Much as I might wish it were otherwise, in considering the Museum of Modern Art’s latest photography exhibit and catalogue New Japanese Photography it proves impossible to discuss the photographs themselves without simultaneously analyzing the show and book. […]
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Early this year Miyako Yoshinaga, a Chelsea gallerist, invited me to attend the March 2nd opening of a mini-retrospective, “Ken Ohara: Extreme Portraits 1970-1999,” and meet the photographer. She seemed surprised when I accepted. But I sensed something ceremonial about the occasion, and thought I should go. […] |
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