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sepia EYE: news

Miyako Ishiuchi

news   


2017

Miyako Ishiuchi, <i>Mother&#39;s #5</i>, 2001

Miyako Ishiuchi, Mother's #5, 2001

Miyako Ishiuchi in Aging Pride

“In this show, curator Sabine Fellner demonstrates how artists have succeeded in differently perceiving the possibilities and limitations of age while transcending exaltation and pessimism. In the presented works, artists illustrate how age in all of its facets can be thoughtfully integrated into our lives.” Miyako Ishiuchi’s photographs are included in this massive exhibition featuring over 30 artists and art media on the varying depictions of age.

17 November 2017 – 4 March 2018
Aging Pride
Belvedere Museum (Lower)
Vienna


2014

<em>Mother’s #3</em>, 2001

Mother’s #3, 2001

Miyako Ishiuchi and Annu Palakunnathu Matthew in Home Truths: Photography, Motherhood and Loss

Originally set within the emotionally resonant context of the Foundling Museum, Home Truths explores the theme of loss in the relationship between mother and child. The exhibition is in collaboration with the Photographers’ Gallery and will travel to Belfast in conjunction with their photography festival, Belfast Exposed. Works from both Ishiuchi and Matthew were featured at the Foundling Museum and book, the Belfast venue features Ishiuchi’s works from the series, Mother’s.

23 October – 20 December 2014
Home Truths: Photography, Motherhood and Loss
Belfast Exposed Photography
23 Donegall Street, Belfast BT1 2FF, Northern Ireland, U.K

11 October 2013 – 05 January 2014
Home Truths: Photography, Motherhood and Loss
The Foundling Museum London


<em>Mother’s #3</em>, 2001

Mother’s #3, 2001

Miyako Ishiuchi receives the 2014 Hasselblad Award

Congratulations to Miyako Ishiuchi for being awarded the 2014 Hasselblad Foundation International Award in Photography.

An excerpt from The Foundation’s citation regarding the 2014 Award Winner Miyako Ishiuchi:

“. . . 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.”

For more information on the decision, visit the Hasselbad Foundation site.


2013


Frida by Ishiuchi and Things Left Behind

Miyako Ishiuchi was one of the first people to photograph Frida Kahlo’s belongings: clothes, corsets and traditional costume from Oaxaca, Mexico. Published by RM, Frida by Ishiuchi was released in conjunction with the Paris Photo 2013.

Things Left Behind a film on Miyako Ishiuchi’s work was screened at the DOC NYC Film Festival. Things Left Behind explores the transformative power of “ひろしまhiroshima,” the first major international art exhibit devoted to the atomic bomb.



Miyako Ishiuchi and Annu Palakunnathu Matthew in the book Home Truths: Photography and Motherhood

Published to accompany the exhibition Home Truths: Photography, Motherhood and Loss, the book examines contemporary interpretations of one of the most enduring subjects in the history of picture-making: the image of the mother. Focusing on the work of 12 international photographers, it challenges the stereotypical or sentimental views of motherhood handed down by traditional depictions, and explores how photography can be used to address changing conditions of power, gender, domesticity, the maternal body and female identity.

Published by The Photographers’ Gallery, the book features Ishiuchi’s photographs from Mother’s and Matthew’s works from Re-generation and Open Wound.


2010

Miyako Ishiuchi, <i>Mother's #3</i>, 2001

Miyako Ishiuchi, Mother's #3, 2001

New Book by Miyako Ishiuchi

Ishiuchi has released her new book entitled, Sweet Home Yokosuka, 1976-1989 (2010, PPP Editions) in conjunction with an exhibition of her work at Andrew Roth Gallery. The title combines three early bodies of work that form a trilogy; Apartment (1978), Yokosuka Story (1979) and Endless Nights (1981), all classic photography books of the post Provoke period. 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.