In lieu of an abstract, here is a brief excerpt of the content:

  • Acknowledgments
  • Ayelet Zohar (bio) and Frank Feltens (bio)

Work on this issue for the past five years was intensive and involved the help and generosity of dozens of people. It was made all the more special by the brilliant artists and their galleries, colleagues in academia, and others who contributed their art, scholarship, translations, editing, and assistance in innumerable other ways.

First and foremost, we would like to thank Miya Elise Desjardins. Without her dedicated editorial work this issue would not have been realized. Miya worked relentlessly, meticulously, and graciously to realize and finetune this issue. Tajima Miho, editorial assistant, and Natta Phisphumvidhi, production editor, were essential to completing this project.

We thank the artists who generously shared their artworks with us. Their works and their analysis stand at the core of this issue on Heisei photography: we have discussed and shared the works of Arai Takashi, Joseph Beuys (San Francisco Museum of Modern Art; Helmut Wietz, Common Film Produktion GmbH), BuBu de la Madeleine (Ikeda Akane, Ota Fine Art, Tokyo), Simon Fujiwara (Yotam Interator, Dvir Gallery, Tel Aviv; Esther Schipper Gallery, Berlin), Gotō Masaru, The Guerrilla Girls, Hatakeyama Naoya (Taka Ishii Gallery, Tokyo), Pierre Huygue (Marian Goodman Gallery, New York), Ishikawa Mao, Ishiuchi Miyako (The Third Gallery Aya, Osaka), Katayama Mari (Akio Nagasawa Gallery, Tokyo and Sage Gallery, Paris), Kawauchi Rinko (Ferdinand Brueggemann, Priska Pasquer Gallery, Cologne), Kim Insook, Kitano Ken (MEM Inc. Tokyo), Komatsu Hiroko, Kitano Ken, Miyamoto Ryūji, Morimura Yasumasa (Odate Natsuko, Yoshiko Isshiki Office, Tokyo), Nagashima Yurie (Maho Kubota Gallery, Tokyo), Ninagawa Mika (Tomio Koyama Gallery, Tokyo), Okabe Momo (Gallery Naruyama, Tokyo), Okada Hiroko (Mizuma Art Gallery, Tokyo), Chino Otsuka, Sasaoka Keiko, Sawada Tomoko (ROSEGALLERY, Los Angeles), Shibata Toshio (Laurence Miller Gallery, New York), Sudo Ayano (MEM Inc., Tokyo), Sugimoto Hiroshi (Koyanagi Gallery, Tokyo), Takagi [End Page 57] Cozue (Taro Nasu Gallery, Tokyo), Takano Ryūdai (Yumiko Chiba Office, Tokyo), Tokyo Rumando, Watanabe Toshiya (Poetic Scape, Tokyo), and Yokota Daisuke (Hasegawa Madoka).

The authors who contributed their scholarship through essays in this volume include Nava Astarchan, Carrie Cushman, Michio Hayashi, Yoshiaki Kai, Kuraishi Shino, and Jonathan Reynolds. We thank them all. We also collected a group of short vignettes by Ishida Katsuya, Kakishima Takashi, and Lena Fritsch, as well as an essay and a short story by Kanai Mieko. Their intellectual contributions could not be more timely and relevant. We are deeply thankful to a group of outstanding scholars whose rigorous advice on different intellectual aspects of the issue improved it greatly. Among them are: Alisa Freedman, Yasufumi Nakamori, Daniel O’Neill, Franz Prichard, and Jordan Sand.

We consider ourselves fortunate to have worked with an exceptional team of translators, whose exacting work made difficult texts available in English for the first time. We thank Jason Beckman, Hayano Mai, Mikiko Hirayama, Daryl Maude, Kevin Niehaus, Hannah Osborne, Tajima Miho, and Ellen Takata. In the curatorial section, Hoshino Futoshi and Nakamura Fumiko made crucial contributions to understanding the role of art professionals in Heisei-era photography.

We would like to extend our gratitude to Tokyo Photographic Art Museum, especially Kasahara Michiko (now the Vice Director at the Artizon Museum) and Niwa Harumi (Chief Curator), as well as the Museum Library staff, who helped so much in the early stages of this project.

And lastly, we want to express our sincere appreciation to Thomas F. O’Leary, Anat Icar-Shoham, Patricia Lenz, and Shir Yeffet for accomplishing the herculean task of assembling a much-needed bibliography of postwar Japanese photography, and Rebecca Corbett from USC Libraries for her invaluable advice on how to prepare this compilation.

We hope that readers will find this issue a valuable contribution to the growing field of Japanese photography studies.

Ayelet Zohar, Guest Editor

Frank Feltens, Co-Guest Editor

[End Page 58]

Ayelet Zohar

Ayelet Zohar is a Senior Lecturer in the Art History Department, Tel Aviv University. She received her Ph.D. from the University of London (2007). She is the recipient of postdoctoral and research fellowships at Stanford University (2007-9); Smithsonian Institution (2011); Hokkaidō University (2012); and Waseda University (2017-18); and was a Visiting Associate Professor at Yale University (2018). Zohar’s research focuses on Japanese photography from...


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