Labyrinth

Daido Moriyama

出版社

Aperture

出版时间

2012-10-15

ISBN

9781597112178

评分

★★★★★
书籍介绍

Throughout his career, Daido Moriyama has sought new ways of recasting his images through the use of different printing techniques, installation, or by re-editing and re-formatting them. For this volume, Moriyama has returned to his contact sheets from the past five decades, selecting both classic and previously unpublished images. Included here are reproductions of original contact sheets; sequences of new contact sheets made from recombined negative strips that juxtapose images from the 1950s with those from the past ten years; and selections of individual images, both familiar and newly discovered. Together, they offer a comprehensive assembly of Moriyama's oeuvre, tracing recurring motifs and proposing startling new interpretations of some of his most iconic photographs. In opening up this private process of reexamination to a wider public, Moriyama continues to challenge the viewer, his own practice and the larger mechanisms by which photography makes meaning.

Daido Moriyama (born 1938) has been publishing and exhibiting his photography since the late 1960s, with a bibliography of more than 300 monographs to his name. A major retrospective, Daido Moriyama: Stray Dog, originated in 2000 at the San Francisco Museum of Modern Art, and subsequently toured internationally to the Metropolitan Museum of Art and Japan Society in New York, Fotomuseum Winterthur in Switzerland and numerous other venues. He is a recipient of the Cultural Award of the Deutsche Gesellschaft für Photographie and the 2012 Infinity Award for Lifetime Achievement. Exhibitions include a major retrospective, On the Road, presented at the Osaka National Museum of Art from June to October 2011, and William Klein/Daido Moriyama at Tate Modern from October 2012 to January 2013.

用户评论
【油管番薯】contact sheets重新编辑,能反映一定的拍摄思路,但因为re-editing了,不知道能反映多少当初的拍摄。都是正片吗?不太懂如果是负片怎么转过来的。不像马格南那本contact sheets,这本没有选片的过程。
许熙正说“这是他买过森山大道最好的一本书…大概可以想像他在拍照时候的‘状态’。”不能同意更多。翻开书的起初,讶异,这都能出成书?!越翻看越觉得,好的不得了。
样片集
大量底片的展示,治好了我多年的颈椎病。底片这个媒介可以让你去间接感受摄影家拍摄时是什么样的状态和想法,这是数码所做不到。
大力出奇迹
森山大道的柯达胶片集,很精彩,有很多没有发布过的照片,自拍与她拍,街拍与偷拍,量大,反映了作为艺术家的森山大道之勤奋。
Labyrinth indeed with the constant orientation shifts. Chaotic visual noises.
这条评论和照片内容本身没有特别大关系。想要评论一下这样的形式。一开始如果细细辨认每一张照片的内容,一行一行扫过去看的话能够清楚感受到摄影者的凝视,这种凝视通过非常个人的角度、被破坏的构图、以及和被摄物之间形成的权力关系来彰显。但是越往后翻,有的时候照片(尤其因为以contact print的形式呈现)是爆炸式的溢出,而且有些时候是重复性的影像。黑和白、被困在照片上的图像因此流动且混搅在一起,凝视者的身份因此消失。这本书越往后看越让我重新开始想钝点和刺点的问题了。摄影的确是当仁不让的后现代主义的宠儿,因为相比各种艺术形式,摄影师对观者的观看形式、想要传达的东西的控制实在是太薄弱了。该如何从这种薄弱的控制中衍生aura真是一件非常有挑战性的事情。
摆在书桌上常翻常新
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