THE PROVOKE

GENERATION
REBELS IN A
TURBULENT TIME
CONCEPT 03
PHOTOGRAPHERS
YUTAKA TAKANASHI 04
TAKUMA NAKAHIRA 08
DAIDO MORIYAMA 12
HITOMI WATANABE 16
KAZUO KITAI 20
MIYAKO ISHIUCHI 24
JPP PORTFOLIO SERIES 28
 Concept
JAPANESE PHOTOGRAPHY AT ITS BEST
Photography can be best appreciated when you can hold it in your
hands. A photograph’s intimate details speak to you directly as you
explore each element of the frame and enjoy a sense of connec-
tion with the photographer. The Japanese Photography Project
(JPP) Portfolio Series facilitates this connection by bringing the
work of prominent photographers and historic Japanese photog-
raphy movements to life through beautifully printed images
alongside original essays and biographies.
Each volume of the JPP Portfolio Series is designed to showcase a
historically significant movement of Japanese photography.
Gorgeous prints of seminal images, complemented by rich and
insightful biographies and critical essays by renowned scholars,
bring to life in unprecedented detail the art of pioneering figures
in Japanese photography alongside the historical context neces-
sary to fully understand their genre and history defining roles. The
JPP Portfolio Series aims to raise international awareness of these
artists and the movements they created in order to integrate them
fully into the global photography canon.
This one of a kind portfolio is the product of a close collaboration
between world-renowned Japanese and Western historians and
curators. Simon Baker, Curator of Photography at Tate Modern in
London and Kotaro Iizawa, the leading researcher and critic of
Japanese photography, Ryuichi Kaneko, historian, and curator at
the Tokyo Metropolitan Museum of Photography worked together
to select the photographers and images featured in each volume.
03 The Provoke Generation / Concept
THE INAUGURAL VOLUME: THE PROVOKE GENERATION
The first issue of the JPP Portfolio Series focuses on Japan during
the tempestuous 1960s and 70s as captured through the lenses of
the era’s most innovative photographers. This collection includes
72 collotype prints which embody the work of photographers
featured in the short-lived avant-garde art magazine Provoke,
alongside their colleagues and leading female photographers of the
time.
Featuring the works of Daido Moriyama, Yutaka Takanashi, Hitomi
Watanabe, Takuma Nakahira, Kazuo Kitai, and Miyako Ishiuchi, The
Provoke Generation brings their groundbreaking movement to life.
These tempestuous years in the late 60s and early 70s seeded the
careers of these artists, some of whom are still active today.
Complementing their images are biographies written by experts in
the field and forewords by Simon Baker, curator of photography at
Tate Modern, London, and John Dower, professor emeritus of the
Massachusetts Institute of Technology. The debut edition of the
JPP Portfolio Series showcasing these one-of-a-kind texts and
frame-ready photographs in a custom finished box offers an
artistic and historic depth of understanding not attainable
anywhere else.
Learn more >

