The Hosoe Project - RIT Scholar Works

Rochester Institute of Technology
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Theses
Thesis/Dissertation Collections
5-10-1982
The Hosoe Project
Susan Poulakis
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Poulakis, Susan, "The Hosoe Project" (1982). Thesis. Rochester Institute of Technology. Accessed from
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ROCHESTER INSTITUTE OF TECHNOLOGY
A Thesis
The College
in
to
submitted
of
Fine
Candidacy for
the
and
Faculty
Applied Arts
the Degree
MASTER OF FINE ARTS
THE HOSOE
PROJECT
by
Susan Poulakis
May 10, 1982
of
of
Thesis
Committee
Professor
R.
Professor
James
Professor
Joseph
Additional
Heintz
Roger
VerHague
Watson
Faculty
Klinkon
Bernadette
Remington
Merkel
Assistance
Table
1
.
2
.
3
.
4
.
5
6
7
Contents
of
Thesis
List
Appendixes
of
3
4
Design
7
Process
Grid
Typeface
.
1
Introduction
The
.
Committee
9
Selection
11
Paper
.
8.
The
9
Conclusion
15
Postscript
17
Appendixes
18
.
10
11
.
Controversial
12
Cover Photograph
13
List
of
Appendixes
I
The Data Sheet
19
II
Design Process
22
III
Typeface Selection
23
IV
The Grid
24
V
Photograph Sizes
25
VI
Imposition Layout
26
VII
The Exhibition
27
VIII Hosoe's Visit
28
29
IX
The
X
The Second Cover
38
XI
The Poster
39
Catalog
Introduction
In
the
fall
Museum
of
and
organizing
of
a
be
an
as
a
of
ambitious
would
and
be
to
an
the
and
of
exhibition
Ms.
effective
a
She
if
catalogue
to
images.
We
an
lecture
to
the
the
work
depended
largely
Such
in
a
people
to
Visual
holding
photographic
did
work
the George
at
and
it
Studies
concurrent
books
exhibitions
and
Hosoe's
see
work.
on
retrospective
this country,
in
These
would
success
interest
Hosoe's
This
experience
Photography
expressed
of
chosen
valuable
his
on
involve
exhibition
event.
for
opportunity
would
of
that
I
at
the
in
modest
some
would
would
thesis
her
included
which
kept
probably be a
such
in her
her
give
project's
thesis
Eikoh Hosoe.
before been held
never
announce
enthusiastic
the
would
Photography
a
shows,
smaller
take place,
and
received.
if it
asked
thesis
retrospective
which
photographs.
felt
publication
a
Her
MFA
an
International Museum
of
well
McCabe
own
sponsor
here
also
respectively
very
had
him
Eastman House
were
to
excellent
bring
Workshop
of
project
work
concerning her
Japanese photographer,
willingness
Hosoe's
by
Practices.
Naturally
curator.
approached
was
curating
world-famous
RIT's
I
Constance McCabe,
student,
field
98 1
1
of
experience
experience
serve
as
interested
and
accompany
prospect
mind,
affair
of
of
in
the
designing
at
that
that
with
the
point
be
even
and
of
a
such
the event.
poster
I
and
was
beautiful
catalogue
no
more
producing
Naturally
show.
working
course,
since
in editing
documentation
a
be
would
would
budget existed
it
and
would
Photography
be
would
method
it became
to
way
better
In
a
with
matte
the best
With
the
could
we
could
At
this
set
about
maxumum
a
I
point
approval.
decisions
could
be
seemed
worthwhile
mean
third
a
extra
expense
press
our
the
was
After
some
inquiry
the best
be
Hosoe's
of
the
cover
duotones
the
intensify
run
better
made
would
to
that
so
be
image
therefore
and
justified
was
that
for
characteristic
are
further
to
coat
to
and
set
School
extra
it
since
clear
to
for
have the final
dealing
with
to
a
and
Photographic Arts
could
we
poster
would
present
my
say
consult
the
photographer
the
If
catalog.
the catalogue.
sheet
thus
administration
problems
on
Sciences
the people
as
the project.
if
and
detailed data
benefit
own
in
to
the book
publication
and
produce
fairly
of
how the
information and all
budgetary
who
cost
producing a
work
outlined,
about
of
budget,
in the project,
I
the
requirements
$2000 for both
of
that
to
printing
estimate
budget
both
would
already
that
The
within
work
involved
blacks
structure
general
I
duotones
any
results.
included
that
the
be financed.
offered
were
would
but I felt
settled,
it
to
of
of
images,
exchange
photographs.
double-black
deep
the
decision
preliminary
the
immediately
to
in
pages
School
production
agreed
justice
fewer
have
varnish
This
give
far
the
addition
darkness.
cost,
to
that
clear
We
the
with
the
course
printed
reproducing
produce
work.
Of
do
Another
of
negotiation
expensive.
to
was
quality.
best
some
obtain.
fairly
concern
primary
image
to
is
publication
it
require
well,
for
whose
In this way
we
Since
we
arose.
other
side
of
the
world,
there
communicating
was
with
invaluable in making
already
our
our
some
client,
tasks
as
complexity
so
clear
that
to
us
the
as
involved
data
sheet
possible.
in
was
DESIGN PROCESS
After
consultion
with
page,
self -cover
catalogue
format.
Since
it
less
paper
I
have
chosen
the
images
in
cramped
are
a
Hosoe's
were
that
so
writings,
a
and
authors,
exhibitions.
of
pages
Mr.
sent
to
worked
from
Also
it
would
As there
logical
to
have
which
had
of
Hosoe's
in
of
appear
were
than
each
nature
of
which
series
to
occupy two
other.
include
each
of
six
series
face
to
because
photographs
The
introductory
series
biography,
more
all
the
of
each
would
explanation
for
because
books.
text,
and
fairly soon,
series
be
were
us
include
wanted
all
they
by
various
publications
and
twenty-four typewritten
manuscript.
Hosoe
keep
that
several
series
section
There
and
each
summary
a
would
I felt that
but
cost
save
developed
from
could
pages
remaining
produced
seemed
pair
a
to
dramatic
was
photographic
it
be represented,
it
plates,
(See imposition diagram).
cost.
limitation
page
as
published
pages
the book
He has
work.
and
economical
most
and
two
onto
twenty-four
a
book.
smaller
twenty-four
fit
format
smaller
large
of
be
that
decided
the best
be
would
printing
a
so
The basic layout
its
and
I
printers,
all
could
require
could
the
the
this
a
preliminary
and
but
in
made
photographs
seemed
logical
what
to
order
some
in
draft
one
he
section,
the
the
wanted
changes
separate
of
in
photographs
he
them arranged.
