Lieko shiga biography sample
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In the wake
- Japanese photographers respond to 3/11
In the wake - 'Japanese photographers respond to 3/11'
New York, United States
Takashi Arai (); Nobuyoshi Araki (); Yishay Garbasz (); Ishu Han (); [Naoya Hatakeyama] NAOYA (); Takashi Homma (); Kikuji Kawada (); Rinko Kawauchi (); Keizō Kitajima (); Kōzō Miyoshi (); Yasusuke OTA (); Masato Seto (); Lieko SHIGA (); Shimpei Takeda (); Masaru Tatsuki (); Daisuke Yokota (); Tomoko YONEDA ();
The Younger Generation
- Contemporary Japanese Photography
The Younger Generation - 'Contemporary Japanese Photography'
Brentwood / Westwood, United States
Lieko SHIGA
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Much like a plant relies on the soil it grows in, the nutrient it consumes, and the air it breathes, art writing does not and cannot exist in a vacuum. Instead, it arises in a very similar way, with whatever seeds are made to grow being deeply informed by the conditions under which the process takes place. This fact becomes very clear once a reader strays from the milieu s/he is familiar with, which given we&#;re dealing with language is not as easy as ideally it would be. However many languages someone might be able to read, there are many others s/he will have no access to &#; and in all likelihood, there is quite a bit of good art writing available that for this reason simply is inaccessible.
This year saw the publication of three books that anyone interested in critical writing about photography might be interested in. They each drive the point I made above home very strongly. They are Tyler Green&#;s Carleton Watkins, Mariko Takeuchi&#;s Silence and Image, and Taco Hidde B
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8th Yokohama Triennale, Reviewed
The latest edition, Wild Grass: Our Lives, asks us to take a long – and earnest – view of land, time and organic matter
A squiggly sentence spelled out in masking tape runs along the walls and edges of the stairs, in between the ramshackle tents and temporary wooden shacks set up in the foyer of the Yokohama Museum of Art: ‘The surface of the land where I stand now was created from inorganic grains of sand and dead micro-organisms mixed and accumulated tens of thousands of years before they became nutritious organic matter, which gradually became soil’. The pronouncement establishes the mindset for the eighth Yokohama Triennale, titled Wild Grass: Our Lives (held this spring as a postponed edition, due to the delayed renovation of the museum, the triennial’s main venue), asking us to take a temporal long view. The statement is an intervention by curators Carol Yinghua Lu and Liu Ding (rather than an artist’s work), and functions as a teaser f