光と鬼│横須賀功光 Noriaki Yokosuka Exhibition

EMON Photo Gallery 2018.09.27thu → 11.17sat

代官山フォト・フェア 2018.09.28 fri → 09.30sun


Noriaki Yokosuka constantly pursued the new, sharpening his mind’s eye throughout life with a cool-headed precision.
He cut up and destroyed all his negatives before he passed away.

Emon is proud to present his rare original/vintage prints.

9月27日より、写真家・横須賀功光の初期から晩年に至るオリジナル・プリントに中から、特にソラリゼーション作品を集めて展覧会を開催致します。横須賀功光 Noriaki Yokosuka (1937-2003) 横浜生まれ、日大芸術学部写真学卒。学生時代から資生堂の仕事を手掛けて頭角を現し、卒業後はフリーとなって活躍。資生堂のポスターは次々と反響を呼んで瞬く間に広告写真の金字塔を打ち立て、その後も飛ぶ鳥を落とす勢いでファッションフォト、シリアスフォトを先駆していきました。「俺がはじめて嫉妬した写真家だった」と当時電通にいた荒木経惟氏が言うように、誰も真似ができない写真を撮る早熟の天才だったのです。華々しい広告の世界で名声を上げ羨望されたのは、次元を超えて写真と向き合おうとする横須賀の執念に他なりません。特に、肉体について横須賀は魔術的と言えるほど関心があったことは、彼が残した数多くのプライベートワークで知ることができるのです。光の探求、肉体への執着、またソラリゼーションを駆使した技法など、その実験的な写真行為は広く公開されることなく、氏が世を去るまで続けられました。本展では、1964年から98年にかけて制作されたシリーズ作品の中から、初期のShafts『射』 、Optics『檻』、中期のA Case of Exposure『光銀事件』、また長らく発表の機会が無かった晩年の「マン・レイオマージュ」の貴重なオリジナルプリントをご紹介致します。生涯をかけて心眼を冷徹に磨き、常に新しい事に挑んだ横須賀功光。死を意識した晩年には全てのネガに鋏を入れ、数えるほど僅かなオリジナルプリントが残されました。本展はその貴重な作品から選りすぐり、未発表作品を交えて展覧致します。

Starting 27th September, entitled“The Photon and Ogre”, EMON Photo Gallery is proud to present the original/vintage prints of Noriaki Yokosuka, showcasing his earliest to his later works. Born in 1937 in Yokohama, Noriaki Yokosuka graduated from Nihon University, majoring in photography. He first started to make a name for himself during his days as a student working for Shiseido, and later through his activities as a freelancer. Yokosuka’s posters for Shiseido each gained great public response, going on to achieve landmark status and in turn propelling him to further heights as a pioneer of fashion and advertisement photography. His talent for taking photos that no one else could is well-illustrated in a comment by photographer Nobuyoshi Araki, working for Dentsu Inc. at the time, who said “He’s the first photographer of whom I was jealous.” Yokosuka’s status as an object of envy in the glamorous world of advertising was undoubtedly a result of his deep commitment to pursuing work of superior quality, an obsession evident in the tenacity of his industry photography. Sorcery may not be too strong a term to describe his fascination with light and the human form in particular, something readily apparent in his remaining private works. His obsession with the flesh, his pursuit of light, creative modes that made free use of solarisation – the experimental genius of Yokosuka remains hidden even after his death, until now. This exhibition focuses on series’created between 1964 and 1998, including carefully selected original print pieces from his debut series “Shafts”, works from “Optics” and “A Case of Exposure” and exclusive works from his later career, the series“Homage to Man Ray”. We invite you to come and enjoy the works of a photographer Noriaki Yokosuka who constantly pursued the new, sharpening his mind’s eye throughout life with a cool-headed precision. Later in his career he focused on his upcoming death and cut up and destroyed all his negatives. The exhibit will include rare original/vintage prints that are left for us and the future.