I
format.
I
decided
uninterrupted
biography
section
to
by text.
from the
other
text,
would
not
be
placed
This left
us
with
and
photographs
text
one
into
extra
the
avoid
images
the
place
use
of
in
the
pairs,
to
use
Futura
that
as
text,
with
page
of
possible.
of
each
of
an
so
it
each
since
Since
to
sense
was
be
only
series
also
to
as
in
was
place
occupying
used
both
each
as
I
its
own
upper
unobtrusive
left
and
me
to
preferred
to
by
the
pair
separately
commentaries
column.
corner
as
place
possible.
identify individual
an
from
to
explained
these
extra
and
permitted
determined
was
to
the series,
This
image,
two
logical
was
opposite.
or
the
When
transition
abrupt
to begin
side
texts
commentary
numbers
would
with
the
photograph
a
pairs.
one
were
free from text interference
made
light type
they
photographs
images.
it
there
me,
right-hand
as
arranged
idea
The
please
captions
arrangement
arrangement
not
that
so
section
cover.
Japan,
from.
the
of
keep the images
The
from
did
on
list
back
twelve photographs,
choose
image
the
at
the back
on
arrived
to
photographs
it
place
in
I decided
photographs.
position,
so
find
as
easy
to
The
I
Grid
reviewed
design
process
layout.
Most
image that
without
they
particular
that he disliked
tight
I
thing the images
book
So
of
I
varied
small
such
I
photographs.
size
find
to
worked
also
a
by far the
most
common
but
felt
I
called
that
for
vertical
more
and
a
arrangement
upper
in
At first
I
reasons.
unusual
grid
and
it
To
as
the
a
on
type
the
on
the
each
of
white
a
this
space
the
same
were
also
along
which
work
where
together
was
areas,
a
image is
an
pages
area
page
in
place
Hosoe's
of
were
one
is appropriate,
cases
large
the
on
center
a
boredom.
them
center
dynamism
Also
gave
position
margins
to
in many
and
to
position
photograph
since
For
of
possibility
position.
approach.
horizontal
no
whether
eccentricity
superior
pairs.
tried
grid
left
approach,
Thus their
left
and
arranged
strict
was
them.
between
the
a
horizontal
flush
be
one
felt
I
me
to
advantages
that
proportion
good
decide
the
out
at
started
the disadvantages.
would
a
them
all
of
told
photographer
that
there
to
give
One
photographs
in
much
so
their
by
to be laid
appeared
all.
decided
my
their design the kind
in
outweighed
had
to
or
page
the
and
images
of
at
beginning
impressed
not
Some
with.
where
this
considered
was
reflect
structure
books
arrangement
not
dealing
were
I
general
them did
of
any
height.
in
and
before
catalogues
photographic
many
to
the
size
of
found
this
didn't
determine
structure,
First, every
but
I
photograph
was
each
photograph
work
different in
well
by
a
for two
proportion
and
10
so
their
counted
vertical
on
photographs
into
to
images
and
conform
faced
account
and
each
their
relative
horizontal
edges
to
same
grid
lines.
the
page
it
the
other
on
relationship
sizes.
to
each
not
could
was
possibly
Also
since
necessary
other,
based
to
on
be
the
take
their
11
The
One
Type
the
of
space
of
to have
be
a
After
in
its
cramped
small
for
enough
looking
light
weights
and
in
me
at
to
and
Futura
to do this.
and
Futura light
its
rounded
forms
fluidity that is
a
has
and
tall
enough
that
ascenders
reminiscent
of
twenty-four
pages
were
I
to
chose
had to
line.
use
Futura,
difference between
darks
lights in the
and
typeweight
variations
provided
complements
it
chose
per
characters
give
each
on
texts
extrabold
also
the
that the longest
drastic
dramatic
Futura
delicacy
a
was
used
commentary
typeface I
typefaces
wanted
Also,
there
to fit many
the
mimic
meant
whatever
many
I
the
wanted
all,
Therefore
x-height
the typeface to be
this
In
space.
carefully
order
I
column,
extrabold.
photographs,
enable
Since
own
typewritten text.
have
determining
consideration.
series
would
in
problems
a
the
kind
Japanese calligraphy.
a
strength
images,
of
to
and
feminine
12
The
Paper
In choosing
finish.
matte
on
gravure
country
to
closest
to
a
a
some
the
with
decided
brittle,
a
like
whiteness
permits
it.
and
to
find
for
my
a
common
It
it does
higher
work
on
not
its
of
Also
a
printed
matte
a
this
in
come
would
matte
paper
tried hard
since
manufactured
white
its
and
feeling.
the best
paper
revised
very
high basis
the
with
catalog
by
matte
weight
However it has
high-quality
afford
quality
the
also
a
contrast.
substantial
not
on
available,
Frostbrite,
was
hoped
I
on
method
duotone
surface
cost.
is
I
the blacks.
because
more
usually
printing
that
effect
whitest
use
are
with
stock
the blackest blacks
darken
to
Inc.,
books
double-black
reasonable
catalogue
a
the
a
the
to
Papers,
its
not
was
dull-coated
a
Hosoe's
increases the
page
disadvantages.
somewhat
would
and
is
coat
for
affords
Japan,
effect
the
Consolidated
gives
in
varnish
I
paper
surface
is
paper
of
whiteness
it
gravure
this
matte
find
The
it
looked
because
was
since
press,
as
I
paper
This
Since
surface.
with
the
it
is
ink holdout.
I
paper,
the
if
same
our
matte
budget
13
The
The
choice
in
were
the
cover
of
possession
those had
We
Cover
Controversial
to be
photograph
of
limited
a
off
paired
was
somewhat
since
we
most
of
and
photograph
another
with
images,
of
number
limited,
to
represent
series.
both
abstract
appropriate
to
seem
me
several
one
did,
figurative qualities,
and
to be any
and
Hosoe's
of
example
faculty
real
in
were
but
if
see
favor
they
the
of
to
because
series
because
and
Its
work.
problem,
to
members
all
"Embrace"
from the
photograph
a
on
agreed
found
image
did
an
not
it
to
inappropriate.
