The Armory Show 2016
Piet Mondrian
Portfolio of 10 paintings, 1967
5341-BK
17 x 17 in. (43.2 x 43.2 cm)
Silk screen reproductions of 10 paintings with text by Piet Mondrian and introduction by Harry Holtzman. Printer Sirocco Screenprints Inc. Published by Ives- Sullivan Inc., CT. Copy 12 of 150. List of paintings reproduced: Composition in blue and yellow; Composition in red, blue, yellow and grey; Place de la Concorde; Fox Trot A; Broadway Boogie Woogie; Abstract Painting; Composition in white, black and red; Victory Boogie Woogie; Composition; New York City I.
Very rare to find complete as most portfolios were broken up.
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Daido Moriyama
Karyudo (Hunter), 1972
1759
Hardcover with authors name printed on the dust jacket. Comes with bellyband. 104 black and white photographs with a text by Tanadori Yokoo. Most of Moriyama's cult images are featured in this special monograph of the photographer's work.
Price Upon Request
Daido Moriyama
Shashin yo Sayonara (Bye Bye Photography), 1972
1760
7 1/4 x 9 in. (18.5 x 23 cm)
Tokyo: Shashin Hyoron-sha.
137 double-page black-and-white photographs printed in rich gravure. Original wrappers, with printed dust jacket. Includes 32 pages of dialogue between photographers Takuma Nakahira and Daido Moriyama.
This is the most emblematic of Provoke photobooks, in which the aesthetic principles of the movement are best expressed. Moriyama pushes the boundaries of the medium: assembling images from a variety of sources, placing them in a discordant anti-sequence, with an array of full-page grainy, blurry, and sometimes indecipherable pictures. The images were further manipulated in the dark room, in a way that results in high contrast prints with a harsh coarse grain. This rough style became somewhat of a trademark and found wide appeal with a new Japanese generation.
Shashin yo Sayonara was produced as a result of a discussion Moriyama had with Takuma Nakahira in the Hilltop (Yamanoue) Hotel in Tokyo in August 1972. The two had been friends since 1964 and both had contributed to Provoke magazine. The argument centered on the function of photography to reflect reality.
“Shashin yo Sayonara (Bye Bye Photography) is the most extreme monument of the Provoke period, indeed it is one of the most extreme photobooks ever published. Daido Moriyama pushes both the form of the photographic sequence and the photograph itself to the limits of legibility, with a brilliant barrage of stream-of-consciousness imagery culled from his own pictures, found photographs—such as shots of car accidents—and images taken from the television set. Any notion of ‘good’ technique is thrown out the window. The pictures exhibit all the qualities of reject negatives discarded in the darkroom then retrieved from the bin. The photographic language is one of blur, motion, scratches, light leaks, dust, graininess and stains ... The pace is frenetic, the image bombardment never lets up, and we reach the book's end in a state either of breathless exhaustion or on an image-fuelled high.†(Parr & Badger)
[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, pp. 298-299; Andrew Roth, The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, pp. 218-220; Andrew Roth, The Open Book: A History of the Photographic Book from 1878 to the Present, pp. 290-291; M. Auer, 802 photo books from the M. + M. Auer collection, p. 543; Ryuichi Kaneko & Ivan Vartanian - Japanese Photobooks of the 1960s and ‘70s, p. 29]
Price Upon Request
Shomei Tomatsu
OO! Shinjuku, 1969
1751
10 1/8 x 7 1/4 in. (26 x 18.6 cm)
Tokyo: Shaken.
120 black-and-white photographic illustrations. Original photo-illustrated wrappers, with text by Tomatsu printed on the back cover.
Despite the economic upturn of the 1960s, which established Japan as the third-largest economic power in the world, a fundamental opposition developed against the new political, economic, and cultural structures that had emerged in the post-war period in Japan. In 1968, the resistance manifested itself once again in university student protests against the pending extension of the “ANPO†security pact and the Vietnam War. This phase of the upheaval and alienation is documented by Tomatsu in his photo book OO! Shinjuku. A resident of the Shinjuku commercial and government district of Tokyo, he photographed the lives of the young generation and the student protests, which began in Shinjuku. Tomatsu's photographic sequences of anti-Vietnam protesters, strip clubs, and dark back alleys capture the chaos of Shinjuku in the late sixties, and illustrate the district’s central position in the mythology of postwar Japanese counter-culture.
[Ref. Martin Parr & Gerry Badger, The Photobook: A History, vol.I, p. 290]
Price Upon Request
