CAMERA MAINICHI '72
- Regular price
- $353.00 USD
- Regular price
-
- Sale price
- $353.00 USD
February 1972
A rare and iconic issue of Camera Mainichi, published in February 1972 under the editorial direction of Shoji Yamagishi (1930–1979). This volume features the legendary photo series Tulsa by Larry Clark on both the cover and opening pages believed to be the first time his work was ever published in Japan.
A vital artifact in the history of postwar photographic publishing, this issue offers a cross-section of early 1970s Japanese and American photographic dialogue, including original works by Nobuyoshi Araki, Masayoshi Sukita, and many others. With a total of 258 pages, the magazine blends documentary photography, experimental work, interviews, essays, and equipment analysis in a format that defined the golden age of Japanese photo magazines.
CONTENTS INCLUDE:
TULSA by Larry Clark (Special feature: “Grave Marker of Youth – Contemporary American Photographers 2”)
Issei Suda – Amagi Pass
Mitsuo Igasaki – Undress
Nobuo Kobayashi – I’m Back
Yoichi Onoue – Tomoko’s Summer Memories
Arata Yokogi – Hello Goodbye
Chieo Takashima & Masaru Miyauchi – Proper Nouns / Garden
Hiroshi Fushiki – Landfill
Kazuyuki Sugimoto – Space
Kikuji Kawada – Serial Essay 2: Caprice
Ryōji Akiyama – New Series: Blossoming Port Town
Masayoshi Sukita – MODEL
Nobuyoshi Araki – NADIA, Song of Venice (Part 4)
Kazuo Morohoshi – My Trajectory (Part 2)
Kenji Kanesaka – I Am Larry Clark (essay)
Interview: Akira Uno x Eikoh Hosoe — Why Is Photography Interesting?
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Intermission exists in the space between documentation and devotion an ongoing archive of cultural fragments that refuse to vanish. Each title within our portfolio is selected not for trend, but for tension: between what was meant to disappear and what insists on remaining.
We work with objects that speak quietly but persistently publications, recordings, and editions that define the undercurrents of art, sound, and design. Together they form a living record of marginal brilliance, a collection that privileges significance over scale.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
Every Intermission title is handled as an artifact. We believe that preservation is an act of reverence one that begins the moment you open a cover or unspool a tape.
To experience a piece, do so slowly. Allow the air to touch the paper, let light fall softly over each page. Avoid excess pressure; handle edges rather than surfaces. Each mark, fold, or patina is part of its passage through time evidence of care rather than decay.
We encourage collectors to engage not only with the content, but with the gesture of preservation itself: a quiet commitment to memory.
If you still have any questions, feel free to contact us.
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