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Daido Moriyama: Terayama
The book before you contains five of the seventeen essays that make up Life on the Wrong Side of Town: Sports Edition, which orginally appeared as a series in the magazine Mondai Shosetsu ("Problem Novels", published by Tokuma Shoten) in 1975 and was then published as a single volume by Shinyosha in 1982, the year before Terayama passed away. By adding Moriyama-san's photographs to the text we have constructed a new edition.
While putting this project together, I went back to Terayama's words as expressed in many literary forms - haiku, tanka, poetry, ruminations, essays, novels, scripts, theatrical productions and dramas. The enormous volume and quality of his output was overwhelming, but I eventually settled on this work, Life on the Wrong Side of Town: Sports Edition. The reason lay in this passage form the Afterword.
"This book is a kind of rear window view of the life of what we call sportsmen. From the rear window you can see the river. Sometimes you can see people saying goodbye. But however miserable the view is, you have to keep the rear window open."
-Excerpt from Satoshi Machiguchi's afterword The Spell Moves On, published in Daido Moriyama: Terayama (2015)
While putting this project together, I went back to Terayama's words as expressed in many literary forms - haiku, tanka, poetry, ruminations, essays, novels, scripts, theatrical productions and dramas. The enormous volume and quality of his output was overwhelming, but I eventually settled on this work, Life on the Wrong Side of Town: Sports Edition. The reason lay in this passage form the Afterword.
"This book is a kind of rear window view of the life of what we call sportsmen. From the rear window you can see the river. Sometimes you can see people saying goodbye. But however miserable the view is, you have to keep the rear window open."
-Excerpt from Satoshi Machiguchi's afterword The Spell Moves On, published in Daido Moriyama: Terayama (2015)
- GenresPhotography
358 pages, Hardcover
Published January 1, 2015
20 people want to read
About the author
Daidō Moriyama
291 books56 followersDaidō Moriyama (Japanese: 森山 大道, Hepburn: Moriyama Daidō, born October 10, 1938) is a Japanese photographer best known for his black-and-white street photography and association with the avant-garde photography magazine Provoke.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
Moriyama began his career as an assistant to photographer Eikoh Hosoe, a co-founder of the avant-garde photo cooperative Vivo, and made his mark with his first photobook Japan: A Photo Theater, published in 1968. His formative work in the 1960s boldly captured the darker qualities of urban life in postwar Japan in rough, unfettered fashion, filtering the rawness of human experience through sharply tilted angles, grained textures, harsh contrast, and blurred movements through the photographer's wandering gaze. Many of his well-known works from the 1960s and 1970s are read through the lenses of post-war reconstruction and post-Occupation cultural upheaval.
Moriyama continued to experiment with the representative possibilities offered by the camera in his 1969 Accident series, which was serialized over one year in the photo magazine Asahi Camera, in which he deployed his camera as a copying machine to reproduce existing media images. His 1972 photobook Farewell Photography, which was accompanied by an interview with his fellow Provoke photographer Takuma Nakahira, presents his radical effort to dismantle the medium.
Although the photobook is a favored format of presentation among Japanese photographers, Moriyama was particularly prolific: he has produced more than 150 photobooks since 1968.
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