Daido Moriyama - Bye Bye Photography - 1972





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森山大道,《Bye Bye Photography》,1972年首版,日文原文,300頁,23 cm × 19 cm,平裝,出版者 Shashin Hyoron-sha,附護封,品相 Sehr gut。
賣家描述
Daido Moriyama, Bye Bye Photography, 1972.
The book is in very good condition, sound binding, clean. The dustjacket shows overall wear.
A photo collection by Daido Moriyama (1938-), one of Japan's leading photographers after the war. This is Daido Moriyama's second photo book, following Nippon Theater Photo Album (1968), and is consistently praised as the best book of Japanese photography during the turbulent 1960s and 1970s. In the 1960s, he continued to explore his own style as a photographer while being influenced by the styles of various pioneers, and through the provocative group Provoke that was founded after meeting Takuma Nakahira and others, Moriyama continued to struggle. This is a unique avant-garde collection of works that directly rejects the “reality of photography” such as Niépce and newspaper photographs, and is composed of unprincipled copies of television and other photographs, as well as uncut negatives left unopened. Created. “Photographs in which there is not the slightest doubt as to what a photograph is.” The dislike and desire to leave such photographs are strongly expressed in the “illustrations” and “title.” The conversation with Takuma Nakahira at the end of the book is also very interesting.
Daido Moriyama, Bye Bye Photography, 1972.
The book is in very good condition, sound binding, clean. The dustjacket shows overall wear.
A photo collection by Daido Moriyama (1938-), one of Japan's leading photographers after the war. This is Daido Moriyama's second photo book, following Nippon Theater Photo Album (1968), and is consistently praised as the best book of Japanese photography during the turbulent 1960s and 1970s. In the 1960s, he continued to explore his own style as a photographer while being influenced by the styles of various pioneers, and through the provocative group Provoke that was founded after meeting Takuma Nakahira and others, Moriyama continued to struggle. This is a unique avant-garde collection of works that directly rejects the “reality of photography” such as Niépce and newspaper photographs, and is composed of unprincipled copies of television and other photographs, as well as uncut negatives left unopened. Created. “Photographs in which there is not the slightest doubt as to what a photograph is.” The dislike and desire to leave such photographs are strongly expressed in the “illustrations” and “title.” The conversation with Takuma Nakahira at the end of the book is also very interesting.

