Looking at a collection of photographs by Daido Moriyama is like hurtling through the city in a cab, spinning your head from side to side, up and down, to take in all the action. And the action doesn't stop with the click of Moriyama's shutter. As critic Patrick Remy notes in his introduction, "He endlessly plunges into his contact prints, tirelessly reprints his images, re-centers them, prints them horizontally or vertically to achieve the desired format at the time... enough to make you lose yourself in the maelstrom of ...
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Looking at a collection of photographs by Daido Moriyama is like hurtling through the city in a cab, spinning your head from side to side, up and down, to take in all the action. And the action doesn't stop with the click of Moriyama's shutter. As critic Patrick Remy notes in his introduction, "He endlessly plunges into his contact prints, tirelessly reprints his images, re-centers them, prints them horizontally or vertically to achieve the desired format at the time... enough to make you lose yourself in the maelstrom of his photos (his complete works list 5,758 references)." Close-ups of red, red lips and meticulously manicured hands (except for a bandage on the index finger--what happened?), snowy cityscapes, lonely hotel rooms, storefronts, beautiful women and a pig--no subject escapes him. Like Atget, whom he admires, Moriyama freezes urban evanescence, and like Hosoe, whom he assisted, he uncovers the intimate.
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Add this copy of Daido Moriyama Remix to cart. $60.00, like new condition, Sold by art longwood books rated 5.0 out of 5 stars, ships from Gloucester, MA, UNITED STATES, published 2004 by Edition Kamel Mennour.
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Seller's Description:
Fine. Exhibition Catalogue. 8vo-over 7¾"-9¾" tall. Softcover., small price label on back cover. no other flaws or wear. clean. no markings. no bumps, tears, creases. tight sewn binding.; parallel text english/french.; unpaginated. illustrated throughout, mostly borderless b/w with some color. brief text and reference section. this exhibition and book were drawn from a 1971 moriyama publication.
