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"This monograph on the Japanese photographer Osamu SHIIHARA was long overdue.
The Berlin publisher Roland Angst, himself a specialist in Japanese photography, has joined this company and together with the expert in Japanese photo books (soon published by him together with Manfred Heiting title 'The Japanese Photobook') the first monograph on the Japanese photographer of ' New Vision 'published.
Roland Angst edited the book, Ryuichi Kaneko wrote the text, which is reproduced in the book in Japanese and English.
The 119 pictures assembled on 120 pages are not purely chronologically ordered, but rather follow an aesthetic line, depending on the choice of subject or the technique used for photography.
For SHIIHARA experimented with the photographic material, created photograms and closed the bow to painting, which he studied from 1928 to 1932 at the Tokyo School of Fine Arts, before he returned to Kansai Prefecture after completing his studies.
He also worked with solarisation technology, which is also known from the works of Hermann KRONE, Alexander RODTCHENKO, MAN RAY (and therefore also Lee MILLER) or, most recently, Hans-Christian SCHINK.
MAN RAY (1890-1976) and RODTSCHENKO (1891-1956) also started out as painters and later made a career as photographers.
Roland ANGST did not use any labels on the photo pages, details can be found in the appendix, where all pictures in small format are listed again. Due to the excellent print and the careful choice of the paper and the arrangement of the pictures, the consideration of the almost three-quarters of a century old photos is a pleasure!" (© Richard G. SPORLEDER)
About the photographer, Osamu SHHIHARA (1905-74, in Osaka City):
In 1928 SHIIHARA Osamu entered the Tokyo School of Fine Arts (now: Tokyo National University Of Fine Arts and Music) where he studied with the painter Fujishima Takeji in the Western painting department.
After graduating in 1932，he returned to Kansai (western Japan) and set up a painting studio in Hyogo Prefecture.
He began photography around this time and became a member of the 'Tampei Photography Club'. As a main member of the Tampei Photography Club he produced a large number of experimental photographs, employing such special techniques as photogram, solarization and a combination of drawing and photography that he dubbed photo peinture ('photo painting').
After the war SHIIHARA moved to Osaka, where he worked for dying and continued his photography, and in 1953 he joined Tanahashi Shisui and others in forming the Spiegel Photographers Association.
His works are in permanent collections of national and international institutions and museums including The National Museum of Modern Art, Tokyo, Nagoya City Art Museum, The Museumn of Fine Arts, Houston and The Museum of Modern Art, New York.
About the author, Ryuichi Kaneko:
Kaneko Ryuichi is the leading historian of Japanese photobooks. As the former curator at the Tokyo Metropolitan Museum of Photography, he oversaw the development of the institution’s collection.
Over the past 45 years Kaneko has amassed a formidable private collection of more than twenty thousand volumes, magazines and catalogues. As a scholar, he has been an important advocate in supporting the scholarship and study of Japanese photography and photobooks.
Beneath some more he published:
'Japanese Modern Photography 1915-1940' (2001),
'Japanese Photobooks of the 1960s and 70s' (in 2009 with Ivan Vartanian - sold out, a few copies in stock at Café Lehmitz Photobooks),
'The Universe Of Photography Of Horino Masao: Vision Of The Modernist' (2012)
'The Japanese Photobook' (with german collector Manfred Heiting).
In 2015 he wrote a text in 'Provoke. Between Protest and Performance: Photography in Japan 1960–1975'
The Berlin publisher Roland Angst, himself a specialist in Japanese photography, has joined this company and together with the expert in Japanese photo books (soon published by him together with Manfred Heiting title 'The Japanese Photobook') the first monograph on the Japanese photographer of ' New Vision 'published.
Roland Angst edited the book, Ryuichi Kaneko wrote the text, which is reproduced in the book in Japanese and English.
The 119 pictures assembled on 120 pages are not purely chronologically ordered, but rather follow an aesthetic line, depending on the choice of subject or the technique used for photography.
For SHIIHARA experimented with the photographic material, created photograms and closed the bow to painting, which he studied from 1928 to 1932 at the Tokyo School of Fine Arts, before he returned to Kansai Prefecture after completing his studies.
He also worked with solarisation technology, which is also known from the works of Hermann KRONE, Alexander RODTCHENKO, MAN RAY (and therefore also Lee MILLER) or, most recently, Hans-Christian SCHINK.
MAN RAY (1890-1976) and RODTSCHENKO (1891-1956) also started out as painters and later made a career as photographers.
Roland ANGST did not use any labels on the photo pages, details can be found in the appendix, where all pictures in small format are listed again. Due to the excellent print and the careful choice of the paper and the arrangement of the pictures, the consideration of the almost three-quarters of a century old photos is a pleasure!" (© Richard G. SPORLEDER)
About the photographer, Osamu SHHIHARA (1905-74, in Osaka City):
In 1928 SHIIHARA Osamu entered the Tokyo School of Fine Arts (now: Tokyo National University Of Fine Arts and Music) where he studied with the painter Fujishima Takeji in the Western painting department.
After graduating in 1932，he returned to Kansai (western Japan) and set up a painting studio in Hyogo Prefecture.
He began photography around this time and became a member of the 'Tampei Photography Club'. As a main member of the Tampei Photography Club he produced a large number of experimental photographs, employing such special techniques as photogram, solarization and a combination of drawing and photography that he dubbed photo peinture ('photo painting').
After the war SHIIHARA moved to Osaka, where he worked for dying and continued his photography, and in 1953 he joined Tanahashi Shisui and others in forming the Spiegel Photographers Association.
His works are in permanent collections of national and international institutions and museums including The National Museum of Modern Art, Tokyo, Nagoya City Art Museum, The Museumn of Fine Arts, Houston and The Museum of Modern Art, New York.
About the author, Ryuichi Kaneko:
Kaneko Ryuichi is the leading historian of Japanese photobooks. As the former curator at the Tokyo Metropolitan Museum of Photography, he oversaw the development of the institution’s collection.
Over the past 45 years Kaneko has amassed a formidable private collection of more than twenty thousand volumes, magazines and catalogues. As a scholar, he has been an important advocate in supporting the scholarship and study of Japanese photography and photobooks.
Beneath some more he published:
'Japanese Modern Photography 1915-1940' (2001),
'Japanese Photobooks of the 1960s and 70s' (in 2009 with Ivan Vartanian - sold out, a few copies in stock at Café Lehmitz Photobooks),
'The Universe Of Photography Of Horino Masao: Vision Of The Modernist' (2012)
'The Japanese Photobook' (with german collector Manfred Heiting).
In 2015 he wrote a text in 'Provoke. Between Protest and Performance: Photography in Japan 1960–1975'
- Ed(s)/Author(s)
- Ryuichi Kaneko
- Book design
- Roland ANGST
- Format
- HC (no dust jacket, as issued), 24,5 x 33 x 2 cm., 120 pp., 119 b/w ills., bilingual text: Japanese / English, Ltd. to 300 numbered copies