SHOMEI TOMATSU
Shomei Tomatsu
March 13th – April 17th, 2010
Press Release
A self-taught photographer, Shomei Tomatsu went freelance in 1956. In the years that followed, he took part in the pioneering “Eyes of Ten” exhibitions and in 1959 he was one of the cofounders of photographic agency VIVO, which is seen as the ‘epicentre’ of Japanese post-war photography. Other VIVO members included Ikko Narahara and Eikoh Hosoe, both of whom were the subject of individual exhibitions by Galerie Priska Pasquer (Eikoh Hosoe in 2002, Ikko Narahara in 2009/2010).
Shomei Tomatsu’s imagery is noted for its varied and complex nature. His style ranges from works leaning towards classical street photography, symbolically charged objects, abstract (urban) views to dynamic, expressive compositions. Depending on the subject matter, the artist constantly expanded his visual grammar, creating pictures that walk a tightrope between the concrete and the abstract and between fascination and repulsion, while remaining timeless.
A central theme in Tomatsu’s photographic work is the effects of the atom bomb on Hiroshima and Nagasaki. Here, he portrays survivors and documents objects from the Atom Bomb Museum. Among the works featured in the exhibition is “Bottle Melted and Deformed by Atomic Bomb Heat, Radiation, and Fire, Nagasaki, 1961”. This photo, which calls to mind a melted body part, is described by Leon Rubinfien as “possibly the single strongest image of his career” (Shomei Tomatsu: Skin of a Nation, p. 27).
Another theme that has been explored by Tomatsu for more than a decade is the influence of the US occupying forces and of American culture on Japanese society. The “Chewing Gum and Chocolate” series, which was taken near the US military bases, thrives on the ambivalent experience of the Americans as overbearing victors who also brought a new culture to Japan.
However, Tomatsu’s photography deals not only with the unfamiliar but also with the familiar, such as the tension relating to rural traditions and Japan’s journey to urban modernity since the 1950s. In “Flood and Japanese” (1959), Tomatsu demonstrated the effects of floods, in “Protest” the student demonstrations in Tokyo, and in “The Pencil of the Sun” the dwindling popular culture in Okinawa, the group of islands in the south of Japan.
Brief biography
Born in Aichi, Nagoya in 1930. 1954-56 Photographer at the Iawanami Shashin Bunko publishing house together with Nagano Shigeichi. Participated in the “Eyes of Ten” exhibitions, 1957-59. In 1959, founded photographic agency VIVO together with Kikuji Kawada, Akira Sato, Akira Tanno, Ikko Narahara and Eikoh Hosoe. In the same year, he began to take photographs at the US military bases all over Japan and also the effects of a typhoon that destroyed his mother’s house.
Commissioned to work on a book about the dropping of the atom bomb on Nagasaki, together with Domon Ken. 1972-1976 lived in Okinawa. 1974 Founded the “Workshop Photography School”, Tokyo, together with Nobuyoshi Araki, Masahisa Fukase, Eikoh Hosoe, Daido Moriyama and Noriaki Yokosuka. 1995 Awarded the Purple Ribbon Medal by the Japanese government.
Selected exhibitions
– 1974 “New Japanese Photography”, Museum of Modern Art, New York
– 1979 “Japan: A Self-Portrait”. International Center of Photography, New York
– 1984 “Shomei Tomatsu: Japan 1952-1981”, Forum Stadtpark, Graz
– 1985 “Black Sun: The Eyes of Four”, Museum of Modern Art, Oxford
– 1992 “Sakura + Plastics”, Metropolitan Museum of Art, New York
– 1996 “Traces: 50 years of Tomatsu’s works”, Tokyo Metropolitan Museum of Photography, Tokyo
– 2000 “How You Look at It: Photographs of the Twentieth Century”, Sprengel Museum
Hanover
– 2004 “Interface. Shomei Tomatsu”, The National Museum of Modern Art, Kyoto
– 2004 “Shomei Tomatsu: Skin of the Nation”, San Francisco Museum of Modern Art, San
Francisco
– 2006 “Aichi Mandala: Early Works of Tomatsu Shomei”, Aichi Prefectural Museum of Art,
Nagoya
– 2007 “Tokyo Mandala“, Tokyo Metropolitan Museum of Photography, Tokyo
Selected publications
– Shomei Tomatsu, Ken Domon, et al: Hiroshima-Nagasaki Document. Tokyo 1961
– 11:02 Nagasaki. Tokyo 1966
– Nippon. Tokyo 1967
– Salaam Aleikum. Tokyo 1968
– Okinawa, Okinawa, Okinawa. Tokyo 1969
– Oh! Shinjuku. Tokyo 1969
– Après-Guerre. Tokyo 1971
– I Am a King. Tokyo 1972
– The Pencil of the Sun. Tokyo 1972
– Kingdom of Mud. Tokyo 1978
– Ruinous Garden. Tokyo 1987
– Sakura, Sakura, Sakura. Osaka 1990
– Tomatsu Shomei 1951-60. Tokyo 2000
– Shomei Tomatsu. Skin of the Nation. San Francisco 2004
Press Release
A self-taught photographer, Shomei Tomatsu went freelance in 1956. In the years that followed, he took part in the pioneering “Eyes of Ten” exhibitions and in 1959 he was one of the cofounders of photographic agency VIVO, which is seen as the ‘epicentre’ of Japanese post-war photography. Other VIVO members included Ikko Narahara and Eikoh Hosoe, both of whom were the subject of individual exhibitions by Galerie Priska Pasquer (Eikoh Hosoe in 2002, Ikko Narahara in 2009/2010).