Yutaka Takanashi
1935 -
FROM COMMERCIAL TO CONCEPTUAL
A founding member of Provoke, Yutaka Takanashi
was born in 1935 in the area of Tokyo that is now
Shinjuku. He studied photography at Nihon
University, graduating in 1953. His work there,
along with continued study at the Kuwasawa Design
School, led to a successful career as a commercial
photographer.
A PROVOKE MEMBER WITH HIS OWN
STYLE
Invited by Nakahira to collaborate on the first issue
of Provoke, Takanashi brought a unique energy to
the publication. His photographs did not conform
to the are, bure, boke style of his colleagues;
rather they embraced outright the clarity of his
photographic frames. Though his style differed, he
shared with his Provoke partners the commitment
to the theoretical underpinnings of the publica-
tion. Like his colleagues, Takanashi strove to stoke
the flames for photography as a means of under-
standing the world.
04 The Provoke Generation / Yutaka Takanashi
CHŪŌ-KU: GINZA WEST-6 MONKY A’ GOGO FESTIVAL, AUGUST 28
01
Yutaka Takanashi, Shinjuku-ku: Shinjuku Station Building, March 21 Tokyo-New York,
PUBLISHING THE PHOTOBOOK Exhibition Sister Schools’ Art Exhibition, from the series Tokyo-jin / Tokyoites, 1965
Since his Provoke days, Takanashi focused on the
evolving cityscape of Tokyo resulting in a number
of uniquely positioned photobooks. In such
acclaimed photobooks as his 1965 Tokyo-jin
(Tokyo-ites), his first major photo book publica-
tion, and his follow-up Toshi-e (Towards the City)
(circa 1970s), he chronicled the Japanese metrop-
olis' post-war evolution juxtaposed with its
complicated economic metamorphosis and
cultural contradictions. His more contemporary
work, most of which continues to focus on Tokyo
and more rural landscapes, are testament to the
perpetual evolution of his artistic methods. For
example, Hatsukuni (Primal Landscape) (1985)
functioned as a sort of travel journal of images
Takanashi captured while meandering between the
geographic extremes of Okinawa and Hokkaido.
All images by Yutaka Takanashi © the artist 02
Yutaka Takanashi, Shinjuku-ku: Isetan Department Store,
October 23 Tammy ¥1,000, Pepper ¥700,
from the series Tokyo-jin / Tokyoites, 1965
 03

Yutaka Takanashi, Chūō-ku: Ginza West-6 MONKY A’ GOGO Festival, August 28,
from the series Tokyo-jin / Tokyoites, 1965

04

Yutaka Takanashi, Shibuya-ku: Hachikō Square, April 25, from the series Tokyo-jin / Tokyoites, 1965

05 The Provoke Generation / Yutaka Takanashi

 05

Yutaka Takanashi, from the series Toshi-e / Towards the City, 1969

06

Yutaka Takanashi, Kochi pref., the Tomb of Shigetō Tani, from the series Hatsukuni / Pre-Landscape, 1984

06 The Provoke Generation / Yutaka Takanashi www.jpp.today

07 09 11

Yutaka Takanashi, Okinawa pref., Itoman Shiroganedō, Yutaka Takanashi, Okinawa pref., Naha, Okinawa, Yutaka Takanashi, Shimane pref., Izumo Shrine,
from the series Hatsukuni / Pre-Landscape, 1985 from the series Hatsukuni / Pre-Landscape, 1985 from the series Hatsukuni / Pre-Landscape, 1985

08 10
12
Yutaka Takanashi, from the series Toshi-e / Towards the City, 1970s Yutaka Takanashi, from the series Toshi-e / Towards the City, 1962
Yutaka Takanashi, from the series Toshi-e / Towards the City, 1970s

07 The Provoke Generation / Yutaka Takanashi www.jpp.today

 Takuma Nakahira
1938-2015
PROVOKE PIONEER
As co-founder and theorist behind the Provoke
magazine, Takuma Nakahira was mesmerized by
the interaction between language and imagery.
Setting Provoke on course to become a “direct
vision” of the world as a means to encourage
thought and social change, Nakahira transformed
the role of photography into a means of both
documenting and discussing Japanese culture
during the 1960s and 70s.
A THEORIST EMERGES
Graduating from the Tokyo University of Foreign
Studies in 1963 after having studied the modern
history of revolution in Europe, Nakahira worked as
an editor of the popular left-wing magazine
Gendaino-Me (Contemporary Eye). While there he
met Shomei Tomatsu, who inspired him to pursue
photography, and Daido Moriyama, with whom he
would establish a lifelong friendship. It was during
his work on the 1965 exhibition One Hundred Year
History of Japanese Photography that Nakahira
met art critic Koji Taki. The two would build on
their shared interest in word and image to
co-found Provoke in 1968. Nakahira produced
both text and images for Provoke, and many of his
photographs stand out for their archetypal
are-bure-boke, the grainy, shaky, blurred style
that became a hallmark of late-1960s Japanese
photography.
08 The Provoke Generation / Takuma Nakahira
PROVOKE POSTMORTEM
Even after Provoke ceased publication, Nakahira
continued to innovate. His first major publication,
For A Language to Come (1970), offered in book 01
form the most complete compendium of images
showcasing his new visual style: an aesthetic that Takuma Nakahira, from the book For a Language to Come, 1970
he extended into his installation at the Seventh
Paris Biennale in 1971. Entitled Circulation: Date,
Place, Event, it reflected his continuously evolving
artistic vision. Incorporating hundreds of sponta-
neous Parisian street photographs that spoke to
the "performative" potential of photography,
Nakahira used the installation to comment on the
art of photography while also questioning his own
mode of expression. Continuing this introspection,
Nakahira used this Parisian series as the source of
his second key publication, which he named after
his installation at the Biennale. Later, having fallen
into a creative slump, he began drinking heavily
and was eventually hospitalized for severe drug
and alcohol-related illness. In 1977, at the age of
39, he suffered from alcohol-induced retrograde
amnesia and aphasia. Although these cognitive
deficits rendered him unable to write, he contin-
ued to produce photographic work. He died from
complications of pneumonia in September 2015.
02
All images by Takuma Nakahira © Gen Nakahira
Takuma Nakahira, from the book For a Language to Come, 1970
 03
03

