L. Parker Stephenson Photographs is pleased to present a group exhibition of vintage work by Japanese artists spanning 70 years. Some of these photographers sought to break with classical precedents in method and style, expanding the boundaries of the medium in new and unforeseen ways, while others found or created subject matter to present in unexpected ways. Using collage, cliché-verre, solarization, double exposure, skewed angles and cropping, the mundane becomes otherworldly echoing the speed of change and embrace of the unfamiliar in the 20th century.

Dating from the first half of the last century, Ei-Q  (1911-1960), Osamu Shihara (1905-1974) and Iwao Yamawaki (1898-1987) were active figures in the art world. Lesser known was portrait photographer Ogawa Gesshu  (1891-1967). Ei-Q (Hideo Sugita) was an artist, published critic and co-founder of two artists associations. His practice included multiple disciplines as evidenced in the photo-dessin (his term) on view. This exuberant and beautifully oxidized “Women at the Seashore” is a fusion of collage, painting, and photography. Osamu Shihara similarly pushed boundaries in the darkroom. As central member of the prominent avant-garde Tanpei Shashin Club (Tanpei Photography Club) from its inception in 1930, Shiihara employed solarization, photograms, photomontage and multiple exposures to radical effect. In one of his prints on view, the contrasting tones of a semi-nude seated female are reversed, reducing her to bold graphic forms through solarization. Another, warm-toned oversized (presumably exhibition) print of a hand is set into rapid motion through duplication and projected shadow.

Iwao Yamawaki followed a slightly different path where the avant-garde artist group Tan’I Sanka and architecture led him and his wife to attend the Bauhaus in Germany. It was there that he took-up photography. The four works on illustrate not only Yamawaki’s diverse photographic vision but his multi-pronged approach associated with the influential school – from unfamiliar perspectives to studies in form and texture as well as collage (represented here as the maquette for the Japanese pavilion at the 1939 New York World’s Fair).

Shifting to the post-WWII era, female artist Toshiko Okanoue (b. 1928) made collages sourced from the more readily available foreign magazines. Through her practice, she encountered leading Surrealist poet and artist Shuzo Takiguchi. He, in turn, introduced her to the work of Max Ernst whose vision influenced the 100 or so works she produced between 1952-1957 at which point marriage took over as leading role in her life. Images by Yasuhiro Ishimoto (1921-2012), Kikuji Kawada (b. 1932), Issei Suda  (b. 1940), and Shoji Ueda (1913-2001), present lone figures or perplexing objects as a source of curiosity and wonder.

For additional information or to request images, please contact the Gallery at 212 517-8700 or by email at info@lparkerstephenson.nyc