Black Sun: The Eyes of Four, Roots and Innovation in Japanese Photography
Mark Holborn And Eikoh Hosoe And Shomei Tomatsu And Masahisa Fukase And Daido Moriyama
Language: English
Published by Aperture, E-001, 1986
- First Edition
- Signed
- Hardcover
- Used

Seller: Last Exit Books, Charlottesville, VA, U.S.A.Last Exit Books
AbeBooks seller since December 6, 2005
Condition: Used - Very good
US$ 500.00
Quantity: 1 available
Add to basketItem description from seller
Hardcover. 4to. Published by Aperture Press, New York. 1986. 80 pgs. Illustrated with Color / Black and White Plates. Signed by Eikoh Hosoe at the beginning of his section of this book (see photo #10). First Edition/First Printing. DJ has light shelf-wear present. Bound in cloth boards. Boards have light shelf-wear present to the extremities. No ownership marks present. Text is clean and free of notes. Binding tight and solid. Eikoh Hosoe (born 18 March 1933 in Yonezawa, Yamagata) is a Japanese photographer and filmmaker who emerged in the experimental arts movement of post-World War II Japan. He is known for his psychologically charged images, often exploring subjects such as death, erotic obsession, and irrationality. Through his friendships and artistic collaborations he is linked with the writer Yukio Mishima and 1960s avant-garde artists such as the dancer Tatsumi Hijikata. ; 8vo 8" - 9" tall; Signed by Author.
Seller Inventory # 57053
- Title
- Black Sun: The Eyes of Four, Roots and Innovation in Japanese Photography
- Author
- Mark Holborn And Eikoh Hosoe And Shomei Tomatsu And Masahisa Fukase And Daido Moriyama
- Publisher
- Aperture, E-001
- Publication year
- 1986
- Condition
- Very Good
- Dust jacket
- Very Good
- Signed
- Signed by Author(s)
- Binding
- Hardcover
- Language
- English
- ISBN 10
- 0893811858
- ISBN 13
- 9780893811853
- Edition
- First Edition; First Printing.
Black Sun is an unprecedented portrait of postwar Japan through the eyes of four of the nation's most significant photographers. It encompasses and connects ancient Japanese prophecies, the terror of nuclear destruction, and the results of swift and massive westernization.
Eikoh Hosoe, Shomei Tomatsu, Masahisa Fukase, and Daido Moriyama are widely acknowledged in Japan as masters of photography. Their work ranges from the metaphoric to the documentary, from the presentation of post-apocalyptic artifacts to portraits of crows and crowded city streets. However varied the approach, this work is unified by a sense of innovation and a persistent search for native roots.
Eikoh Hosoe's representation of the demonic myth Kamaitachi is structured like a dance, enacted among the villagers of the far north country and evoking Hosoe's childhood memories of the final years of World War II.
Shomei Tomatsu's work ranges from the legacy of Nagasaki to the student riots of the sixties. His photographs combine social documentary with a search for personal identity, a quest which concludes among the remote islanders of Okinawa.
Masahisa Fukase's epic series Crow adopts the universal symbol of the black bird as evil omen. The crow's somber presence shadows Fukase's journey to his birthplace on the northern island of Hokkaido, fusing private memories to a darker, national heritage.
Daido Moriyama uncovers the malice lurking in the alleys and backstreets of Tokyo. With his confrontational, highly graphic style, Moriyama reveals the overpowering density of life in modern Japan.
In the accompanying text, Mark Holborn creates his own picture of Japan's creative climate, one in which audacious exploration crashes against a legacy of tradition and refinement. He s20provides previously undocumented links between the photographers and other leading Japanese artists of our time, such as filmmaker Nagisa Oshima, graphic designer Tadanori Yokoo, and dancer Tatsumi Hijikata.
Ultimately, the dark lyricism of Black Sun serves as both cultural introduction and global prophecy. The shadow cast by these four photographers stretches beyond the shores of Japan and across the entire length of contemporary experience.
"Synopsis" may belong to another edition of this title.
About the Author
Shomei Tomatsu was born in 1930 and has established a reputation internationally with a form of photography which is both intensely personal and documentary. His first book 11:02 Nagasaki (1966) revealed his extraordinary vision. His work forms a remarkable document of postwar Japan and has influenced many Japanese photographers. His recent books The Pencil of the Sun (1979) and Sparkling Winds (1979) reveal his interest in the island communities of Okinawa. His work has been included in many international exhibitions and a major retrospective of his work was held in Graz, Austria, in 1984.