Shomei Tomatsu’s imagery is noted for its varied and complex nature. His style ranges from works leaning towards classical street photography, symbolically charged objects, abstract (urban) views to dynamic, expressive compositions. Depending on the subject matter, the artist constantly expanded his visual grammar, creating pictures that walk a tightrope between the concrete and the abstract and between fascination and repulsion, while remaining timeless.
A central theme in Tomatsu’s photographic work is the effects of the atom bomb on Hiroshima and Nagasaki. Here, he portrays survivors and documents objects from the Atom Bomb Museum. Among the works featured in the exhibition is “Bottle Melted and Deformed by Atomic Bomb Heat, Radiation, and Fire, Nagasaki, 1961”. This photo, which calls to mind a melted body part, is described by Leon Rubinfien as “possibly the single strongest image of his career” (Shomei Tomatsu: Skin of a Nation, p. 27).
Another theme that has been explored by Tomatsu for more than a decade is the influence of the US occupying forces and of American culture on Japanese society. The “Chewing Gum and Chocolate” series, which was taken near the US military bases, thrives on the ambivalent experience of the Americans as overbearing victors who also brought a new culture to Japan.
However, Tomatsu’s photography deals not only with the unfamiliar but also with the familiar, such as the tension relating to rural traditions and Japan’s journey to urban modernity since the 1950s. In “Flood and Japanese” (1959), Tomatsu demonstrated the effects of floods, in “Protest” the student demonstrations in Tokyo, and in “The Pencil of the Sun” the dwindling popular culture in Okinawa, the group of islands in the south of Japan.
Brief biography
Born in Aichi, Nagoya in 1930. 1954-56 Photographer at the Iawanami Shashin Bunko publishing house together with Nagano Shigeichi. Participated in the “Eyes of Ten” exhibitions, 1957-59. In 1959, founded photographic agency VIVO together with Kikuji Kawada, Akira Sato, Akira Tanno, Ikko Narahara and Eikoh Hosoe. In the same year, he began to take photographs at the US military bases all over Japan and also the effects of a typhoon that destroyed his mother’s house.
Commissioned to work on a book about the dropping of the atom bomb on Nagasaki, together with Domon Ken. 1972-1976 lived in Okinawa. 1974 Founded the “Workshop Photography School”, Tokyo, together with Nobuyoshi Araki, Masahisa Fukase, Eikoh Hosoe, Daido Moriyama and Noriaki Yokosuka. 1995 Awarded the Purple Ribbon Medal by the Japanese government.
Selected exhibitions
– 1974 “New Japanese Photography”, Museum of Modern Art, New York
– 1979 “Japan: A Self-Portrait”. International Center of Photography, New York
– 1984 “Shomei Tomatsu: Japan 1952-1981”, Forum Stadtpark, Graz
– 1985 “Black Sun: The Eyes of Four”, Museum of Modern Art, Oxford
– 1992 “Sakura + Plastics”, Metropolitan Museum of Art, New York
– 1996 “Traces: 50 years of Tomatsu’s works”, Tokyo Metropolitan Museum of Photography, Tokyo
– 2000 “How You Look at It: Photographs of the Twentieth Century”, Sprengel Museum
Hanover
– 2004 “Interface. Shomei Tomatsu”, The National Museum of Modern Art, Kyoto
– 2004 “Shomei Tomatsu: Skin of the Nation”, San Francisco Museum of Modern Art, San
Francisco
– 2006 “Aichi Mandala: Early Works of Tomatsu Shomei”, Aichi Prefectural Museum of Art,
Nagoya
– 2007 “Tokyo Mandala“, Tokyo Metropolitan Museum of Photography, Tokyo
Selected publications
– Shomei Tomatsu, Ken Domon, et al: Hiroshima-Nagasaki Document. Tokyo 1961
– 11:02 Nagasaki. Tokyo 1966
– Nippon. Tokyo 1967
– Salaam Aleikum. Tokyo 1968
– Okinawa, Okinawa, Okinawa. Tokyo 1969
– Oh! Shinjuku. Tokyo 1969
– Après-Guerre. Tokyo 1971
– I Am a King. Tokyo 1972
– The Pencil of the Sun. Tokyo 1972
– Kingdom of Mud. Tokyo 1978
– Ruinous Garden. Tokyo 1987
– Sakura, Sakura, Sakura. Osaka 1990
– Tomatsu Shomei 1951-60. Tokyo 2000
– Shomei Tomatsu. Skin of the Nation. San Francisco 2004
