Masaru Tatsuki, Tohoku
Publishing books as MCV MCV
Street Level Japan - blog about Japanese photography
dan at mcvmcv dot net
Keiji Uematsu’s exhibit at Yumiko Chiba Associates 1 in Shinjuku, up until 6/8, is excellent. YCA not a large space but Uematsu’s mix of photography and sculpture matches it well. I’ve already been twice, and I’ll try to go back again.
Wataru Yamamoto will hold an exhibition of “Drawing a Line” at photographers’ gallery 1 in Shinjuku, from 6/4 – 6/16. The exhibit will serve as a (somewhat belated) celebration of the publication of his book with MCV MCV 2.
Wataru and I will have a talk event on Saturday, June 8 starting from 4pm, and there will be an opening reception from 6pm.
“What pictures want is not the same as the message they communicate or the effect they produce; it’s not even the same as what they say they want. Like people, pictures may not know what they want; they have to be helped to recollect it through a dialogue with others.”
From What do Pictures Want? The Lives and Loves of Images by W.J.T. Mitchell
This relates to a quote of Shomei Tomatsu’s, which I can’t dig up at the moment but…
John Solt／田口哲也 監訳 - 北園克衛の詩と詩学―意味のタペストリーを細断する 
Azoulay, Ariella. The Civil Contract of Photography. New York: Zone Books, 2008 Chpts. 1-4; 1- 215.
Barthes, Roland. Camera Lucida.
Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge, MA: MIT Press, 1999.
Baudelaire, Charles. “Review of the Salon of 1859.”
Benjamin, Walter. “A Short History of Photography,” Screen 13.1 (1972): 5-26.
————-. “Work of Art in the Age of Its Technological Reproducibility.” in The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. Ed. by Michael Jennings, Brigid Doherty, and Thomas Y. Levin. Cambridge, MA: Belknap Press of Harvard University Press, 2008.
Cadava, Eduardo. Words of Light: Theses on the Photography of History. Princeton NJ: Princeton University Press, 1997.
Damisch, Hubert. “Five Notes on for a Phenomenology of The Photographic Image.” October 5 (Summer 1978); 70-72.
Edwards, Elizabeth. Photographs Object Histories: On the Materiality of Images. Routlege, 2004.
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Krauss, Rosalind E. “The Photographic Conditions of Surrealism.” in The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass: MIT Press, 1986.
———.”Photography’s Discursive Spaces.” Art Journal 42, no. 4 (Winter 1982): 311-319.
A New History of Photography. Edited by Michel Frizot. Konemann, 1999 [Chapters TBD]
Papageorge, Todd. Core Curriculum. New York: Aperture, 2010.
Phillips, Christopher. “The Judgment Seat of Photography.” October 102 (Autumn 1982): 27-63.
Photography Degree Zero: Reflections on Roland Barthes Camera Lucida. Cambridge, MA: MIT Press, 2009.
Photography’s Other Histories. Edited by Christopher Pinney and Nicolas Peterson. Durham: Duke University Press, 2003.
Newhall, Beaumont. The History of Photography: 1839 to the Present. New York: Museum of Modern Art, 1982.
Sekula, Allan. “The Body and the Archive,” October 39 (Winter 1986) 3‐64.
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Trachtenberg, Alan. Reading American Photographs: Images as History, Mathew Brady to Walker Evans. New York: Hill and Wang,
Tagg, John. The Disciplinary Frame: Photographic Truths and the Capture of Meaning.
University of Minnesota Press, Minneapolis, MN, 2009.
Stimson, Blake. The Pivot of the World: Photography and Its Nation. Cambridge, MA: MIT Press, 2006.
The Meaning of Photography. Edited by Robin Kelsey and Blake Stimson. New Haven: Yale University Press, 2008.