{"id":108,"date":"2024-03-15T11:05:07","date_gmt":"2024-03-15T11:05:07","guid":{"rendered":"http:\/\/keithwhittle.org\/?p=108"},"modified":"2026-02-03T03:12:20","modified_gmt":"2026-02-03T03:12:20","slug":"shigeo-anzai","status":"publish","type":"post","link":"https:\/\/keithwhittle.org\/?p=108","title":{"rendered":"Shigeo Anza\u00ef"},"content":{"rendered":"<p><em>Index I&amp;II<\/em>, solo exhibitions at White Rainbow, Fitzrovia, London by renowned photographer Shigeo Anza\u00ef. The exhibitions focused on Anza\u00ef\u2019s role as a witness to the landmark exhibitions, events and happenings of the avant-garde in Japan 1970\u20136, with particular focus on the\u00a010th\u00a0Tokyo Biennale, 1970.\u00a0This was the first solo exhibition of Shigeo Anza\u00ef in the UK.<\/p>\n<p>Engaging with two aspects of Anza\u00ef\u2019s photographic practice, White Rainbow held two solo exhibitions of Anza\u00ef\u2019s work.\u00a0<em>Index I<\/em>\u00a0(25 November 2015 \u2013 23 January 2016) which focused on Anza\u00ef\u2019s documentation of landmark exhibitions, and\u00a0<em>Index II<\/em>\u00a0(May \u2013 June 2016) focusing on\u00a0Anza\u00ef\u2019s portraits of the artists he came into contact with over a long career, including\u00a0David Hockney, Yayoi Kusama, Nam June Paik and Joseph Beuys, among others.<\/p>\n<p>Shigeo Anza\u00ef began his artistic practice as a painter and moved towards photography in the late 1960s. This led to a career documenting artists and their work, with over 3000 works shot both in Japan and internationally over the last four decades.\u00a0Anza\u00ef established himself as the foremost photographer of Mono-ha, which as a movement broadly explored the interdependency of natural and industrial materials, resulting in work that was often ephemeral.<\/p>\n<p><strong><span data-preserver-spaces=\"true\"><\/span><\/strong><\/p>\n<p>Whilst working for the 10th\u00a0Tokyo Biennale, Anza\u00ef was appointed by renowned critic Yusuke Nakahara to assist Carl Andre, Daniel Buren and Richard Serra. Anza\u00ef began documenting their performances, happenings and installations. Many of these works survive today only through reconstructions or in Anza\u00ef\u2019s photographs.<\/p>\n<p>Read &gt;&gt; <a href=\"https:\/\/issuu.com\/keithwhittle\/docs\/anzai_catalogue\" target=\"_blank\" rel=\"noopener\">Publication<\/a><\/p>\n<p>The 10th\u00a0Tokyo Biennale, titled\u00a0<em>Between Man and Matter,<\/em>\u00a0is a moment where Mono-ha artists such as Jiro Takamatsu and Kishio Suga were brought into dialogue with artists such as Klaus Rinke and Christo for the first time.\u00a0<em>Index I<\/em>\u00a0will highlight Anza\u00ef\u2019s pivotal role in the documentation and understanding of the 10th\u00a0Tokyo Biennale within the context of the wider Japanese arts scene. Anza\u00ef\u2019s photographs\u00a0can be described as an index of recent Japanese art history, and where it encountered or was exposed to international movements. This exhibition provides an opportunity to reappraise an important but less recognised Biennale, which went on to influence subsequent Japanese Biennales and Triennales in particular.<\/p>\n<p>The accompanying catalogue includes a newly commissioned essay by Dr. Yasufumi Nakamori, Associate Curator, Photography, at The Museum of Fine Arts, Houston, and installation photography.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shigeo Anza\u00ef<\/p>\n<a class=\"read-more-link\" href=\" https:\/\/keithwhittle.org\/?p=108 \">Read More<\/a>","protected":false},"author":1,"featured_media":402,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-108","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","col-md-4 col-sm-6"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/keithwhittle.org\/wp-content\/uploads\/2024\/03\/Shigeo-Anzai-Bridget-Riley.-Courtesy-the-artist-Zeit-Foto-Tokyo-and-White-Rainbow-London.png?fit=672%2C448&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/108","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=108"}],"version-history":[{"count":8,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/108\/revisions"}],"predecessor-version":[{"id":2999,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/posts\/108\/revisions\/2999"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=\/wp\/v2\/media\/402"}],"wp:attachment":[{"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=108"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=108"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/keithwhittle.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=108"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}