Pseudo-Reportage. Photographs by Nobuyoshi Araki. Byakuya-shobo, Tokyo, 1980. Small quarto. First Printing. Stiff wrappers in illustrated dust jacket. Printed obi (belly band). Numerous black-and-white reproductions. Text in Japanese.
Just a bit of wear to spine area; Fine- in Fine dust jacket; Fine- obi that is unevenly faded.
Pseudo-Diary. Photographs by Nobuyoshi Araki. Brief text by Akira Hasegawa. Byakuyo Shobo, Tokyo, 1980. Unpaged. Oblong quarto. Stiff printed wrappers. Photo-illustrated slipcase. Obi (belly band) laid in. Numerous black-and-white illustrations. Text in Japanese and English.
Fine-; surface scratches to spine area from staples inside slipcase; Fine case; obi faded, in two pieces repaired with tape.
Amid the seemingly endless list of Araki publications, those from about 1980 and before are much sought after. In these two examples Araki adapts the 'i-novel' form to photographic ends. Underlying these books--and so many that will follow-- is a radical subjectivity in which any distinction between photography and life, between the act of seeing and that of picture-making-- has been definitively erased.
"Araki's images of naked women illustrate a private confrontation with his own sexual fantasies; the testify to [his] hatred of perverted truth, and at the same time, his love of the perverted lie.... Walking the tight-rope between [truth and nonsense], Araki reveals his backstage props to the audience."--from Akira Hasegawa's text