Nobuyoshi Araki

signed in English on the reverse, framed

Taka Ishii Gallery, Tokyo
Private Asian Collection
Acquired by the present owner from the above

6 x 7 Hangeki , Artone Co. Ltd, Tokyo, Japan, 2007, unpaginated

This work is generally in good condition. Please note that it was not examined under ultraviolet light and out of its frame.
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This work is accompanied by a certificate of authenticity issued by Taka Ishii Gallery, Tokyo

Contemporary Japanese Photography Showcase

In the 1950s, as an effort to move on from the defeat of the war, Japan concentrated heavily on rebuilding their local economy, which led to full economic progress in the 1960s. This age of accumulating material wealth has given birth to a group of artists and intellectuals who would spearhead the Japanese post-war cultural renaissance. In terms of photography, Shomei Tomatsu was among the first artists who garnered public attention, while Nobuyoshi Araki and Daido Moriyama stood on the forefront of the 1960s and 1970s. The 1970s and 1980s later represented the pinnacle of photography with the flourishing of local talents. Raised in local Japan, Yasumasa Morimura dressed up as different characters to reflect on the complexities of postmodern identity. At the same time, Hiroshi Sugimoto who immigrated to the United States in 1974, and Tatzy Nishi who moved to Germany in the 1980s both represent the of overseas Japanese artists. Sugimoto became the pioneer of conceptual photography, while Nishi documented his large-scale art projects with his photography. To this new generation, photography was not only a tool for recording but also a vehicle for expression. We are pleased to put together exceptional works by these artists that brilliantly reflect the multi-diversity of Japan’s photography scene.

It is really through the sexually repressive culture of Japan where prodigal artists such as Nobuyoshi Araki come to light. Araki started exhibiting his works in the mid-sixties, and only began to hold exhibitions abroad frequently and receive attention from the West in the nineties. The female form is arguably the most renowned motif in the artist’s works. Under his lens, the female body is entirely exposed, revealing the hidden emotion of the subject in the most direct and daring way. Photography is certainly a part of daily life for the artist; themes and models that have crossed paths with him would often find themselves into part of his works.

The present works cover two main themes in Araki’s work.  In 2007, Araki started creating the 6x7 Hangeki series – a series of 6 x7 film works featuring Japanese women. In the 6x7 Hangeki series (Lot 862), a young woman wearing a kimono is seen tied up with a thick rope, turning around to look at the audience (Araki). This is indeed one of the most classic images by Araki. From middle aged women in Tokyo’s Ginza district, to his beloved wife Yoko, to tied-up naked or kimono girls which he began documenting from the late seventies, the female form remains to be the core of Araki’s creative work, as well as his life. “The female informs you on how the world works. My encounters with women have built my life.” Araki describes the females participating in BSDM as being “tightly tied”. This is different from being “ensnared”. “I tied up their bodies tightly, because I know their hearts cannot be trapped, only their bodies can. Tying up a women’s body with ropes is like surrounding them with your arms.” For Araki, the essence of photography lies in the emotional exchange with his subjects, instead of a mere display of skills or a simple provocation of sex appeal.