#are bure boke

[forthepleasureofmylife]

Paris Louvre

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 These images remained unpublished for many years until Moriyama revisited his archive, unveiling a collection of street scenes, particularly from the 1970s like those selected here.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]

New York City Subway

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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[dummy-kanji]

(vía Pin en Photography)

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

[ryotarox]

60年代末から70年代にかけて、中平卓馬や森山大道ら「プロヴォーグ」の写真家たちにより、それまでの写真美学に抗うかのような荒れた粒子、ピントのボケやブレによる不鮮明な作品が発表され、その手法は「アレ・ブレ・ボケ」と呼ばれ脚光を浴びた。 かっこいい、私も抗いたい。ただし鳥の場合は「アレ・ブレ・ボケ」ではなく、「ブレ・ボケ・枝」である。

野鳥ぶれぶれ写真館 :: デイリーポータルZ

ブレる、ボケる、枝がかぶる。鳥を撮影するたびに大量に発生する失敗写真に日の目を見せてあげたい。

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アレ・ブレ・ボケ | 現代美術用語辞典ver.2.0

アレ・ブレ・ボケ Are, Bure, Boke（rough, blurred and out-of-focus） 中平卓馬や森山大道といった『プロヴォーク』（1969創刊）の写真家たちに特徴的な手法で、当時、第三者からは「ブレボケ写真」と総称された。 彼らの写真に特徴的なノーファインダーによる傾いた構図、高温現像による荒れた粒子、ピントがボケてブレた不鮮明な画面は、既存の写真美学——整った構図や美しい諧調、シャープなピントなど——に対する否定の衝動に由来しており、反写真的な表現のラディカリズムを追求するものであった。 中平によればそうした写真は「視線の不確かさ、と同時に世界の不確かさをひきずりだし、それを対象化する」ものであった。しかし、その後70年代には多くのエピゴーネンを生み、広告表現にも使用されるなど、初発のラディカリズムは次第に骨抜きにされていった。 76年には『アサヒカメラ』誌上で「ブレボケはどうなった」という特集が組まれるが、「時代遅れ」の手法として揶揄するような側面が強い誌面となっている。森山や中平たちは50年代のニューヨークを荒々しい手法で撮影したウィリアム・クラインの影響を受けていることを告白している。

Are, Bure, Boke - Google 検索