No
safe
it
seemed
content
erotic
be
it
its
of
over
I
showed
the
choice
of
another.
When
the
appeared
catalogue
objection
to
it.
The
Photography faculty
much
later.
objectionable
was
RIT
I then had to quickly
removed
cost
the
and
the books
school
references
Naturally I
a
to RIT
that
was
it
the
there
a
from
success.
cover
was
The
no
the
immediate
School
problems
photograph
was
of
arose
deemed
administration.
the
replace
recovered,
the
press
consensus
was
credit
surprised
and
cover.
The
restapled
sum
considerable
on
the
general
Evidently
by the
from
page
upset
of
and
money.
were
original
retrimmed.
RIT's logo
ordered
by this,
cover
as
was
This
and
the
everyone
who
removed.
was
14
involved
was
to
Yoshimura
to
opposite
Yukio
is
a
elegant
those
and
who
the
on
and
the
faculty
by any publicity,
Mr.
Hosoe
and
he
1.
made
no
Embrace,
1970).
as
was
so
protest
.
of
nude
the
and
.
.More
creates
is
is
an
pathetic,
apt
photographs
nature
of
beauty.
who
"To
states,
Embrace
Embrace
of
completely
to
make
stagger.
represents
the
camera."
insensitive to the difference between
McCabe
could
frustrating
that
was
placed
not
gracious
Hosoe,
Embrace
creature
a
mechanism
most
about
.
Nobuya
Japanese author,
athletic
form.
ordinary
have been
we
as
Preface,
spirit
a
famous
and
dignity
the
The
usual
Eikoh
about
the
were
for Ms.
hard
nobility
of
art.
is
seeing
true
would
The
occurred
seriously
his
In
the book
to
with
being
..
censors
and
pornography
myself
to
yearnings
Apparently the
for
filled
it
never
"in
working
preface
human
used
expresses
everlasting
his
powerful.
are
as
pornography."
else
the
had
objectionable.
Hosoe
of
series
of
was
of
in
anything
awareness
It
that
Mishima,
this
than
speaks
It
catalogue.
that the image
us
me
the
with
the
our
in
an
protest.
in
aspect
of
sponsors
the
and
situation
supporters
uncomfortable
We
were
his response
position
fortunate that
to the situation,
issue.
(Tokyo:
Shashin
Hyoronsha
Publishing,
15
Conclusion
My thesis
project
Certainly
I learned
printed
I
soon
of
art
to
the
must
of
artist's
in
artist's
intentions
Another
enhance
benefit
the
of
aspects
information
are
the
in
experience
respects.
many
designing
about
the
and
role
a
in any
is
that
those
producing
a
to
this
area
The
challenge.
as
true
designer
must
respect
The
and
consistent
the
with
design decisions that
word.
opportunity
production
specific
possible.
effecting
artist's
to be learned
as
design
a
in
the
was
problems
unaltered
piece
creating
and
many
designer's
be
course
original
care
most
deal
great
make
exercise
will
valuable
that there
that
photographs
a
a
catalog.
realised
design
was
process.
There
for
this
from
being involved in
of
an
is
much
aspiring
some
invaluable
professional
designer.
final
However a
being
the
in
When
they
to
able
added
meet
and
beginning
arrived
from
months
polite
day
and
with
of
them
of
It
for
was
at
they
Niagara
a
project
seeing my
time
March
long-distance
charming
in
spend
Japan
lectures on his work.
many
reward
with
1982
the
Mr.
the
Falls
were.
which
and
in
his wife.
mounted,
for Mr.
Hosoe's
and
to
communication.
both
Hosoe
was
exhibition was
opening
pleasure
complete
Ms.
they
speak
I
person
after
impressed by how
was
McCabe
were
in
and
both
I
spent
most
the
anxious
16
to see,
and
we
had
a
fun
and
memorable
excursion,
17
Postscript
Just before Mr.
Spiritus
her
interest
show
California
continue
in
changes
a
I
fall.
the project,
satisfy my
currently
designing
RIT
same
and
thousand
and
to
revise
those
an
us
of
her
for
catalogues
for
happy
was
the Susan
informed
She
travel
to
opportunity
to
would
which
exhibition,
by
aspects
the
of
work
expectations.
involved
poster
contacted
were
California.
two
puchasing
the
we
arrival,
Long Beach,
the
of
in
with
that didn't
am
in
Gallery
upcoming
I
Hosoe's
in
the
catalog
announcement
revisions,
for
the
show.
and
also
Some
of
in
the
include:
1.
New
2.
Some
3.
Reshooting
4.
Use
of
Hosoe's
5.
Use
of
a
choice
text
photographs
of
for the catalog
cover
and
poster.
additions
those duotones
of
gloss
signature
varnish
which
were
too dark
in the horizontal form
instead
of
matte,
which
gives
a
richer,
darker black
6.
Possible
use
the design
of
a
color,
package.
perhaps
silver,
to enhance the look
of
Appendixes
18
Data
Sheet
October
Title:
8,
198 1
Hosoe Project
Description:
1.
A
of
catalog
photographic
2.
A
To design
the
about
Eikoh
a
Hosoe
presented
at
that
form
will
RIT in March
of
a
1982.
show.
integrated publicity
To design
Objectives:
viewer
to be
exhibit
an
of
works
announcing the
poster
Goal:
the
catalog
and
exhibition
and
program
poster
present
about
that
Hosoe's
the
inform the
will
work
show.
clearly
and
attractively.
Strategies
The
and
Processes:
following
practicality
A
and
1.
Cover:
2.
Paper Weight:
have
decisions
been
made
A 100-pound
3.
Paper Type: A dull-finish
4.
Catalog
5.
Number
6.
Number of duotones:
7.
Colors:
8
pages:
black
basis
of
catalog.
has
stock
been
opacity
of
the
economy:
self-cover
size:
on
on
1/2"
x
clay-coated
paper.
10"
24
15 catalog,
black
1
poster.
selected
for
maximum
19
Budget:
We
are
which
presently
be
will
working
provided
within
by the
budgetary ceiling
a
School
of
Photographic
of
$2000,
Arts
and
Sciences.
