#are bure boke

[forthepleasureofmylife]

Bushwick N.Y.C.

Photo: Dieter Krehbiel

[meteopunk]

Dopamine portal

[eucanthos]

Daido Moriyama (JP, Ikeda, Osaka, October 10, 1938)

Hawaii, 2007

Gelatin silver print Unique 59 x 39 3/8 inches 150 x 100 cm

[catastrophevault]

The Lesser Known Color of Daido Moriyama

Celebrated for his gritty black-and-white photography, Daido Moriyama’s early color work from the late 1960s to early 1980s reveals a different side of his artistry. These images remained unpublished for many years until Moriyama revisited his archive, unveiling a collection of street scenes, particularly from the 1970s like those selected here. Though originating from the same restless energy, these color photographs approach their subjects with a gentler touch.

The streets have always been his stage, a fascination sparked by Jack Kerouac’s ‘On the Road’. “Kerouac had a gift for creating visual imagery through words,” Moriyama reflects. “His themes of freedom and wandering shaped my path.” While his black-and-white photos are visceral and raw, designed to break conventional photography through the ‘are-bure-boke’ technique—grainy, blurred, and disorienting—his color work is softer, capturing moments as they naturally unfold.

In contrast to his signature style, these photographs are quieter and more observational, offering a more spontaneous perspective. They skim the surface of reality and reveal another dimension of his complex relationship with the world around him. “Black and white reflects my inner emotions and solitary nature. Color captures what I see as it appears before me,” Moriyama notes.

Photo credits © Daido Moriyama Photo Foundation @daidomoriyamaphotofoundation

Captions: 1-3, 6-10. Untitled, 1970s; 4. Yokosuka, 1970-1999; 5. Tokyo, c. 1971.

[solhrafn]

Je suis dans mes archives et je me rends compte qu'il y a dix ans, j'ai fait une grosse grosse phase de "Are アレ - Bure ブレ - Boke ボケ"

J'en suis très loin mais j'en fais toujours un peu, avec le xpro. Le type d'appareil informe la démarche. L'arme par excellence pour ça ce serait plutôt un ricoh gr III ou un Fuji X100. Bien que le Xpro et mon 18mm ce soit pratiquement la même chose.

Je dois m'y remettre un peu, pour me libérer.

[imnothinginparticular]

#finishedbooks Burn l Overflow Nakahira Takuma by various. This is the exhibition catalog from Nakahira's retrospective at MOMAT. His quote perhaps sums him up best, "To be honest, what I want is to live as radically as possible. Radically means extremely, and it also means fundamentally. I am fundamentally talking about always leaning forward, moving forward and changing while carrying the weight of my entire history with me. I am not talking about what I will specifically do as a result." From being involved with the Provoke movement in the late 60s, then criticizing himself and the "are, bure, boke" aesthetics that he pioneered with Provoke to his comeback following his acute alcohol poisoning that induced him into a coma and partial memory loss toward the end of the 70s... he was constantly questioning, challenging, and changing hos approach to photography. The book and the retrospective it is based on and follows this progression. A lot of the intrigue then comes from the period after the 70s that still saw him shooting for three more decades but he no longer brought forth any discourse to what he was doing as he constantly did before. Also with most of his works out of print and subsequently extremely hard to find, I have only personal been through what perhaps is his most famous work in "For A Language to Come" that I reviewed for JCH 11 years ago. This coupled with the fact that unlike his contemporaries who saw the photo book as the target of their work, most of Nakahira's work was featured in print media. That too was in this vein that really sees him thinking more about photography then engaged in its physical process. His critical mentality was eloquently put forth in the very first issue of Provoke stating, "Today, at this very moment, language is losing its material basis- in other words, its reality- and floating in space. We as photographers must capture with our own eyes the fragments of reality that can no longer be grasped through existing language, and must actively out forth materials that address language and ideas." I love the structuralist basis for his thinking which was a major point in Japanese literature that junbunkaku (serious literature) genre died in the start of the 80s according to Nobel Prize Winner Kenzaburo Oe in his speech, "Japan, the Ambiguous, and Myself." He argued Japanese thinkers failed to adopt and by default Japan-ify the contemporary philosophies from that point on notably Structuralism and post...ideas of which Nakahira was clearly concerned with in particular those of Barthes and Foucault. But after all this, it was refreshing in his final decades after his coma to see him simply walking his immediate area rather Yokohama or Okinawa simply shooting during the day and developing at night.

[gaiuspetronius]

[holyterrainn]

[forthepleasureofmylife]

Marrakech Morocco

Photo: Dieter Krehbiel

[eucanthos]

Daido Moriyama 森山 大道 (JP, 1938)

Stray Dog, Misawa, Aomori, 1971, printed 2004

[meteopunk]

Stairway to nowhere

[modalities-of-care]

“…continues what Daido Moriyama et al began when they responded to life in post-war Japan with an aesthetic known as ‘are-bure-boke’ (literally ‘grainy, blurry, out-of focus’), which allowed photography to be considered strictly for its material nature and removed any sense of a record of reality.” - Peggy Sue Amison

[adipemasar]

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[konmarkimageswords]

Provoke was first published in November 1968 as a dojin-shi, or self-published magazine. It was originally conceived by art critic Koji Taki (1928-2011) and photographer Takuma Nakahira (1938-2015), with poet Takahiko Okada (1939-1997) and photographer Yutaka Takanashi as dojin members. The subtitle for the magazine was “Provocative Materials for Thought”, and each issue was composed of photographs, essays and poems. After releasing the second and third issue with Daido Moriyama as a subsequent member, the group broke up with their last publication First, Abandon the World of Pseudo-Certainty - an overview edition of the three issues. Provoke’s grainy, blurry, and out-of-focus photographs were initially ridiculed as are-bure-boke and stirred a great deal of controversy, yet it had created a strong impact inside and outside of the photography world during that time. However, today, Provoke has become an extremely rare book and very few people have seen the original.

https://www.bjp-online.com/2018/11/50-years-since-provoke/

https://www.itsnicethat.com/articles/provoke-magazine-reissue-photography-210119

https://photobookstore.co.uk/collections/japanese-photobooks/products/provoke-complete-reprint-of-3-volumes

https://vimeo.com/300961788

[dummy-kanji]

(vía Pin en Photography)

Shomei Tomatsu, Subway, Tokyo 1969 Shashin : Are-Bure-Boke