Takuma Nakahirai, from the series Circulation: Date, Place, Events, 1971

04

Takuma Nakahirai, from the series Circulation: Date, Place, Events, 1971

09 The Provoke Generation / Takuma Nakahira www.jpp.today

 Takuma Nakahira, Overflow, 1974

06

05

Takuma Nakahira, Untitled, 1978-89

10 The Provoke Generation / Takuma Nakahira

 11
07
Takuma Nakahirai, from the series Takuma Nakahira, Untitled, 1968-70
Circulation: Date, Place, Events, 1971

09 10
Takuma Nakahira, from the series Degree Zero – Yokohama, 2003 Takuma Nakahira, from the book For a Language to Come, 1970
12
08 Takuma Nakahira, Untitled, 1978-89
Takuma Nakahirai, from the series
Circulation: Date, Place, Events, 1971

11 The Provoke Generation / Takuma Nakahira www.jpp.today


Daido Moriyama
1938 -
THE REBEL
Renowned for his gritty black-and-white photos of
Tokyo’s backstreets and underworld, Daido
Moriyama mastered photography simply so he
could break the rules. This unique skillset led him
to become one of the most famous members of
the Provoke generation, despite the fact that he
was not a founding member of the eponymous
photography magazine.
IN SEARCH OF NOVELTY
Born in 1938 in Ikeda City, Osaka, Moriyama began
working as an industrial designer following his
graduation from high school. He moved to Tokyo at
age 21 hoping to work with the experimental
photographers of the VIVO collective. He was,
unfortunately, too late — VIVO was already breaking
up — but he was able to get a position as studio
assistant to VIVO member Eikoh Hosoe. It was
through Hosoe that Moriyama made the acquain-
tance of Shomei Tomatsu, and it was Tomatsu, in
turn, who would introduce Moriyama to Takuma
Nakahira in 1963, a meeting that proved a catalyst
to his career. Tomatsu and Nakahira were instru-
mental in the publication of Moriyama’s early
works, which garnered Moriyama growing acclaim
and earned him the Newcomers Award from the
Japan Photo Critics Association in 1967.
12 The Provoke Generation / Daido Moriyama
CHŪŌ-KU: GINZA WEST-6 MONKY A’ GOGO FESTIVAL, AUGUST 28
THE PASSION TO PROVOKE
Moriyama was welcomed as a member of Provoke
in December 1968, when colleague and rival 01
Takuma Nakahira invited him to contribute to the
second issue. Working together gave them the Daido Moriyama, from the series Hunter, 1972
opportunity to inspire and challenge each other
directly. For Provoke, Moriyama produced his
Warhol-influenced supermarket series, which
included harsh, grainy, high-contrast images of
American products on display: familiar items
shown in a much harsher light than seen in adver-
tising and commercial photography. In Provoke’s
second issue he published a series of erotic blurry
nudes shot in a love hotel to go with the issue’s
theme of “Eros.” Though Provoke disbanded
shortly thereafter, Moriyama continued to push
boundaries with his camera, aiming to “destroy
photography” with his dynamic shots. A testament
to that commitment was his 1972 publication
Hunter of Light, which featured a radical collection
of rough yet remarkable images that showcased
photographs taken from a moving car. This
contemplation of light became even more
pronounced in Light and Shadow (1982), wherein
the titular dichotomous elements serve to weave
the narrative of the photo book’s imagery.
All images by Daido Moriyama © Daido Moriyama Photo 02
Foundation
Daido Moriyama, from the series Hunter, 1972
 03