In-kind Assistance:
1.
Duotone
work:
2.
Duotone
and
3.
Type
4.
Paper:
5.
Stripping:
6.
Printing:
David Cohn
materials :GARC
stripping
:Dona ted
by
Donated
Setronics
at
Stanley
10%
above
cost
by Ailing
and
Cory.
Rosen
Not definite
Target Audience:
1.
College
and
the
and
graduate
visual
2.
Faculty
3.
General public,
least
students,
well
trained
in photography
arts.
some
sufficiently
of
whom
motivated
will
to
be visually oriented,
make
the
trip
out
to RIT.
or
at
20
Hosoe Project:
Administrative:
Academic:
Russell
Elliot
Kraus,
Rubenstein,
Director SPAS
Chairman Thesis
Committee, Gallery
Director
Project Coordinator/Curator:
Constance McCabe
Publications Designer:
Susan Poulakis
Publication
All
of
proof
the
approval
required
of:
above
Eikoh Hosoe
David
Brown,
Light
Gallery, N.Y.
TIMELINE:
October 25
Set
of
reproduction
November
Copies
of
quality
prints
arrive
from Japan
31
mechanicals
sent
out
for proof-reading
21
December 12
Publication Graphics
January
complete
12
All exhibition
prints
March 17
Exhibition
opens
ready for
display
.
Eikoh
Ho
T
*!
oh
Hosoe:
lal
Studies
Photographs
Eikoh Hoeoe
of
March
12 -May
5,
The Hal lag
Photographic
Bochester
ait. lbl tion ;
of
llkob Hoaoe
Photographs
1982
of
Institute
Technology
:
1960-1861
Slide Presentation.
Eikoh
Hoaoe discusses his
Books
to be
Presented by Roc
1981
iort-abop
Books
(data
-
The Photographic
tbitlon:
ture:
1960
Photographs
determined)
ebb Auditorium
.
Monday, March IS, B :00pm
Film Screening:
n
Maval
z
and
Iliob Hosoe's
Atomic Bomb
ebb Auditorium
Thursday,
I
tto klM .. M CMk '1 USM
March
IB,
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4
Eikoh Hosoe
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22
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The Exhibition
27
Hosoe's Visit
28
4
Eikoh Hosoe: FXtcgraphs 1X0-1980
Eikoh Hosoe: Photographs 1960-1980
1982 Rochester Institute
of
Technology
One Lomb Memorial Drive
P.O. Box 9887
Rochester, New
York 14623
Dark Sun Press
Library
Congress
of
Catalog Card
Number: 81-86077
ISBN 0-937968-01-3
Dark Sun Press is
students of
No
written or
a non-profit organization composed of
MFA photography
the
program at
photographic material
written consent of
Eikoh Hosoe is
may be
faculty
and
RIT.
reproduced without
the
Eikoh Hosoe.
represented
in the
United States
and
Canada by Light
New York.
Gallery,
Susan Poulakis
Catalogue designed
by
Printed by Ayer
Streb, Rochester, New York
Reproductions
and
printed with a
with spot varnish on
Duotones
Typeset
200-line
screen, black-on-black
Frostbrite dull-coated
duotone
stock.
by David Cohn
by Setronics, Rochester,
New York
Cover Photograph: Embrace, #48, 1 970
Nobuya Yoshimura is known in Japan for his
critic of
Yukio Mishima
for
internationally reknowned Japanese writer noted
The Sailor Who Fell From Grace With the Sea and
was an
such works as
Confessions
of a
Mask.
Eikoh Hosoe: Photographs 1960-1980 is
by
work as a publisher and
photography
Rochester Institute
Sciences
in
of
cooperation with
International Museum
of
a presentation made possible
Technology's School
Visual Studies
Photography
at
of
Photographic Arts
Workshop
and
the
George Eastman House.
and
Eikoh Hosoe: Ftoograriis 1960-1980
Introduction
and
Acknowledgments
1960-1980"
"Eikoh Hosoe: Photographs
accompany three
master
k
exhibitions
in the contemporary
presented
Studies
concurrently
Workshop
and
at
has been
representing the
published
photographic community.
These
exhibitions,
Technology, Visual
Museum of Photography at
Rochester Institute
the International
to
visual evolution of a
of
George Eastman House, were conceived and produced as a thesis
project for my master of fine arts degree at Rochester Institute of
Technology. Mr. Hosoe graciously
consented
to
participate
in this project,
entrusting to me the details of exhibition and catalogue preparation. He
has my warmest gratitude for his generous and enthusiastic
time, thought and energy. Thanks are especially due to
Dr. Russell Kraus, director of RIT's School of Photographic Arts and
Sciences, for his support and understanding. In addition, I am deeply
contributions of
grateful
to Professor
as well as
Elliott Rubenstein for his
Catherine Lord. Sincere
individuals
valuable
to my advisors, Professor Charles A.
appreciation must
without whose assistance and
have been
be
time
Arnold, Jr.
expressed
and counsel
and
to the
following
patience this project would not
realized: David Brown, Helen Brunner, Hope Carson, David
Cohn, Robert Cooper, Dana Davis, Edie Freedman, Ronald J. Gregory,
Rick Hock, Nora Kennedy, Jeff Love, James E. Lyle, Nathan Lyons, Jan
Markels, John Massey, Mary K. McCabe, Neal McCabe, Steven and
Deborah Mosch, Toshihiro Nakajima, Susan Poulakis, Barbara Power,
Leigh Privitere, James and Linda Reilly, Stanley Rosen, Caroline RudeZaft, Donald Russell, Wendy Snyder-Nakajima and Dr. Richard Zakia.
Constance McCabe, Editor
and
Curator
Preface Nobuya Yoshimura
Some
during
people
thunder
then
and
scene made of
are seen
away
though
they
by
the
been
And it may be
On
a certain
resulted
includes both the
This type
"Satori"
by
the Zen
priest of
All is
Dali
seen as
or
the invisible, the
European
a
experience
has
philosopher.
the Orient.
1960, Eikoh Hosoe had such an inspiration which
and Woman, a work made in a spirit
in
to that
opposite
of pornography.
