≪コスモス≫ 1986年 Common Cosmos ©高知県, 石元泰博フォトセンター
The Stone Buddha Carvings, Usuki, 1977
©Kochi Prefecture, Ishimoto Yasuhiro Photo Center
Color and Form, 1980s ©Kochi Prefecture, Ishimoto Yasuhiro Photo Center
Tokyo, Yamanote-Line 29, 1981-85 ©Kochi Prefecture, Ishimoto Yasuhiro Photo Center
The Gamble House, 1974
©Kochi Prefecture, Ishimoto Yasuhiro Photo Center

HANA, Ishimoto Yasuhiro Collection Exhibition

Fascinated by flowers’ structure, with the slender stalk or peduncle supporting large petals, and by the wonders of nature itself, Ishimoto built a simple studio in the living room of his Tokyo home and began photographing flowers. That was in 1986. With a black board reflector and a flash unit set up in his living room, Ishimoto photographed flowers throughout their lifespans: from their buds’ opening to their wilting and drying up. He immediately decided to publish those images as

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Kunisaki-kiko: Journey to the Kunisaki

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Kunisaki-kiko: Journey to the Kunisaki, Ishimoto Yasuhiro Collection Exhibition

Located in the northeast of Oita Prefecture in Kyushu, the Kunisaki Peninsula protrudes into the sea in a shape that looks like a bowl turned upside down. This is where a unique hybrid religious culture called ”Rokugo-manzan (Mountain of Six Sanctuaries)” was formed in the Nara and Heian periods, incorporating the Usa Jingu Shrine’s traditional worship of Hachiman (Shintoism) into the Buddhist teachings that were brought to Japan from the Asian continent. Ishimoto Yasuhiro visited the region to work on

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Transient, Fleeting: The World of Ishimoto Yasuhiro part 24

Things Uncertain Looking at the clouds and imagining all kinds of shapes is fun. Like a playful response to those shapes, the clouds have been given a variety of different names, but those in Ishimoto’s photos aren’t clouds that suggest any concrete kind of object. If anything, he chooses misty or abstract looking clouds. Ishimoto’s photographs seem to be casually framing instances of clouds as accumulations of microscopic water particles that drift along, gather, and disperse again in the sky;

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Color and Language

Part 1 Part 2  

Chicago, Chicago

No. 1-50 No. 51-100 No. 101-150 No. 151-200 No. 200-210

Transient, Fleeting: The World of Ishimoto Yasuhiro part 23

Ise Shrine A person from the Jingu Museum at the Ise Shrine that I met about two years ago told me that they were “busy with sengu related events.” Surprised to hear that sengu, the periodic reconstruction/relocation of the shrine, is just around the corner again, I checked and found out that the next sengu ceremony was indeed scheduled for 2013. That’s still a few years away, but since there are as many as thirty different events during the period

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Tokyo, Yamanote-Line

Part 1 Part 2  

Transient, Fleeting: The World of Ishimoto Yasuhiro part 22

The Artistic Beauty of the Meguro River Can you imagine that this is the water surface of a river? Even after being told that it’s a shot of the Meguro River, to me it looks like a modern ink painting. The Meguro River is a river in urban Tokyo that crosses the Meguro and Shinagawa wards before arriving at Tokyo Bay. “The water downstream is dirty and black, but that’s actually what makes it look beautiful in photographs. When photographing

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Color and Language, Ishimoto Yasuhiro Collection Exhibition

The vivid color photographs created by the technique of multiple exposure represent a series that Ishimoto has dedicated himself to over half a century. Utilizing this method of projecting multiple images onto the same piece of film, Ishimoto combined the organic shapes of trees, and the straight lines of architectural constructions, with colors found at various places in the city. Different from the conventional method of photographing by focusing on a subject with a certain idea of the final picture

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