Daido Moriyama, from the series Light and Shadow, 1982

04

Daido Moriyama, from the series Light and Shadow, 1982

13 The Provoke Generation / Daido Moriyama

 Daido Moriyama, from the series Dog and Mesh Tights, 2015

06

5 05

Daido Moriyama, from the series Dog and Mesh Tights, 2015

14 The Provoke Generation / Daido Moriyama

 09
07 Daido Moriyama, from the series Hunter, 1972
Daido Moriyama, from the series Hunter, 1972

11
12
08 10
Daido Moriyama, from the series Dog and Mesh Tights, 2015
Daido Moriyama, from the series Dog and Mesh Tights, 2015
Daido Moriyama, from the series Light and Shadow, 1982 Daido Moriyama, from the series Light and Shadow, 1982

15 The Provoke Generation / Daido Moriyama www.jpp.today


Hitomi Watanabe
1939 -
BARRICADE BUSTER
A central female voice of the Provoke generation,
Hitomi Watanabe discovered the lure of photogra-
phy thanks to a chance assignment to document
the student occupation of Tokyo University from
behind the lines. From that point on her world was
transformed as she witnessed first-hand the
political and cultural turmoil of 1960s and 70s
Japan.
A CHANCE ENCOUNTER
When asked to take some simple snapshots for a
financial magazine she had no idea the request
would lead her to uncover her true passion. So
inspired was she that she enrolled in the Tokyo
College of Photography to study of photography. At
the same time, she began photographing the
residents and cityscape of Shinjuku, an area of
downtown Tokyo. She compiled these early images
in her first publication, Tekiya no Sekai
(1967-1968), a capstone for her college career. It
also served as the inspiration for her follow-up
photo book, Shinjuku Contemporary (1968-1969).
Her graduation in 1968 coincided with the Zenkyo-
to student riots at Tokyo University, and thanks to
her friends, Watanabe was given unique and
intimate access to life behind the barricades. From
moments of relaxation and contemplation to
16 The Provoke Generation / Hitomi Watanabe
CHŪŌ-KU: GINZA WEST-6 MONKY A’ GOGO FESTIVAL, AUGUST 28
violent conflict, Watanabe’s photographs of the
Tokyo University riots brought the realities of
Japan’s turbulence into the world’s spotlight and
set her on course for an acclaimed career. She
published a compilation of these images in Tōdai 01
Zenkyōtō (1968-1969), which proved seminal to
Watanabe’s artistic recognition. Hitomi Watanabe, from the series Shinjuku Contemporary, 1967-68
FINDING ZEN AFTER ZENKYOTO
Watanabe intuitively follows her artistic impulse,
which has propelled her career since the days of
the Zenkyoto riots. While she has continued to
pursue her passion for street photography, she
has expanded her purview into portraiture. Her
inspiration has taken her as far as India and Nepal,
where she spent years photographing the flora and
fauna such as monkeys and lotus blossoms. She
has since expanded upon her work from this
period, creating a body of nature photography that
she has published in several photo books.
02
All images by Hitomi Watanabe © the artist
Hitomi Watanabe, from the series Shinjuku Contemporary, 1967-68
 03