In
other
monumental photographic masterpiece shows a
women with
After Man
Man
of
were a
in the masterpiece, Man
completely
Hosoe
by
visible and
by
of
called
day
scene.
hallucinatory
of
Cognizance"
the "Dawn
called
desert
an arid
space, exactly like a picture
word all
loud clap
Things both very near and very far
detail with a serene perspective as
calmly observing
metaphysical.
a
them as though it
world around
them in minute
panoramic
D'Arbo. Here the
physical and
the
transparent glass.
were
extraordinary
lifetime have suddenly heard
their
seen
every trace
and
of
Woman,
it
pornography
was
but
fastidiously
a small
words, this
of nude men and
group
removed.
step to Embrace.
Actually,
photographing for Embrace immediately after completing
Woman, but Embrace wasn't published until 10 years later, in
started
and
1971.
According to Hosoe, "Around the time I started photographing
Embrace, Bill Brandt's Perspective of Nudes was imported to Japan. I
was
greatly
book
photographing, so
was pure
he
to find that
shocked
quite resembled
accident,
I
stopped
perhaps
working
it
the photographs in the Brandt
one of
those in Embrace
was
I had been
which
on
it for
time."
a
something Hosoe
Although this
couldn't
bear
since
places such great emphasis on originality.
During this time, Hosoe published a photographic collection called Killed
by Roses in 1 963. The title was later changed to Ordeal by Roses.
Kamaitachi
All
of
was published
these works,
high-voltage
in 1 969.
including Embrace,
are near
products of passion and genius.
surely brought
a
fresh
new shockwavethat
has
stagnant standard of artistic appreciation and
Hosoe is
one of
the few
produces masterpieces.
photographers
without
doubt,
shine ever
works
rippled open
have
in the
bigoted feelings
in Japan
And in the future the flash
madness"
will,
mad, extremely
Hosoe's
brighter.
who
of
of value.
continuously
his "creative
MOn
My
and
Woman Eikoh Hosoe 1960
first Man
and
Woman
was an attempt
to catch the human
Woman"
its
secret rites
and
to
bring
sun.
held in darkness. In my next "Man
it into the light of the sky and earth and
Ordeal
by Roses from
drama,
One day,
without
I intend
bodily
to
warning,
kind
to
world
I
which
the
was abducted under
gently through its
there
It was, in
a
sense, the reverse
of
the
foul, filthy
to
was escorted was a
was a strange
the map
of
city to
land,
any
a
I
which
city
was
taken
of awesome
Eros frolicked wantonly in broad daylight
.
is the
.This
repellent
city
in its
yet
flowed, inexhaustibly,
and
Unlike
surface.
a pellucid stream of
feeling.
unsullied
.
weird,
cruel and overdecorative
there
underground channels
winding beneath the
sewers
I
which
naked, comic, wretched,
it
lyricism murmuring
live in, where our
for public morality
world we
create
on
was
and
was a clear undercurrent of
hygiene
Yes,
this
of
civilization.
unseen conduits.
of social appearances and our concern
world
the
not so
his lens
spell of
worship
ours, the
to
opposed
abnormal, warped, sarcastic, grotesque, savage,
promiscuous... yet
is
work
sorcery; it is the use
of mechanical
instrument for purposes utterly
civilized precision
transported me
seen some of
the camera, but Hosoe's
magical work produced with
The
Yukio Mishima 1 963
appeared and
Even before this, I had
a strange world.
much simple magic as a
by
preface
Eikoh Hosoe
record of our
a
...
city
Death
and
the squares...
on
stay [in that city],
found
to be
not
where
silences,
Hosoe's
by
told
as
camera.
Before
that camera,
I
as
soon
realized, my
own spirit and
psychology
became totally redundant. It was an exhilarating experience, a state of
affairs I had long dreamed of. Hosoe merely explored via the medium
of
his
camera
the
sounds'
much as
the
the
novelist uses words and
in
various combinations
the
which
objects
composer
to be
be placed, and the light and shadow which made
For him, in short, the objects correspond to
The objects are stripped of their various meanings,
photographed could
those
combinations possible.
words and sounds.
flung
which are
into
a meaningless arrangement where
meaningless reflection of each other
to the light
he
which
and shadow.
It is only
eventually
by
such means
composes can acquire an abstract
their
restores a certain order
that the elements
similar
quality
to that
with
of
words and sounds.
A first
requirement
for
this process,
have
photographed should
stripped
spirit
.
.
the
..If
in the
to
flesh
camera, I
Yet I
not.
on
From
his
reversion
genres, he
must
first
It
until
it
my
eye were
was
in
the same for
same
it completely. If the
on
both treated simply
as
he
to
peered
overtake
a position where
Hosoe, too,
as
be successfully
as
he did
the
into the viewfinder, he
the
objects
he
saw
there.
at a state of affairs
betrayed,
primary images already
achieved
no
supply
exactly the
meant
to end, his operations were aimed
of
for his
having
.
one who was placed
own eyes might
be
.
turned my back
a metamorphosis
to the kind
world would
be
can
there be to looking?
Quite obviously,
beginning
.
trained
or
retina of
own eyes.
waiting for
where
the
the only
his
photographer.
was
and
what sense could
was not
rely
was
into the lens
stared
my back
of
externals,
other
instead
abstraction
Before Hosoe's
I
they
of which
create works that will stand
abstract components such as words and sounds
ready-made,
whether
in
as artists
way
course, is that the objects
of
meaning
is to
photographer
same
other means
some
where a successful
seen
in his subconscious
Kamaitachi Eikoh Hosoe 1969
Kamaitachi,
is
"Weasel's
or
a record of
the memory I
was
the
was
twelve
literally from the Japanese,
during World War II when I
translated
experienced
in 1944
years old
Most
worst.
the
of
communally.
did,
to live
from
our mother and
Those
had to be
then three
father
who
firebombing
had
to the
years
in the country,
relatives
be
could not
old,
I
as
sisters, but my
or
The piercing beauty of Eikoh Hosoe's series of photographs entitled
Embrace has deeply moved me since I first saw it published in a
magazine.
