DAIDO MORIYAMA
DAIDO MORIYAMA Shashin yo Sayonara -- Bye Bye Photography . Tokyo: Shashin Hyoron-sha, 1972. Tall octavo (230 x 185 mm). 137 double-page photographs. Original printed wrappers (spine slightly worn); original dustjacket (some chipping, spine panel darkened). Provenance : Yutaka Takanashi (inscription from Moriyama). FIRST EDITION, PRESENTATION COPY INSCRIBED BY MORIYAMA TO YUTAKA TAKANASHI "ONE OF THE MOST EXTREME PHOTOBOOKS EVER PUBLISHED", and "a brilliant barrage of stream of consciousness imagery" -- Moriyama's "willingness to be led to the edge of photography's coherence is the photographic equivalent of Surrealist automatic writing by a camera that almost has a mind of its own" ( The Photobook ). AN IMPORTANT ASSOCATION COPY, inscribed by Provoke 's most prominent exponent to one of its founders. Important figures in post-war Japanese photography, Moriyama and Takanashi called for an end to a photography loaded with preconceived meaning, and sought a way to respond to the change and upheaval engulfing Japan in the 1960s. 101 Books , pp.218-20; The Open Book , pp.290-91; The Photobook , vol. I, pp.298-99.
DAIDO MORIYAMA
DAIDO MORIYAMA Shashin yo Sayonara -- Bye Bye Photography . Tokyo: Shashin Hyoron-sha, 1972. Tall octavo (230 x 185 mm). 137 double-page photographs. Original printed wrappers (spine slightly worn); original dustjacket (some chipping, spine panel darkened). Provenance : Yutaka Takanashi (inscription from Moriyama). FIRST EDITION, PRESENTATION COPY INSCRIBED BY MORIYAMA TO YUTAKA TAKANASHI "ONE OF THE MOST EXTREME PHOTOBOOKS EVER PUBLISHED", and "a brilliant barrage of stream of consciousness imagery" -- Moriyama's "willingness to be led to the edge of photography's coherence is the photographic equivalent of Surrealist automatic writing by a camera that almost has a mind of its own" ( The Photobook ). AN IMPORTANT ASSOCATION COPY, inscribed by Provoke 's most prominent exponent to one of its founders. Important figures in post-war Japanese photography, Moriyama and Takanashi called for an end to a photography loaded with preconceived meaning, and sought a way to respond to the change and upheaval engulfing Japan in the 1960s. 101 Books , pp.218-20; The Open Book , pp.290-91; The Photobook , vol. I, pp.298-99.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