Hitomi Watanabe, from the series Tekiya no Sekai, 1967-68

04

Hitomi Watanabe, from the series Tekiya no Sekai, 1967-68

17 The Provoke Generation / Hitomi Watanabe www.jpp.today

 05

Hitomi Watanabe, from the series Tōdai Zenkyōtō, 1968-69

SHIBUYA-KU: HACHIKŌ SQUARE, APRIL 25

06

Hitomi Watanabe, from the series Tōdai Zenkyōtō, 1968-69

18 The Provoke Generation / Hitomi Watanabe

 09 11
07
Hitomi Watanabe, from the series Tekiya no Sekai, 1967-68 Hitomi Watanabe, from the series Shinjuku Contemporary, 1967-68 Hitomi Watanabe, from the series Tōdai Zenkyōtō, 1968-69

08 10
12
Hitomi Watanabe, from the series Tekiya no Sekai, 1967-68 Hitomi Watanabe, from the series Tōdai Zenkyōtō, 1968-69
Hitomi Watanabe, from the series Tōdai Zenkyōtō, 1968-69

19 The Provoke Generation / Hitomi Watanabe www.jpp.today

 Kazuo Kitai
1944 -
THE FLÂNEUR FLAIR
Considered one of the most distinguished photog-
raphers of his generation, Kazuo Kitai thrived on
photographing everyday life. Building on the energy
of the 19th-century French flâneur, Kitai’s brilliance
is his ability to transform the everyday into the
exceptional, the ordinary into the extraordinary.
BOLD BEGINNINGS
Kitai developed a fascination with art in his teens,
enrolled at Tokyo’s Nihon University College of Art,
became dissatisfied with the program and soon
dropped out. In 1964 at age 20, he self-published a
photobook entitled Teikō (Resistance). This cost
Kitai all of his savings but the effort caught the eye
of student protest leaders who persuaded him to
document their activities.
The later 1960s were marked by protest, as young
people around the world took to the streets to
demonstrate. Kitai was sympathetic to these
activists and became personally involved, infusing
his photographs with a unique flavor and distin-
guishing them from the sea of mainstream photo-
journalism images of the time. His photographs
published in Teikō (Resistance) (1964) reveal the
power of his point of view, not as a mere onlooker,
but rather from the perspective of the protester.
His four-month stint in 1968 living in the Nihon
University College of Art building alongside student
occupiers reinforced this authenticity.
20 The Provoke Generation / Kazuo Kitai
SANRIZUKA SAGA
Shortly thereafter, Kitai traveled to Chiba Prefec-
ture to photograph the rural residents of Sanrizu-
ka. Residents of the doomed farming village forty
miles east of Tokyo were ordered off their land as 01
the land was designated for the planned Narita
International Airport. The farmers and their Kazuo Kitai, Childrens' Resistance Corps,
families refused to go silently and the clash, from the series Sanrizuka, 1970
marked by sometimes violent conflict, became a
highly visual metaphor for the friction between
traditional culture and the pressures of modern-
ization. The conflict drew protesters from far and
wide; some of the more passionate opponents of
the government construction moving into the
village to fight back first-hand. Kitai was one of
these dedicated souls who lived with a local
farming family from 1969 to 1971. Kitai’s photo-
graphs were published in the 1971 book Sanrizuka
and earned him the Newcomer’s Award from the
Photographic Society of Japan in 1972. Inspired by
his experiences in the countryside, Kitai dedicated
the following years to an ongoing examination of
rural life which led to the publication of Mura-e
(To the Villages) (circa 1974). From that point on,
Kitai continued to photograph Japan with his same
flâneur flair and, for brief periods in the 1970s and
1990s, he was active in China as well, capturing
with his lens another society undergoing the
throes of major change.
02
All images by Kazuo Kitai © the artist
Kazuo Kitai, Sanrizuka Protesters
from the series Sanrizuka, 1969
 03

Kazuo Kitai, Magoroku Spa, Akita Prefecture,

from the series Mura-e / To the Villages, 1973

04

Kazuo Kitai, Traditional Winter Hunters (Matagi), Ani district, Akita prefecture,
from the series Mura-e / To the Villages, 1975

