, bure, boke” (grainy, blurry, out-of-focus) made an impact on the realm of photography. Solo shows at New York’s Metropolitan Museum of Art and the Fondation Cartier pour l'Art Contemporain in Paris solidified Moriyama’s worldwide reputation, and in 2012, he became the first Japanese to be awarded in the category of Lifetime Achievement at the 28th Annual Infinity Awards hosted by the International Center of Photography (ICP) in New York. The “William Klein + Daido Moriyama” exhibition together with William Klein at London’s Tate Modern in 2012-13 was a showdown of two immensely popular photographers that took the world by storm.

Publication

RECORD No.55

$21.93
In Stock

Even now that it’s the end of August, it’s still quite hot outside.
Meanwhile, I continue to grab my little camera and walk out into the streets every day to take some snapshots. It’s never more than three, four hours these days, but I just don’t feel well if I don’t get this daily work done. After all, this is what a photographer does...
About once a week, I go to my office in Yoyogi to take care of some business or other, on all other days I usually take the Yokosuka Line or a bus from the nearest station, get off at some point, and then just walk around while mixing with the crowd and taking pictures. On some days it may be 60 or 70, on others no more than 20 – always only so much that I feel satisfied.
With that being said, I can’t deny a certain feeling that the images of the Shinjuku cityscape are gradually fading from my mind. And in my case, this means something’s wrong. Yokosuka, Kamakura and Totsuka are just around the corner now, and they’re all crowded with people. What more could I ask for? However at the end of the day, what remains is me and my desire to “return to Shinjuku.” Indeed, I need to be there and stand on a corner in Kabukicho with my camera, at least once a week. Piece of cake you might say. I could just make a quick trip and it’s all good.
As soon as it gets a little bit cooler in the fall, I’m definitely going to dive into the hustle and bustle of Shinjuku again, and shoot to my heart’s content. Then I will also make the first issue of Record in a while that will be all about Shinjuku.
How’s that sound, Mr. Nagasawa?

– from afterwords by Daido Moriyama