1937年 11月26日、神奈川県横浜市に生まれる。
1956年 日本大学芸術学部写真科入学。
1960年 日本大学卒業と同時に、フリーのカメラマンとして資生堂宣伝部の一員として活躍をはじめる。このころからファッション           写真を手がけ、服飾デザイナー三宅一生氏に会う。
1982年 日本人初のイタリアンヴォーグ、ドイツヴォーグ、フレンチヴォーグのフリーランススタッフカメラマンとなる。
2003年 1月14日死去

Noriaki Yokosuka

1937 Borin in November 26 in Yokohama, Kanagawa Prefecture, Japan.
1956 Starts his syudy at Nihon University Collage of Art, Department of Photography
1960 After graduating from Nihon University Collage, Yokosuka starts working at Shiseido’s Advertisinhg department as     a freelance photographer and becomes involved in advertizing campains. Concentrates on fashion photography       from this time, and meets stylist Issey Miyake.
1982 Becomes the first Japanese freelance staff photographer working for Vogue magazine in its Italian, Franch and       German editions,
2003 Dies January 14th.

会期 2018年9月28日(金)ー 9月30日(日)
会場 代官山ヒルサイドフォーラム、ヒルサイドプラザ
主催 一般社団法人日本芸術写真協会(FAPA)
EMON Photo Gallery  ブースG1


Shafts  射   1964


This series comprises the earliest of Yokosuka’s private works. Metallic objects he himself created feature in this construction of space in which glints and beams, cold and hard, float out of the darkness via a deft manipulation of light and shadow. Yokosuka’s expression of this strange, otherworldly space represents his most cryptic and abstract body of work. Withthe coincidental phenomena the objects put forth, the light and shadow, and the stoic cutting away of anything superfluous, Shafts is an unmistakable introduction to the starting point of Yokosuka’s unique genius.


Optics  檻   1969

1965年にニューヨーク近代美術館に於いて「感応する眼(The Responsive Eye)」という展覧会が開催された。これがオプティカル・アートの最初のデモンストレーションであるといわれている。それらの要素を氏は巧みに取り入れ、肉体と幾何学パターンを写真で表現したオプティカル・イリュージョン(錯視)を呼び起こす作品を作り上げた。「裸体そのものから宇宙空間を持ったエロスそのものが感じられる。」と氏が語るように、感情を排除して無機質に追い込んだ作品群である。

In 1965, an exhibition entitled The Responsive Eye was held at the Museum of Modern Art in New York, touted as the first demonstration of optical art. A dexterous rendering of the elements of this exhibition can be found in Optics, a photographic expression of geometry and the body that evokes optical illusion. The Optics body of work, rejecting sentiment and emotion in favor of the inorganic, conveys to us in photo form Yokosuka’s declaration that “The universe of Eros is evoked, in it’s purest form, by the naked body in its most elementary state.”


A Case of Exposure  光銀事件   1989


Upon examination of his private works we see that Yokosuka was enchanted by light and the body, two elements symbolized in his 1989 work with solarization titled A Case of Exposure. Much like the trial and error of an artist sketching ideas with his pencil, Yokosuka immerses himself in the excitement of chemical reactions caused via interplay between light and silver photographic paper. The science of silver is mated with light in its various instances–the light while shooting, the light during exposure, the light during observation. Yokosuka came to call the resulting coincidental phenomena “invisible incidents of elementary particles”. Such incidents are captured in the prints of this series, each a one-and-only original print of unmatched caliber.


Homage to Man Ray  マン・レイオマージュ   1998

ダダイストとして多数のオブジェを制作したことでも知られるMan Rayを、唯一写真表現者として横須賀は敬愛した。Man Rayの様々な実験的表現、商業写真の考え方は、横須賀にとって生涯に渡って可能性を追い続けた一人の写真表現者として、唯一無二の存在であった。横須賀の最晩年のこの作品は、自らオブジェを作り、着色し、彫刻を作り上げて写真に記録し、これまでに数多く制作してきたソラリゼーションを用いて、ただ一つの写真作品を残している。

Man Ray has been noted for his numerous Dadaist and surrealist-inspired works, and is the only photographer for whom Yokosuka felt respect and affection. Yokosuka, he himself having dedicated an entire life to exploring the possibilities of photo, believed that Man Ray’s experimental approach to advertisement photography was one of a kind. Created in Yokosuka’s final years, Man Ray Homage is a series of original single prints depicting objects he made, colored, sculpted, and recorded in photograph via his oft-used solarization technique.