The viscosity
odors and
temperatures
about
One
separated
I liked the landscapes
and
feeling
the
due to the
between the country boys and the
were very good to me, but when I
villages,
It
was
from
kids
we
children
hard for
big
around
playing
would go out
was not
My
to the towns
Other
me.
only
"city
relatives
or
kids/'
children were
They
thought city
children were
laughing
plump,
to the
Kamaitachi
were
on
Kamaitachi,
a
the
on
small, invisible
very sharp knife, but
and
springtime.
legs
arms or
ilachi means
sharp teeth like
just
body
weasel.
he
A
where
his flesh
sliced as
if
cut
by
a
blood. In
Japanese, kama means sickle
So Kamaitachi is an invisible weasel with very
But
no one
has
appears, only that
feeling, though,
strange
my
him. No
ever seen
that
he
I
attacks people
should never
born. If I hated it, I
mother was
feeling
would
then,"
days in the
to
all
a
the
his
record
photographer.
complex
directly
memory.
wanted
To do
a good
so
friend
feelings
of
my
love
one
knows
in the fields.
hate my
own
and
One
hate from those
I
In
In
writing?
express
In
painting?
needed a catalyst.
God is dead,
humans
portrays
time.
Tatsumi Hijikata. At the
same
was a
I found it in Tatsumi
time, Kamaitachi is,
my background in Japan.
an
and
of
close
the
skillfully
the human
being
Yet I
hestitate to
is
would
as a creature who
call
it
a
song
This
an undercurrent of gloominess.
art and can
to be
apparent
best be
emancipated.
expressed as
The
in his humorous
same
and cruel
human beings face the
and naked
world
feeling of pathos which Embrace creates is
being tightly driven into a corner, capable of
only by means of hard and willful tension. The
rapture
brilliant
suddenly,
and
between them. The
in
vanish
seem as
lyrical
white
whiteness of
a moment,
but
if
they
flesh
this
are
fighting each other. Then
like lingering snow
appears
flesh is
not a
fluid
whiteness
a whiteness of utmost elegance
to
awe-inspiring
fading.
dignity
of
Embrace is
apt
to make those
nude photographs stagger.
nature and represents
an
intimate friend
journey
one
which
It
who are used
expresses
the everlasting yearnings
to seeing
the true nobility
of
the
of
mechanism of
by
one.
of
the
of
the
Eikoh Hosoe, I have followed him on the
creation of Embrace. I have always respected
led to the
as a master of
Embrace,
was
inner document
as
in the photographs
models
him
singing?
dancer. He
images
camera.
a photographer
it in photography because I
Moving
place.
unique
down from the hills
moves
which refuses
undercurrent
expressing their
The
memory from my
But
Hosoe has done, it
time and
these
than
own other
the reasons for the
of
that it
own mother.
Photography expresses the subjects themselves
Outwardly, this is a documentary of the dancer,
to my ideas.
in their
myself and of
to
as
by
changed
its
farmyard.
throughout Hosoe's
isolation
of
hate the land
express one's memory.
of mine and a great
sympathetic
own
personal record of
very
fox
a
snatches
elegant and powerful.
Kamaitachi
As
cannot
Photography? I
Hijikata,
from
country.
Photography
wants
is
within a certain
skillfully
as a shrewd
corresponding
ordinary
Kamaitachi,
boyhood, with
light
camera
be
shameless and wihout pride.
walking in the rice
is attacked by Kamaitachi
man who
the flesh
brilliancy
original
and cannot
it into sections,
to mankind, for it also has
and never
I had the
by dividing
yet,
gloominess runs
a
Kamaitachi is
awful.
something very
into it. The
no characteristic of
creates an awareness of
is pathetic,
as rather romantic.
or some other part of
with no
a sickle.
where or when
was
The flesh has
animal which attacks good people
field lanes in the late
finds his
hand,
other
realm of
make an abstract work of
flesh is irreplaceable
snatches a chicken
Embrace
dark. Yuki-onna, or "Snow
among them. I pictured the snow
the contrary,
organs
but
would catch us when we went outside after
terrible but
internal
wandering into the
as
like him to
expressions were
The dark, snowy country seemed to be full of ghosts. In fact, there were
ghosts. We children were always frightened that something terrible
and
the
flesh, his
of praise
woman not as
by
brilliancy,
this
awful.
Woman,"
intimately formed
other meanings
releases more natural
Farmers'
different from country kids.
from the city were thin from hunger. Their
were
Hosoe
of
not
mode of expression.
corner watched me with cold eyes.
were called
think
It is
then intertwine
possessed
poor communication
neighborhood children.
the
to join them. It
me
like Tokyo. We
cities
the country, but I hated
environment of
was
those earthy
associated with sex
of soft and
was alone.
and
the country itself. This
is
which
form.
should not
abstractionism.
had jobs in Tokyo. I
Yukio Mishima 1 970
by
has been meticulously removed from these photographs. To me this is a
series filled with hard and athletic beauty. More than anything else, it is
to the
evacuated
no relatives were sent
who
mother was
my
the American
Some had brothers
them.
brother,
younger
had
who
country to live
only
village where
when
school children
Those
remote countryside.
were sent
Embrace From the Preface
from Tokyo to the country
was evacuated
born. I
Sickles,"
self-discipline, conquering
Despite the
each obstacle
obstacles encountered on
plateau reached
is
a remarkable
one,
the
road
even
he
meets
to
for Hosoe.
Gaudi'
Ansel Adams Gallery Workshop, Eikoh Hosoe 1974
In 1974 Ansel Adams invited Eikoh Hosoe to
Yosemite
was
workshops.
directed
Clergue,
while
Landscape,"
"Nude in the
and
it
by
Robert
Heinecken, Judy Dater, and Jack Welpott. One day,
photographing in the forest, all participants, including the
instructors,
removed their clothing.
experience:
brought
"In
upon
falling
forced to take
nature
nude.
Hosoe
The
off
to
nature.
into
my
I
was
a waterfall
clothes.
following account of
environment, being nude
gives
such a magnificent natural
evleryone closer
dressed. But
was
was
Eikoh Hosoe 1977
Eikoh Hosoe first
his
Norman Locks. Also participating in the workshop
photographers Imogen Cunningham, Wynn Bullock, Lucien
were
his
The theme
co-feach one of
one who remained
pool, along
Then I too became
camera was soaked and
with
my camera, I
by
Photography"
"International Conference
Hosoe to Gaudi. Hosoe
"Thirteen
to
shock
Don
of
Antonio
moved
I
in Barcelona
I first
Barcelona, Gaudi
visited
could not expose even one negative
be destroyed if I
would
brought
again
recalls:
years ago, when
me.
