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	<title>the space in between &#187; nobuyoshi araki</title>
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	<description>&#34;...that accident which pricks me (but also bruises me, is poignant to me).&#34;</description>
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		<title>correspondences</title>
		<link>http://the-space-in-between.com/2004/12/06/correspondences/</link>
		<comments>http://the-space-in-between.com/2004/12/06/correspondences/#comments</comments>
		<pubDate>Tue, 07 Dec 2004 07:47:48 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[academies and institutions]]></category>
		<category><![CDATA[harry callahan]]></category>
		<category><![CDATA[japanese photography]]></category>
		<category><![CDATA[masahisa fukase]]></category>
		<category><![CDATA[nobuyoshi araki]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[chicago]]></category>
		<category><![CDATA[institute of design]]></category>
		<category><![CDATA[intimate portraits]]></category>
		<category><![CDATA[model wife]]></category>
		<category><![CDATA[nobuyoshi arkai]]></category>
		<category><![CDATA[photographers and homages to other photographers]]></category>
		<category><![CDATA[yoko]]></category>

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		<description><![CDATA[in the introductory essay to anne wilkes tucker's encylopedic tome  the history of japanese photography, the author asserts that araki and fukase both became known to the japanese because they were the first to show the "intimate homelife and personal emotional state of their subjects."  i also can't help but meditate upon how, in absorbing eastern men reinterpret the tones of callahan's portrait of his wife, they show something else of themselves, of the woman in front of them, and of east contemplating west. it's amazing and a little humbling to consider just how revolutionary something so simple as an unguarded moment of one's wife, captured on film, could revolutionize how an entire generation of photographers began to see, and it's something i've loved thinking about ever since i came across these photographs.]]></description>
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		<title>the philosopher and the trickster: daido moriyama and nobuyoshi araki</title>
		<link>http://the-space-in-between.com/2004/09/12/the-philosopher-and-the-trickster-daido-moriyama-and-nobuyoshi-araki/</link>
		<comments>http://the-space-in-between.com/2004/09/12/the-philosopher-and-the-trickster-daido-moriyama-and-nobuyoshi-araki/#comments</comments>
		<pubDate>Mon, 13 Sep 2004 03:39:47 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[daido moriyama]]></category>
		<category><![CDATA[japanese photography]]></category>
		<category><![CDATA[nobuyoshi araki]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[nudes]]></category>
		<category><![CDATA[photographic peers]]></category>
		<category><![CDATA[post-war photographers]]></category>
		<category><![CDATA[sentimental journey]]></category>

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		<description><![CDATA[moriyama's photographs consistently evoke dark, struggling identity-in-the-making. they are grainy, full of contrast, and seem to be about the eternal underside of things. araki's photos, in contrast, seem to be puerile, joyous reaction against such moribund thoughts, and there is a playfulness evident throughout that suggests a lightness of heart that moriyama lacks. not that either is better or worse for the comparison, but that they are just...different.]]></description>
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