Item description for Subway Love by Nobuyoshi Araki...
From 1963 until 1972, the young Nobuyoshi Araki obsessively photographed his fellow passengers during his daily commute on the Tokyo subway. Yawning businessmen, women dozing with their legs splayed, kids who mugged for the camera-Araki captured them all candidly on film, without using a viewfinder. Now, over thirty years later, Subway Love brings back to life these vital and various "prisoners" crammed into their subway cars. Included is an interview with Araki, who explains the essence of documentary: "to gaze unflinchingly at a thing for a long time."
The brilliant and controversial Nobuyoshi Araki is one of Japan's leading photographers.
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Est. Packaging Dimensions: Length: 10.1" Width: 8" Height: 0.5" Weight: 2.05 lbs.
Release Date Apr 1, 2006
Publisher IBC Books
ISBN 4896841409 ISBN13 9784896841404
Availability 0 units.
More About Nobuyoshi Araki
Nobuyoshi Araki, born 1940 in Tokyo (Japan), is arguably Japan's greatest living photographer, and certainly its most controversial. His inexhaustible creative energy is attested to by the more than 300 books he has published in the last four decades. His work often challenges social taboos surrounding sex and death.
Reviews - What do customers think about Subway Love?
Riding the rails, tired and alive May 6, 2006
Pick up a book called "Subway Love" by Nobuyoshi Araki, a photographer/pornographer equally notorious for both his documentation of the Kabuki red light district in the book "Tokyo Lucky Hole" as well as his several arrests for breaking Japanese obscenity laws, and you would rightfully expect something salacious, titillating or even downright dirty. Subway sex, illicit gropings, panty shots captured with ninja-like stealth from oblivious victims, ...the mind boggles at what this master of the underground sex scene might come up with in darkened corners of late night Ginza Line runs.
But this is not that Araki. At the time, 1963-1972, Araki was working for an advertising agency, Dentsu, and still finding his voice as an artist. Riding the subway to and from work, he became obsessed with photographing his fellow passengers, partly to kill time and partly because of the empathy he felt with them, all taking the weary daily ride together.
The photographs in "Subway Love" are raw. Printed directly from the contact sheet, there is a marvelous intimacy created between camera and subject, and then between subject and viewer. Araki refused to use his camera's viewfinder for the portraits, wanting them to come off the same way the eye does when people watching, random and uncentered. In a way, as mentioned in the interview following the photographs, this was his attempt to capture filmmaker Yasujiro Ozu's poetry of everyday life. Many of the shots are from low angles, emulating Ozu's tatami-level camera.
Raw the photographs may be, but the subjects themselves are reverenced and always treated with the respect that daily life deserves. Araki was sure not to publish embarrassing photographs, no nose picking or sleeping office girls with their legs splayed wide. He called this collection "Subway Love" because he loved them all, these warriors of the working day, and wanted to show them as "individuals, not symbols." There are a thousand faces here, some happy, some sad, some tired, some lively. But each and every one of them is a human being, and probably familiar to all of us who at one time or another have made the journey home on the subway.