Sweet Home Yokosuka. 1976-1980. Photographs by Miyako Ishiuchi.
Sweet Home Yokosuka. 1976-1980. booktease preview.

Sweet Home Yokosuka.


Photographs by Miyako Ishiuchi.
PPP Editions, New York, USA, 2010. In English and Japanese. Unpaged, Over 200 tritone illustrations, 11½x9½".

Selected as one of the Best Books of 2010 by:
Publisher's Description

Edition of 1000 copies.

Roth gallery is pleased to announce an exhibition of vintage black-and-white photographs by the Japanese artist ISHIUCHI Miyako. The images on view were selected from Ishiuchi’s three earliest series published as: Apartment (1978), Yokosuka Story (1979) and Endless Nights (1981). In conjunction with the exhibition PPP Editions has published Sweet Home Yokosuka 1976-1980 printing over 200 tri-tone photographs with a bilingual essay by the contemporary Japanese writer and filmmaker Nishikawa Miwa.

Sweet Home Yokosuka revisits Ishiuchi’s three early works that in retrospect may be considered as a trilogy. 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.

NEW in publisher's shrink wrap.

Ordering Information
This item is currently unavailable from photo-eye, however we have located copies for you to purchase immediately through Amazon Marketplace. We will receive credit for these orders if you use our ordering system. We will also receive credit for any other purchases you make while on Amazon's site. Thank you for supporting photo-eye!

Order through Amazon Marketplace (photo-eye gets credit)
Why Amazon Marketplace?
4 New from 337.2    1 Used for 320.34   1 Collectible for $325.00  

Our customers who bought this also purchased...
1991   Richard Misrach
The Auckland Project   John & Soth Alec Gossage

© PHOTO-EYE, LLC, 2022. All Rights Reserved Copyrights-Trademarks Privacy Policy Returns Policy Staff/Hours/Location 505.988.5152 info@photoeye.com