Quixote,
should attempt
a strange-looking monster without knowledge
This giant would never fade away.
was a great
for fear
to
that
I, like
approach such
and spiritual preparation.
one with
the film inside
absorbed
"The
second
spirit."
nature's
neo-baroque architecture of
while
the
the only
the
encountered
visiting Barcelona in 1 964. Hosoe was profoundly
the experience, but it was not until 1 977 that the second
Gaudi
chance
"International Conference
to see Gaudi again, After
to Barcelona. I
returned
ready to
was
Photography'
study
confront
and
I
preparation,
Gaudi. After the
photographing Gaud!
concentration centered on
conference, my
the
gave me
of
careful
Sagrada Familia, Guell Park, Casa Calvet, Palacio Guell, Casa Vicens,
Bellesguard, Crypt of the Guell Colony Church one week passed as
if it
day. I photographed quite a lot, but it was difficult to
Gaudi. I knew I must return again. I exhibited my
were one
approach
photographs upon
so
haunted
"I
returned
began to
by Gaudf.
later that
on a path
walking
to
Park, I
in his life
pursue
kind
was
of
Zen
me at
of
on
I,
first to introduce the
about
was
the
been
written
the opposite side
my
the
the
must
earth.
must prove
in
have
Is this
this
A telegram
was a good
to
for the book. Who
to
write
the
passed
Kamaitachi,
was
the
to talk to him
used
project after each visit
"Mr. Takiguchi
even a short one?
that
attitude
of round stones
photograph.
Gaud! to Japan. I
preface
taking any
Oh!
of
photographer,
the preface for
who wrote
a more appropriate person
much.
While
suspect
possibly be Zen. His
the formations
to Barcelona to
passed without
Gaudi very
to
the Ritz Hotel: "Mr. Shuzo Takiguchi
work of
progress of
to have
might
Gaudi. This time I
essence.
came
suddenly
life,
as a
away.'
Mr. Takiguchi,
am
work.
again returned
waiting for
response was
the entrance to Casa Mila... Gaudi
extravagant?
hypothesis through my
"In 1979, I
of
Gaudf's
outline of
in the Guell
the garden, the design
hypothesis too
the
interpretation. I
a superficial
photograph more of
toward nature, toward his way
created another
and although
only
Why?
year
Gaudi tried to
what
was
clearly the
see more
Tokyo,
to
return
my
good, I knew my first shooting
Barcelona,
else could
he
and
have
Three days
preface?
photographs.
friend
Why
of
should
I
Mird,
whom
not ask
I knew
Mird to
Would it be too impolite, too
respected
write a preface
unreasonable?
Never
mind, just try!
"While I
was
in
assistant about
letter
came
poems.
Barcelona, Mird
my idea. Two
from Barcelona. Mird
One is in homage to
was on
vacation,
so
I
spoke with
months passed without answer.
made
Gaudi,
the
two drawings
other
with
is to Mr.
his
Finally,
beautiful
Takiguchi."
a
Plates
Cover Photograph: Embrace, #48, 1 970
Plate 1
Man
and
Plate 2
Man
and
Plate 3
Man
and
Plate 4
Ordeal
Plate 5
Ordeal
Plate 6
Kamaitachi, #8, 1 969
Kamaitachi, #23, 1 969
Plate 7
Plate 8
Plate 9
Woman, #20, 1960
Woman, #1 9, 1 960
Woman, #24, 1960
by Roses, #32,
by Roses, #1 6,
Embrace, #46,
Embrace, #62,
Plate 10 Man
Plate 1 1 On
on
the
1 962
1 962
1 970
1 970
Rock, 1 975
the Great Plain Rock
ot
Yosemite, 1 974
Plate 1 2 Gaudi's Ceiling, Barcelona, 1 979
Plate 13 Gaudi's Ceiling, Barcelona, 1980
JftilHi
''SB
*
dsl
I
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"JJM
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Tsi
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ats^^^
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10
12
13
Biographical Notes Eikoh Hosoe
1933
Born March 1
Son
remains
1944
8,
in Yonezawa
Shinto priest;
his home.
of a
During
City, Yamagata Prefecture, Japan.
in
raised
a
Shinto
evacuation, Hosoe
wartime
lives
shrine
1975
in Tokyo. Tokyo
with relatives
by Ansel Adams to teach workshop, Hosoe is
by his family. Accepts professorship at Tokyo
College of Photography (presently Tokyo Institute of
Polytechnics) where he establishes a photographic gallery and
Again invited
accompanied
in
program of
Yonezawa
the end
until
World War II.
of
internationally
collecting
important photographs
a
for
educational purposes.
1951
Decides to become
Prize in the Fuji Photo
1954
winning the Grand
division.
a photographer after
Contest,
student
Graduates from Tokyo College
of
Photography. Unlike many
firm; he
1976
First
book, 35mm Photography.
1956
First
one-person
1977
Participates in
Tokyo."
1978
1959
Founds
photographic group,
1960
One-person
following
film,
1961
Naval
1962
Woman,"
and
published
in book form. Produces 1 6mm black
and
the
Killed-
by
Marries Misako Imai.
for
Mishima nearly
begin.
of
publication
1963
Barakei,
1964
Travels
-67
Lyons in Rochester, New York. Directs Judo and Modern
Pentathlon, segments of Kon Ichikawa's documentary film, Tokyo
Killed
around
Ofympics. First
by Roses,
the world;
1968
Organizes the
with
the
cooperation of
Publishes Kamaitachi,
1970
Reediting
by
by Roses) and
of
Killed
1971
1972
friendship
of
with
Photographers"
George Eastman House.
by Shuzo Takiguchi.
republication with new
completely
life.
new
and
extensively.
Judy Dater,
Cole Weston,
who gives
who
title
book design. Yukio
by Roses is published. Embrace is published
by Yukio Mishima. Second daughter, Kumiko, born.
Tours United States
Nathan
Gaudi in Barcelona
Ordeal
Welpotf
with preface
Meets Allen Dutton, Jack
become important friends. Meets
Hosoe
permission
Weston's Daybooks into Japanese. This
to translate Edward
project remains one of
Hosoe's continuing lifeworks.
1973
Teaches first
Arizona
and
exhibition.
1 974
workshops
in the
United States: Phoenix College,
Columbia College, Chicago. First
Light
one-person
Gallery, New York.
