Midori Matsui

  • Taiji Matsue

    Going to the opposite extreme from the blurry vision of Daido Moriyama, his primary influence, Taiji Matsue asserts relentless visibility, dissolving perspective in the glare of sharp outlines and in the accumulation of self-assertive details, to convey a new kind of anti-humanist vision. Matsue’s conceptual attitude is most evident in his black-and-white work. Photographed with a 4x5 camera, uninhabited fields and mountainsides, sprinkled with trees and rocks, appear as flat picture planes covered with tiny dots or sharp lines. With homogeneous intensity, each dot or line calls for special

  • Midori Matsui

    NOTHING HAPPENS SUDDENLY on Tokyo’s contemporary art scene. The city’s art community is relatively small and evolving, maintained largely by those few galleries representing a handful of local artists who also show outside Japan. There is no market to speak of on the home front, so these galleries survive mostly by selling work at international fairs, even as they depend on Japanese media coverage of their artists to sustain popular interest in their enterprises. Thus, any shock of the new—a recognized recipe for commercial success in the West—here stands to upset a delicate economic

  • Risaku Suzaki

    Risaku Suzuki’s solo exhibition “Between the Sea and the Mountain—Kumano” brought together recent photos taken in the holy mountains of Kumano, the ancient Shinto capital. The sequence of photos reconstructs an approach to its sacred waterfalls. As usual in Suzuki’s work, the evocation of the site’s sacred character does not depend on any use of religious symbols. The clarity with which anonymous trees and rocks are captured indicates an immersion in the actuality of personal contact with a place, conveyed by an accumulation of discreet perceptions. Similarly, in his 1998 “Piles of Time” series

  • Hiroshi Sugimoto

    Exploiting the camera’s ability to copy with an intensity and subtlety that endows lifeless things with living presence, Hiroshi Sugimoto has led Japanese conceptual photography for the past thirty years. Co-organized by the Mori and Hirshhorn museums, Sugimoto’s first retrospective presents 145 images from his major series, made between 1974 and 2005. In addition to premiering a series of color photographs, the exhibition includes two new aluminum sculptures based on his 2004 photographic series “Conceptual Forms.” Sugimoto has also designed a Noh stage, on which a play