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	<title>the space in between &#187; yoko</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 art of losing love, pt.1 : words on masahisa fukase</title>
		<link>http://the-space-in-between.com/2004/09/27/the-art-of-losing-love-pt1-words-on-masahisa-fukase/</link>
		<comments>http://the-space-in-between.com/2004/09/27/the-art-of-losing-love-pt1-words-on-masahisa-fukase/#comments</comments>
		<pubDate>Mon, 27 Sep 2004 08:40:04 +0000</pubDate>
		<dc:creator>stacy oborn</dc:creator>
				<category><![CDATA[japanese photography]]></category>
		<category><![CDATA[masahisa fukase]]></category>
		<category><![CDATA[thoughts on art and making]]></category>
		<category><![CDATA[intimate portraits]]></category>
		<category><![CDATA[john szarkowski]]></category>
		<category><![CDATA[losing love]]></category>
		<category><![CDATA[model wife]]></category>
		<category><![CDATA[new japanese photography]]></category>
		<category><![CDATA[photography and loss]]></category>
		<category><![CDATA[portraits are self-portraits]]></category>
		<category><![CDATA[yoko]]></category>

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		<description><![CDATA[i've been thinking about photographers in love, and the photographs they make while in that state. and also its shadow-twin: same photographer, making something out of a place of loss from that love. what is it to make a memory out of loss? to distill the precise ache of mourning? in photographs that become about loss‚Äîdid the losing already happen before the photo? did it happen in the course of it? is the photo then a document of loss? are these then the most documentary of all documentary images?]]></description>
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