After a car accident in 1972 Tadanori Yokoo decided to take a two year hiatus from work at the height of his fame. PUSH is a dairy of this period beautifully designed with colour photographs by none other than Kishin Shinoyama and b&w by the likes of Daido Moriyama and Tadashi Krahashi.
A gorgeous and curious edition, housed in original printed slipcase.
Tadanori Yokoo (横尾 忠則), born in Nishiwaki, Hyōgo Prefecture, Japan, in 1936, is one of Japan’s most successful and internationally recognized graphic designers and artists. He began his career as a stage designer for avant garde theatre in Tokyo. His early work shows the influence of the New York based Push Pin Studio (Milton Glaser and Seymour Chwast in particular) but Yokoo himself cites filmmaker Akira Kurosawa and writer Yukio Mishima as two of his most formative influences.
In the late 1960s he became interested in mysticism and psychedelia, deepened by travels in India. Because his work was so attuned to 1960s pop culture, he has often been (unfairly) described as the “Japanese Andy Warhol” or likened to psychedelic poster artist Peter Max, but Yokoo’s complex and multi-layered imagery is intensely autobiographical and entirely original. By the late 60s he had already achieved international recognition for his work and was included in the 1968 “Word & Image” exhibition at the Museum of Modern Art in New York. Four years later MoMA mounted a solo exhibition of his graphic work organized by Mildred Constantine. Yokoo collaborated extensively with Shūji Terayama and his theater Tenjō Sajiki. He has also starred as a protagonist in Nagisa Oshima’s film Diary of a Shinjuku Thief.
* Condition: Very Good (tight, clean copy in original printed slipcase protected in plastic w. original obistrip – only small amount of marking/ageing to inside cover edges, slight tanning to box) – All care is taken to provide accurate condition details of used books, photos available on request.
- Tadanori Yokoo - PUSH 1972
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Between Protest and Performance - Photography in Japan 1960 / 1975
The short-lived Japanese magazine “Provoke,” founded in 1968, is nowadays recognized as a major contribution to postwar photography in Japan, featuring the country’s finest representatives of protest photography, vanguard fine art and critical theory in only three issues overall. The magazine’s goal was to mirror the complexities of Japanese society and its art world of the 1960s, a decade shaped by the country’s first large-scale student protests. The movement yielded a wave of new books featuring innovative graphic design combined with photography: serialized imagery, gripping text-image combinations, dynamic cropping and the use of provocatively “poor” materials. The writings and images by “Provoke”‘s members-critic Koji Taki, poet Takahiko Okada, photographers Takuma Nakahira, Yakata Takanashi and Daido Moriyama-were suffused with the tactics developed by Japanese protest photographers such as Nobuyoshi Araki, Eikoh Hosoe and Shomei Tomatsu, who pointed at and criticized the mythologies of modern life.
This enormous “Provoke” book accompanies the first exhibition ever to be held on the magazine and its creators. Illuminating the various uses of photography in Japan at the time, the catalogue focuses on selected projects undertaken between 1960 and 1975 that offer a strongly interpretative account of currents in Japanese art and society at a moment of historical collapse and renewal.
- PROVOKE - Between Protest and Performance - Photography in Japan 1960 / 1975
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