I'M SO HAPPY YOU ARE HERE
Japanese Women Photographers from the 1950s to Now
Published by Aperture, 2024
Book Size 28 x 21 cm
440 pages
1st edition
Language English
ISBN: 9781597115537
I'm So Happy You Are Here presents a much-needed counterpoint, complement, and challenge to historical precedents and the established canon of Japanese photography. This restorative history presents a wide range of photographic approaches brought to bear on the lived experiences and perspectives of women in Japanese society.
Editors Pauline Vermare and Lesley A. Martin, curator and writer Takeuchi Mariko, and photo-historians Carrie Cushman and Kelly Midori McCormick provide a critical historical and contemporary framework for understanding the work in three richly illustrated essays. Additional context is provided by an in-depth illustrated bibliography by Marc Feustel and Russet Lederman, and a selection of key critical writings from leading Japanese curators, critics, and historians such as Kasahara Michiko, Fuku Noriko, and others, many of which will be published in translation for the first time. While this book does not claim to be fully comprehensive or encyclopedic, its goal is to provide a solid foundation for a more thorough conversation about the contributions of Japanese women to photography—and an indispensable resource for anyone interested in a more robust history of Japanese photography . [Words from the publisher]
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This book presents a much-needed counterpoint, complement, and challenge to historical precedents and the established canon of Japanese photography. This restorative history presents a wide range of photographic approaches that illuminate the lived experiences and perspectives of women in Japanese society.
Editors Pauline Vermare and Lesley A. Martin, curator and writer Takeuchi Mariko, and photohistorians Carrie Cushman and Kelly Midori McCormick provide a critical historical and contemporary framework for understanding the work in three richly illustrated essays. An extensive illustrated bibliography by Marc Feustel and Russet Lederman, as well as a selection of key critical writings by leading Japanese curators, critics, and historians, such as Kasahara Michiko, Fuku Noriko, and others, many published in translation for the first time, provide additional context. While this book does not claim to be comprehensive or encyclopedic, its aim is to provide a solid foundation for a deeper conversation about Japanese women’s contributions to photography—and an indispensable resource for anyone interested in a more robust history of Japanese photography. [Editor’s text]