Co-teaches Ansel Adams
exhibition,
1981
First
stage of
and
Gallery Workshop,
Yosemite.
of
Gibson,
and
Miyatake,"
Technology
seminar
Photographs."
of
is
presented
Technology. Concurrent
photographs and
books held
at
Photography
at
and
by
exhibitions of
Rochester Institute
Technology, Visual Studies Workshop
of
Toyo
of
1960-1980"
of
Museum
Ralph
with
project complete.
Rochester Institute
this
of
Austria.
"The World
Restoration
Gaudi
of
the International
George Eastman House, for
which
publication serves as a supplement.
Major
1 960
retrospective
film,
Naval
is the
and
second
"Mois de la Photo
Atomic Bomb, travels
United States in American Federation
Experimental Films
"The World's Great
preface
own
Son, Kenji, born.
the architecture
Roses tor
(Ordeal
Mishima takes his
published.
Kanako, born 1965.
exhibition
1969
is
establishes
encounters
(1964). First daughter,
Organizes the
1982 "Eikoh Hosoe: Photographs
Photographing
France,
Salzburg College,
"Conservation
begins photographing him for the later
and
Teaches workshop in Aries,
Tokyo. Participates in Rochester Institute
and white
Roses.
complete, preparations
or
1980
Majorca, Spain. First group exhibition
of Art, California.
Santa Barbara Museum
another at
Atomic Bomb.
Meets Yukio Mishima
publication
"Man
exhibition:
year
1979
the
Gaudi.
a corporation of six
Kikuji
Kawada, Ikko Narahara, Akira Sato,
Akira Tanno, Shomei Tomatsu, and Hosoe himself.
photographers:
of
of
Barcelona, Spain. Begins photographing
Meets Joan Mird in
"VIVO,"
"VIVO,"
"International Conference
second
Photography,"
Architecture
"An American Girl in
exhibition,
II,"
Photography,"
of
his classmates, Hosoe is not hired by a photographic
decides to become a free-lance photographer.
1955
"History of Japanese Photography After World
University of Arizona. Teaches workshop at the
"International Meeting of
Aries, France.
Delivers lecture,
War
1960-1980."
of
Art
Paris."
a
throughout the
series:
"Japanese
Selected One-Person Exhibitions
1956 "An American Girl in
1960 "Man
Tokyo,"
Woman,"
Konishiroku
Konishiroku
and
1968 "An Extravagantly Tragic
Osaka
1977 "Neue Fotografie Aus
Gallery, Tokyo
Museum
Gallery, Tokyo
Comedy,"
Eyes
Nikon Salon, Tokyo
Gallery Shunju, Tokyo
1972
Visual Studies Workshop, Rochester, New York
1973
Light
1974
International Culture
Selected Books
City
Center, Antwerp, Belgium
Fotogalerie Fiolet, Amsterdam, Holland
Gallery, New York City
Gallery, Barcelona, Spain
Friends
of
and
Barakei,
1971
Susan Spiritus Gallery, Newport Beach, California
1979
Salzburg College, Salzburg,
1980
1963
Osaka
1978
Portfolio
Man
1969
Photography, Carmel, California
Nikon Salon, Tokyo
1961
1965
FN AC Forum, Paris, Toulouse, France
Pia Gallery, Antwerp, Belgium
1971
Group
1957 "Eyes
-59
Technology, Rochester, New York
of
Ten
1960 "You Live
'1962
Exhibitions
Photographers,"
Tatsuo Fukushima,
by
organized
Konishiroku
Gallery, Tokyo
Here,"
organized
"NON,"
organized
by J.P.S., Tokyo
by Tatsuo Fukushima,
Matsuya Department
Store Gallery, Tokyo
1961-1962,"
1963 "Japanese Contemporary Photography
of
1966
Museum
Modern Art, Tokyo <Sf}i
Photographers,"
Ten Japanese
Modern
Contemporary
Art, Tokyo
1967 "Photography in the Twentieth
Lyons,
National
1974 "New Japanese
and
Gallery
of
Museum
Century,"
organized
by
of
Nathan
Canada, Ottawa
Photography,"
organized
Shoji Yamagishi, Museum
of
Modern
by
John Szarkowski
Art, New York
1945-70,"
1975 "History
of
organized
Japanese
by
New
edition of
Barakei
Shueisha
Publishing
Embrace,
or
Gendai Shichosha
Publishing
with new
Publishing
title, Ordeal
by
House).
Roses (Tokyo:
Incorporated).
Hoyo (Tokyo: Shashin Hyoronsha Publishing).
Contemporary Photography
J.P.S., Tokyo, Nagoya
Why, Mother, Why?
and
and
Osaka
I
with
Return to Hiroshima
Anthenium)
Susan Spiritus Gallery, Newport Beach, California
Selected
by Roses (Tokyo:
Kamaitachi (Tokyo: Gendai Shichosha
Takachan
FNAC Forum, Lille, Grenoble, France
of
Killed
with
Miyuki Fututa (Tokyo: Kodansha
International Publications).
Gallery, Zurich, Switzerland
Photo Art Basel, Basel, Switzerland
Rochester Institute
or
Selected Children's Books
Nikon
1982
Woman (Tokyo: Camera Art Incorporated).
Austria
Gallery, Lausanne, Switzerland
"Paule
1981
and
House).
Spectrum
"Gaudi,"
Suomen Kameraseurojen
Group Show, organized by Bob Werling, Santa
Barbara, Museum of Art, Santa Barbara, California
1971
1977
by
organized
Italy
College, Arizona
1976
Photographers,"
of
"VIVO"
Phoenix
Light
Dr. Breicha,
Origin,"
1970
1975
by
organized by
1978 "Japanese Photography: Today and Its
Lorenzo Merlo & others, Galleria d'arte Moderna, Bologna,
Institution, Washington, D.C.
Focus Gallery/San Francisco, California
New York
organized
Art, Graz, Austria
Modern
Litto, Helsinki, Finland
and
Smithsonian
Gallery,
of
Japan,"
Betty
with
Jean Lifton (New York: Norton).
Betty Jean
Lifton (New York:
Rochester Institute
of
Technology
One Lomb Memorial Drive
Post Office Box 9887
Rochester, NY 14623
38
4
Eikoh Hosoe: Photographs 1960-1980