Aperture describes this new photographic monograph as an attempt to 'tend to critical gaps' in the histiography of photography. Featuring 25 portfolios by pioneering Japanese women photographers from the middle of the century onwards, the book has been accompanied by a travelling exhibition. It’s also received a good deal of acclaim for the broad but absent worlds it chronicles within this superficially narrow focus.
Hara Mikiko, Untitled, 1996
With contributions from a number of curators, critics, academics and photographers from around the world, including Pauline Vermare, Lesley A Martin, Takeuchi Mariko, Carrie Cushman, Kelly Midori McCormick, Marc Feustel and Russet Lederman, the book prefaces its portfolio section with essays and writings on the historic and social framework these photographers were operating.
Kon Michiko, Inada + Boshi (Yellowtail and hat), 1986
As Pauline Vermare notes in her introductory essay, 'this volume only includes a fraction of the work created by Japanese women photographers from the birth of the medium to the present day. It is intended as an inaugural repository of photographs and stories that have largely been absent from the annals of photography's history, the history of Japanese photography and the histiography of the visual representation of Japan.' This is a triple absence, one that the book does well to mitigate, especially when predetermined gender roles and structures are finally being challenged.
Narahashi Asako, Kawaguchiko, 2003 (from the series half awake and half asleep in the water)
Portfolios includes work by Hara Mikiko, Ishikawa Mao, Ishiuchi Miyako, Katayama Mari, Kawauchi Rinko, Komatsu Hiroko, Kon Michiko, Nagashima Yurie, Narahashi Asako, Ninagawa Mika, Nishimura Tamiko, Noguchi Rika, Nomura Sakiko, Okabe Momo, Okanoue Toshiko, Onodera Yuki, Sawada Tomoko, Shiga Lieko, Sugiura Kunié, Tawada Yuki, Tokiwa Toyoko, Ushioda Tokuko, Watanabe Hitomi, Yamazawa Eiko, and Yanagi Miwa.
Yanagi Miwa, Elevator Girl House 1F, 1997 (from the series Elevator Girl)
The book contains a multitude of worlds and stories, with work that tackles history, disability, family, sexuality and identity, through surrealism, reportage, collage, landscape and still life. An illustrated bibliography frames some of the more significant photo books and monographs published during the period, providing essential and fascinating context.
Nishimura Tamiko, Mitaka, Tokyo, 1978 (from the series Zoku (My Journey II))
I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now, Aperture, £60.00, Aperture.org, Amazon.co.uk
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