Meet Again
Inakoshi Koichi
1972
Meet Again
Fullscreen
PAUSE
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During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, ...
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Meet Again
Inakoshi Koichi
1972
Tokyo: Shashin Hyoron-sha
Unpaginated [92 pages]
22 × 23.5 cm
Edition of 600; signed and numbered 143/600

During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, distilled in his artist’s books and collaborations with poets and writers.


 


Following his publication “Maybe” (1971), “Meet Again” (1972) comprises 38 photographs of a television screen. Lyrical and fragmentary in conception, the sequence unfolds rhythmically throughout the book, inviting a contemplative reading of the relationship between photography and perception.


 


As Shinichi Kusamori writes in his introductory essay, in Inakoshi’s gaze, these photographs register “a physical reaction, the sound of an avalanche, a cascade that has lost its ‘human’ nature and is suspended mid-air.” It is precisely in this state of suspension that Inakoshi places his (tele)visual haikus and invitation: “Meet Again”.

Tokyo: Shashin Hyoron-sha
Unpaginated [92 pages]
22 × 23.5 cm
Edition of 600; signed and numbered 143/600

During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, distilled in his artist’s books and collaborations with poets and writers.

 

Following his publication “Maybe” (1971), “Meet Again” (1972) comprises 38 photographs of a television screen. Lyrical and fragmentary in conception, the sequence unfolds rhythmically throughout the book, inviting a contemplative reading of the relationship between photography and perception.

 

As Shinichi Kusamori writes in his introductory essay, in Inakoshi’s gaze, these photographs register “a physical reaction, the sound of an avalanche, a cascade that has lost its ‘human’ nature and is suspended mid-air.” It is precisely in this state of suspension that Inakoshi places his (tele)visual haikus and invitation: “Meet Again”.

DESCRIPTION

During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, distilled in his artist’s books and collaborations with poets and writers.

 

Following his publication “Maybe” (1971), “Meet Again” (1972) comprises 38 photographs of a television screen. Lyrical and fragmentary in conception, the sequence unfolds rhythmically throughout the book, inviting a contemplative reading of the relationship between photography and perception.

 

As Shinichi Kusamori writes in his introductory essay, in Inakoshi’s gaze, these photographs register “a physical reaction, the sound of an avalanche, a cascade that has lost its ‘human’ nature and is suspended mid-air.” It is precisely in this state of suspension that Inakoshi places his (tele)visual haikus and invitation: “Meet Again”.

Tokyo: Shashin Hyoron-sha
Unpaginated [92 pages]
22 × 23.5 cm
Edition of 600; signed and numbered 143/600

During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, distilled in his artist’s books and collaborations with poets and writers.

 

Following his publication “Maybe” (1971), “Meet Again” (1972) comprises 38 photographs of a television screen. Lyrical and fragmentary in conception, the sequence unfolds rhythmically throughout the book, inviting a contemplative reading of the relationship between photography and perception.

 

As Shinichi Kusamori writes in his introductory essay, in Inakoshi’s gaze, these photographs register “a physical reaction, the sound of an avalanche, a cascade that has lost its ‘human’ nature and is suspended mid-air.” It is precisely in this state of suspension that Inakoshi places his (tele)visual haikus and invitation: “Meet Again”.

MORE BOOKS

During his lifetime, Japanese photographer Koichi Inakoshi (1941–2009) was best known for his portraits of celebrities and commercial photography. Today, a renewed interest in his work has brought attention to his meditative and conceptual practice, distilled in his artist’s books and collaborations with poets and writers.

 

Following his publication “Maybe” (1971), “Meet Again” (1972) comprises 38 photographs of a television screen. Lyrical and fragmentary in conception, the sequence unfolds rhythmically throughout the book, inviting a contemplative reading of the relationship between photography and perception.

 

As Shinichi Kusamori writes in his introductory essay, in Inakoshi’s gaze, these photographs register “a physical reaction, the sound of an avalanche, a cascade that has lost its ‘human’ nature and is suspended mid-air.” It is precisely in this state of suspension that Inakoshi places his (tele)visual haikus and invitation: “Meet Again”.

MORE BOOKS