Nobuyoshi Araki

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Akiko Miki is a curator at the Palais de Tokyo, Paris and contributor to art magazines including Bijutsu Techo, Studio Voice, Tema Celeste and Exit Express.

Yoshiko Isshiki has been working with Araki for over 10 years and has been closely involved in all exhibitions of Araki's work in Europe.

Tomoko Sato is a curator at the Barbican Art Gallery, London, where she has organized and curated a wide range of exhibitions. She has edited and published a number of books and catalogues.

Kotaro Iizawa is a photography critic and writer. He is the author of many books on Japanese photography, including Araki!: The Legacy of a Prodigy (1994). He was also the founder of Déjà-vu magazine (1990).

Ian Jeffrey is a photography writer, lecturer and curator. His books include Magnum Landscape (1997) and Shomei Tomatsu (2001), also published by Phaidon.

Hans Ulrich Obrist is a curator (at Musée d'Art Moderne de la Ville de Paris), writer, editor and interviewer.

Yuko Tanaka is Professor at Hosei University, Tokyo, and has written extensively on Japanese literature and culture during the Edo period (1600-1868).

Jonathan Watkins is Director of the Ikon Gallery, Birmingham. He was the Artistic Director of the 11th Sydney Biennale (1998) and has curated many exhibitions, including 'Nobuyoshi Araki: Tokyo Still Life' (2001).

出版者:Phaidon Press
作者:Edited by Akiko Miki, Yoshiko Isshiki and Tomoko Sato
出品人:
頁數:720
译者:
出版時間:2007
價格:£45.00
裝幀:Hardback
isbn號碼:9780714845555
叢書系列:
圖書標籤:
  • 荒木經惟 
  • 攝影 
  • 日本 
  • photography 
  • 荒木經惟 
  • NobuyoshiAraki 
  • araki 
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Nobuyoshi Araki is the most controversial photographer working in the world today. To his critics, he is no more than a pornographer and a misogynist; to his supporters he is a radical and a revolutionary, a figure who has challenged not just artistic limits, but social limits in post-war Japan. At home, he is a national celebrity. In the West he is considerably less understood. This is the book that will explain Araki. In its sheer range of text and images, it is also the most comprehensive volume ever to be published on his life's work.

具體描述

讀後感

評分

书好沉,我用一只手很用力地抓住书的一角,穿过一个个地铁站穿过街道,回到公寓的电梯,电梯里还有一位小个子女生,也许她只能用一个拥抱的姿势把这本书带回家,想到这里,居然有点沾沾自喜。 荒木经惟。《Nobuyoshi Araki》。一个晚上的时间,我把它翻了一遍,这么草率的翻阅...  

評分

书好沉,我用一只手很用力地抓住书的一角,穿过一个个地铁站穿过街道,回到公寓的电梯,电梯里还有一位小个子女生,也许她只能用一个拥抱的姿势把这本书带回家,想到这里,居然有点沾沾自喜。 荒木经惟。《Nobuyoshi Araki》。一个晚上的时间,我把它翻了一遍,这么草率的翻阅...  

評分

书好沉,我用一只手很用力地抓住书的一角,穿过一个个地铁站穿过街道,回到公寓的电梯,电梯里还有一位小个子女生,也许她只能用一个拥抱的姿势把这本书带回家,想到这里,居然有点沾沾自喜。 荒木经惟。《Nobuyoshi Araki》。一个晚上的时间,我把它翻了一遍,这么草率的翻阅...  

評分

Araki是一个高产的的日本摄影大师,印象里好多日本摄影师多很高产,一年出好几本摄影集,森山大道也是其中之一,如果你想追着他们的出版物买,那将是一个非常痛苦的事情,而且不是每一本摄影集多值得买,在亚马逊的whish list里收藏了大半年后,我终于决心买下这本摄影集的限量...

評分

书好沉,我用一只手很用力地抓住书的一角,穿过一个个地铁站穿过街道,回到公寓的电梯,电梯里还有一位小个子女生,也许她只能用一个拥抱的姿势把这本书带回家,想到这里,居然有点沾沾自喜。 荒木经惟。《Nobuyoshi Araki》。一个晚上的时间,我把它翻了一遍,这么草率的翻阅...  

用戶評價

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我隻是不太能接受這樣的直白

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重的可以砸死人

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廈門,TNN工作室

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巨厚巨沉。

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兩年前便在圖書館意外發現這書當時便毅然決然在amazon上淘一本二手。

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