21 The Provoke Generation / Kazuo Kitai

05 06

Kazuo Kitai, Riot Squad, Yokosuka, Kanagawa, Kazuo Kitai, Injured Protestor, Yokosuka, Kanagawa,
from the series Teikō / Resistance, 1964 from the series Teikō / Resistance, 1964

22 The Provoke Generation / Kazuo Kitai www.jpp.today

07 09 11

Kazuo Kitai, Tennami Solidarity Hut, Kazuo Kitai, Washi Village, Agawa district, Kōchi prefecture, Kazuo Kitai, Country Road, Kume, Okayama,
from the series Sanrizuka, 1969 from the series Mura-e / To the Villages, 1965 from the series Mura-e / To the Villages, 1974

08 10 12
Kazuo Kitai, Women Facing the Police on a Hilltop, Kazuo Kitai, Riot Squad, Yokosuka, Kanagawa, Kazuo Kitai, Flag, Kanagawa,
from the series Sanrizuka, 1971 from the series Teikō / Resistance, 1964 from the series Teikō / Resistance, 1964

23 The Provoke Generation / Kazuo Kitai www.jpp.today


Miyako Ishiuchi
1947 -
AN AMERICAN ATMOSPHERE
Miyako Ishiuchi is one of the few internationally
renowned female photographers of the Provoke
generation. She was born in 1947 in rural Gunma
Prefecture, a locale overshadowed by the ongoing
United States Navy presence there. Accordingly,
Ishiuchi’s earliest years were colored by this
military presence, leaving a profound impact on
her future artistic career. Ishiuchi channeled her
love-hate relationship with American culture into
her landmark work, Yokosuka Story (1976-1977),
which centers on her experiences as a young girl in
an effort to better understand her adult self.
SELF TAUGHT
Ishiuchi was introduced to photography by a
boyfriend who supplied her with the necessary
equipment, she also credits her development to
the influence of Shomei Tomatsu and Daido
Moriyama, important members of what was then an
almost exclusively boys' club of Japanese photog-
raphy. She was also influenced by the work of VIVO
photographer Kikuji Kawada, whose photobook
Chizu (The Map), opened her eyes to the potential
of the photographic medium.
24 The Provoke Generation / Miyako Ishiuchi
CHŪŌ-KU: GINZA WEST-6 MONKY A’ GOGO FESTIVAL, AUGUST 28
SCARS, SURFACES
01
Feeling somewhat scarred by the confusing culture
of her youth, Ishiuchi built on the theme of the Miyako Ishiuchi, Apartment #2, from the series Apartment, 1977-78
scar from the perspective of the relentless effects
of time, memory, and trauma on visible surfaces.
This resonated in her follow-up photobook
Apartment (1977-1978), which is an homage to her
childhood home, as well as in the following
decades’ Clubs & Courts (1988-1990). The same
energy carried Ishiuchi into the 21st century,
where her explorations have ranged from human
relationships to the aftermath of Hiroshima. She
pays homage to the victims of the nuclear attack
there through meticulous photographs of
garments worn on the day of the bombing. For
Ishiuchi, “surfaces” continue to have the power to
testify to an event's profound and lasting trauma.
02
All images by Miyako Ishiuchi © the artist
Miyako Ishiuchi, Apartment #3, from the series Apartment, 1977-78
 03

Miyako Ishiuchi, Clubs & Courts #1, from the series Clubs & Courts, 1988-90

04

Miyako Ishiuchi, Clubs & Courts #53, from the series Clubs & Courts, 1988-90

25 The Provoke Generation / Miyako Ishiuchi

 06

Miyako Ishiuchi, Yokosuka Story #30, from the series Yokosuka Story, 1976-77

05

Miyako Ishiuchi, Yokosuka Story #98, from the series Yokosuka Story, 1976-77

26 The Provoke Generation / Miyako Ishiuchi www.jpp.today

07 09 11
Miyako Ishiuchi, Apartment #47, from the series Apartment, 1977-78 Miyako Ishiuchi, Apartment #50, from the series Apartment, 1977-78 Miyako Ishiuchi, Yokosuka Story #125, from the series Yokosuka Story, 1976-77