Masahisa Fukase was born in 1934 and published his first book Homo Ludence in 1971. His work was included in the exhibition New Japanese Photography at the Museum of Modern Art, New York, in 1974. Much of a long narrative series of "Crow" was included in his book Yokho (1978). Many of the photographs were exhibited in Neue Fotografie Aus Japan in 1976 and Japan: A Self Portrait at the International Center of Photography, New York, in 1979.
Daido Moriyama was born in 1938 and has worked as a graphic designer and as an assistant to Eikoh Hosoe. His work has been included in all of the international exhibitions of Japanese photography and his original style has greatly affected the course of modern photography in Japan. He has published many books in Japan and his first book of essays, Inunokioku (Dog Memories) was published in Tokyo in 1984.
Mark Holborn was born in London in 1949. He is Editor of Aperture and is presently living in New York. His book on Japanese landscape, The Ocean in the Sand, was published in 1978. He has written texts for Beyond A Portrait: Dorothy Norman and Alfred Stieglitz (Aperture, 1984) and Barakei, Eikoh Hosoe's photographs of Yukio Mishima (Aperture, 1985). He is preparing a text for a book on Butoh, a form of contemporary Japanese dance, to be published by Aperture in 1986.
"About the title" may belong to another edition of this title.
Last Exit Books
Charlottesville, VA, U.S.A.
AbeBooks seller since December 6, 2005
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I have been selling books for more than 20 years. I am a specialist in out of print and rare academic titles, art, history, military history and what I like to loosely describe as "Old and Interesting." Here is a helpful list of book terms that I use: Terms for Describing Condition These terms apply to books, dust jackets and magazines. As New is when the book is in the same immaculate condition in which it was published. There are no defects and the dust jacket, if issued with one, is perfect. Fine approaches the condition of "As New," but without being crisp. There may be minor defects, which are noted. Very Good describes a book that does show some small signs of wear but no tears on either binding or paper. Any defects are noted. Good describes the average used and worn book that has all pages or leaves present. All defects are noted. Fair is a well-worn book that has complete text pages but may lack endpapers, half title page, etc. All defects are noted. Poor describes a book that is sufficiently worn so that its only merit is as a reading copy. This book may be soiled, scuffed, stained or spotted and may have loose joints, hinges, pages, etc. All defects are noted. Ex-library books are always noted as such regardless of condition. Book Club Editions (BCE) are always noted as such regardless of condition. Boards are the actual hardcover material of the cover, front and back. Bookplate is usually a square illustrated sticker on which an owner writes his or her name, or on which the author has signed his or her name. Bumped refers to the bent or rounded corners of the boards. Browning or tanning refers to brown or tan looking pages or page edges that appear in some older books. Chip is a tiny piece missing from the edge of the dust jacket. Closed tear is a tiny rip in the dust jacket, but no material is missing (as in a chip). It can be "shut" and protected from further tearing with a Mylar cover. Cocked means the book is no longer square. If laid down, the book appears to be pushed (slanted) forward or backward from the spine. Creasing is where the dust jacket or pages have been bent, and then returned to its original state. Dampstain is a tan or gray stain resulting from water or other liquid damage. End papers or pastedowns are the sheets of paper pasted onto the inner covers, joining the book block to the covers. One side of the sheet is pasted to the inside cover, the other is left free (see FFEP). FFEP stands for front free-endpaper. This is the first page of any book. Though usually blank, it is a common place for an inscription. Foxing is the term used for the rust colored spots which occur on paper. This is the result of oxidation of both organic and iron impurities left behind during the paper making process. Front, top or bottom edge: These are the outside page edges. Loose is what happens to a book which has been read several times. The cover easily flaps open and the pages do not return to a tight condition. Heal or tail is the bottom of the spine. Head is the top of the spine. Mass-Market paperback is the most common paperback book, about four inches wide and seven inches high. Seen most often as "popular" fiction, science fiction and romance books. Mylar cover is the clear film that most fine bookshops use to cover and protect the dust jackets. Spine separation occurs at the head (top) of the spine where the fingers grab and pull the book from the shelf. After repeated pulling, the glue holding the outer spine board to the inner binding separates. Sunned is the fading of paper or binding as a result of sun exposure. Trade paperback is a softcover book which is generally large in size and made of better quality materials than a Mass-Market paperback. Wraps are the outer covers of a softcover (paperback) book or pamphlet.…
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Last Exit Books
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