1997 Tokyo Comedy, Wiener Secession, Vienna, Austria
2000 Viaggio Sentimentale, Centro per l’Arte Contempora-
nea Luigi Pecci, Prato, Italy
2002 Araki Nobuyoshi: Hana-Jinsei, Kyoto Museum of
Contemporary Art, Kyoto, Japan
2002 Nobuyoshi Araki: Tokyo Still Life, Helsinki City Art
Museum, Helsinki, Finland
Selected Group Exhibitions
1971 The 10th Contemporary Art Exhibition of Japan,
Tokyo Metropolitan Art Museum, Tokyo, Japan
Japan15 Photographers, The National Museum of
Modern Art, Tokyo, Japan
1977 Neue Fotografie aus Japan, Graz City Museum, Graz,
Austria
1979 Japan: A Self-Portrait, International Center of Photo-
graphy, New York, New York
1989 Tokyo: A City Perspective, Tokyo Metropolitan
Museum of Photography, Tokyo, Japan
1991 Japanese Photography in the 1970s, Tokyo Metropoli-
tan Museum of Photography, Tokyo, Japan
1994 Liquid Crystal Futures: Contemporary Japanese Photo-
graphy, The Fruitmarket Gallery, Edinburgh, Scotland
2001 Facts of Life: Contemporary Japanese Art, Hayward
Gallery, London, England
Open City: Street Photographs Since 1950, Oxford: Museum
of Modern Art Oxford, England
Selected Works (Books)
Satchin, 1963
Sentimental Journey (Senchimentaru na tabi), 1971
The Camera Between Men and Women (Otoko to onna no
aida ni wa shashinki ga aru), 1977
Yoko, My Love (Waga’ai Yoko), 1978
Tokyo Elegy (Tokyo ereji), 1981
World of Girls (Shojo sekai), 1984
Tokyo Autumn (Tokyo wa aki), 1984
Tokyo Story, 1989
Towards Winter: Tokyo, A City Heading for Death, 1990
Sentimental Journey/Winter Journey, 1991
Tokyo Love, with Nan Goldin, 1995
Naked Faces, 1996
Obscenities and Strange Black Ink Stories, 1997
Tokyo Luck Hole, 1997
Tokyo Comedy, 1997
Flowers, 1998
Tokyo Nostalgia, 1999
Sentimental Photography, Sentimental Life, 1999Futher Reading
Araki, Nobuyoshi.Araki by Araki: The Photographer’s
Personal Selection 1963–2002. Tokyo: Kodansha Inter-
national, 2003.
Araki, Nobuyoshi.Shikijyo: Sexual Desire. Text by Jean-
Christophe Ammann, Peter Weiermair, and Mario Kra-
mer. Zurich: Edition Stemmle, 1997.
Brougher, Kerry, and Russell Ferguson.Open City: Street
Photographs Since 1950. Oxford: Museum of Modern
Art Oxford, 2001.
Grosenick, Uta, and Burkhard Riemschneider, eds.Art at
the Turn of the Millennium.Ko ̈ln: Taschen, 1999.
Sans, Je ́roˆ me. ‘‘Araki Interviewed by Je ́roˆ me Sans.’’ In
Araki. Zurich: Taschen, 2003.DIANE ARBUS
American
Diane Arbus, whose singular, often shocking por-
traits emerged among the most iconic and modern
images of the 1960s, famously wrote in 1971, ‘‘A
photograph is a secret about a secret. The more it
tells you the less you know’’ (Arbus 1971, 64).
Although Arbus’s quote reveals her skepticism
toward the common assumption that photography
tells the truth—in other words, that it is a visually
accurate medium—her work has nonetheless been
linked to the documentary photographic tradition.
By the late 1950s American photographers in par-
ticular began to register their discontent with the
prevailing photographic conventions that focused
on formalism or ‘‘fine art’’ aesthetics. Photojour-
nalism—including the role it played in larger cul-
tural upheavals, such as Vietnam, the civil rights
and women’s movements—emerged as a viable
mode of photography. Moreover, the role of the
photographer in relation to his or her subject came
under scrutiny. Post-World War II figures such as
Lee Friedlander, Garry Winogrand, Danny Lyon,
Bruce Davidson, and Arbus, among others,
pointed their cameras toward the common, every-
day, and often ugly realities of urban existence and
the individual subject. Their vernacular approach,
which actually borrowed from both the fine art andARBUS, DIANE