08 10 12
Miyako Ishiuchi, Yokosuka Story #12, from the series Yokosuka Story, 1976-77 Miyako Ishiuchi, Clubs & Courts #79, from the series Clubs & Courts, 1988-90 Miyako Ishiuchi, Clubs & Courts #23, from the series Clubs & Courts, 1988-90

27 The Provoke Generation / Miyako Ishiuchi www.jpp.today

 Portfolio

PRESENTATION

The inaugural Portfolio Series volume features

individual collections of 12 photographs by each of
the six featured artists, totalling 72 collotype prints in
each set. Added to these compelling images are
eloquent biographies for each artist that offer the
highlights of each figure’s career, as well as two
introductory essays that effectively contextualize the
work within the dynamic of their time.

The benefit of this portfolio’s design is that the reader

is given license to navigate its components as he or
she wishes; images can be pondered at leisure and in
any order, allowing the viewer to be in complete
control of the experience. In essence, it is as if these
artists were presenting the highlights of their portfoli-
os to you personally, rewarding you, the viewer, with
unprecedented access to their respective bodies of
work.

Learn more >

28 The
03 The
Provoke
Provoke
Generation
Generation
/ Portfolio
/ Concept
 THE COLLOTYPE PRINT

Collotype rose to prominence as a printing

technique in the 1850’s thanks to its impressive
tonal smoothness and subtlety. This time-con-
suming process involves coating a glass plate with
a layer of gelatin, subsequent UV exposure to the
negative under controlled temperatures, and an
extended drying period. Although labor intensive,
collotype prints are highly regarded for their
true-to-life tone and beautiful detail.

Established in Kyoto in 1905, Benrido Collotype

Atelier brings over a century of printing experi-
ence. As one of the world’s few remaining
producers of collotypes, Benrido offers rare
access to this lost craft, making singularly beauti-
ful museum-quality prints for exhibition and
display.

Once the gold standard for photography studios

around the world, printers soon turned to
cheaper alternatives. As a result, the number of
collotype studios dwindled; today, the technique
is incredibly rare.

Learn more >

29 The Provoke Generation / Portfolio

ABOUT

The inaugural volume of the JPP Portfolio Series, The Provoke Generation: Rebels in a Turbulent
Time, features the seminal works of game-changing artists of the 60s and 70s. Included in the
portfolio are hand-printed collotypes by Yutaka Takanashi, Takuma Nakahira, Daido Moriyama,
Hitomi Watanabe, Kazuo Kitai, Miyako Ishiuchi as well as forewords by leading photography experts
and historians and biographies by renowned Japanese art critics. This Portfolio Series is a project by
the Japanese Photography Project: A collaboration of Project Basho and Benrido Collotype Atelier.

SPECIFICATIONS

Photographs:

12 collotype prints by each of the six featured photographers (72 total)

Hand printed by Benrido Atelier - Kyoto, Japan

Forewords:
Simon Baker – PROVOKE: Provocative Materials for Thought
John Dower – Japan’s Turbulent Postwar Decades: Part I, the 1960s and 1970s

Biographies:
Kotaro Iizawa and Ryuichi Kaneko

Presentation Box:
Custom-designed wooden box ideal for both conservation and display available in four finishes:
Espresso/Clear Maple/Black Cherry/Cherry

Editions:
75 signed editions - all six cover photos signed by respective artists*
425 standard editions - choice of one cover photo

Dimensions:
Print size: 8 x 10 in
Box size: 9.125 x 11.125 x 3.75 in

Price:
Standard edition: $1750
Signed edition: $3550

Publisher:
Benrido Inc.
302 Shinmachi-Takeyamachi Nakagyo-ku, Kyoto, Japan
www.benrido-collotype.today
Learn more >
*Takuma Nakahira's (1938-2015) signature is an official replica.
www.jpp.today