Publisher: New York: PPP Editions in association with Andrew Roth, 2010
Edition: 1st Edition
Binding: Soft cover
Condition: Fine / No dust jacket as issued
Item #: 110911
First edition, first printing. Signed "Miyako" in silver marker on the first page by Ishiuchi. Soft cover. Photographically illustrated stiff wrappers with a 8-3/4-inch photographically illustrated obi (bellyband) around the front cover; no dust jacket as issued; contained in a cardboard slipcase with printed red and white label. Photographs by Miyako Ishiuchi. Text (in English and Japanese) by Miwa Nishikawa. (The book includes an errata slip noting the correct spelling of Nishikawa's name, which is misspelled in the printing.) Includes an index of plates keyed with thumbnail illustrations. Designed by Triboro, Andrew Roth. Unpaginated, with 202 beautifully printed tritone plates. 9-1/4 x 11-1/4 inches. Published on the occasion of an exhibition at Andrew Roth Gallery, New York. This first edition was limited to 1000 copies.
From the publisher: "Sweet Home Yokosuka revisits Ishiuchi's three early works that in retrospect may be considered as a trilogy. [Apartment (1978), Yokosuka Story (1979) and Endless Night (1981).] Together the photographs manifest a personal document primarily of her hometown Yokosuka, a place of compromised identity, accommodating two large American Naval bases since the late 1940s. Apartment documents both exteriors and interiors of new and old dwellings, generally focusing on the buildings themselves, not their inhabitants. They are in some respects anthropomorphic portraits of the architecture: the repairs on the walls are like veins and the cracking and peeling of old paint are like the scars on aging skin.
Yokosuka Story describes Ishiuchi's wanderings in her native city, confronting locations that although changed, still hold the memories of her childhood. And Endless Nights documents the popular 'love hotels,' as abandoned; the physical structure of the places themselves and their furnishings, stairways, corridors and empty beds echo the intimate stories that unfolded there. What is most compelling about this work is not necessarily what Ishiuchi photographed or the seductive rendition of reality into black and white, but rather how she conceptualized the act of picture-taking. Ishiuchi was less interested in finding her unique vision, more comfortable 'using' the medium as a means to confronting herself and her past. This methodology was reinforced by the ideas discussed among her peers from the Provoke movement: Moriyama, Takanashi and Taki Koji, who questioned whether the photographic medium was capable of capturing any version of empirical truth."
From the essay by Miwa Nishikawa: "…I sense that a numbing and mysterious pain raced through Ishiuchi with every snap of the shutter, as though she was killing something. What she was killing was the guts of our country, not just in Yokosuka but everywhere in Japan. No matter how beautiful the facade, behind it you can always find something festering and lifeless. How will Ishiuchi's confessional poem, reverberating from within, speak to the future?"
Ishiuchi is the winner of the 2014 Hasselblad Award.
From the Hasselblad Foundation: "During a period of 35 years Miyako Ishiuchi has established an international career, which is both impressive and highly significant. Her strength of character and uncompromising vision has resulted in some of the most powerful as well as personal representations of postwar Japan. Ishiuchi's work is extremely coherent and developing in a determined and distinctive way; using the camera and all of its aesthetic potential to investigate the intersection of the political and the personal aspects of memory Ishiuchi has been both a pioneer and a role model for younger artists, not least as a woman working in the male-dominated field of Japanese photography. She has continued to innovate, explore and agitate throughout her career, both in terms of ideas and of her style and approach."