Kansuke Yamamoto
9-1/8 x 6-13/16 inch
23.1 x 17.3 cm
Nonaka-Hill is pleased to present a solo exhibition of works by Kansuke Yamamoto from September 22 to November 10, 2018.
Kansuke Yamamoto, a Surrealist poet and photographer, was born in Nagoya in 1914 and died there in 1987. Yamamoto’s father, Goro Yamamoto, was a photographer working in the Pictorialist style and owner of Nagoya’s first photography supply store. In this environment, Yamamoto naturally absorbed the mechanics of photography, but was initially ambivalent about the medium. He began to write poetry in 1930, and entered Tokyo’s Meiji University in the French Literature Department where he was exposed to the latest Western art movements and theories, such as Surrealism, Dadaism, Bauhaus, Neue Sachlichkeit. Attracted to Surrealism, a movement concerned with the unconscious, chance, and unexpected juxtapositions, Yamamoto returned return to Nagoya in 1931 and began, at age of 17, to “practice Surrealism in photography”. He used a variety of methods, including collage and photomontage. The fourteen vintage photographic works on view were produced by Yamamoto between 1935 and 1968, and demonstrate Yamamoto’s Surrealist inflections into landscape, still-life, figuration, self-portraiture, narratives and abstraction, distinctively merged with Japanese aesthetic characteristics.
Yamamoto’s poetic sensibility also embraced a sharp eye for social criticism, responding to the times in which he lived. The Taisho Era, which had embraced foreign influence, lifestyle choices and free-thought ended in 1926 when Yamamoto was only 12 years old. The following Showa Era, which lasted for the rest of Yamamoto’s life, was militaristic and aggressively suspicious of foreign influences, especially Communism (which was known to be linked to the European Surrealists). In Yamamoto’s case, the 1937 exhibition “Kaigai Chogenjitsushugi Sakuhinten” (Exhibition of Overseas Surrealist Works) inspired him to publish the Surrealist poetry journal Yoru no Funsui (“The Night’s Fountain”), but Yamamoto was forced to cease publication after the fourth volume due to censorship from the “Thought Police” (formally: Special Higher Police / Tokubetsu Koto Keisatsu). Avant-garde thought was under-attack. Some artists were jailed, while others lived in fear. Yamamoto and his colleagues continued to operate carefully and quietly “under the radar” through the wartime years with a strong sense of community. Yamamoto was a key member of several artist and poet groups including VIVI (which he founded) and with the avant-garde poets’ group VOU, organized by Katsue Kitasono, where Yamamoto contributed poetry and visual works to the group’s journal and “Keisho” exhibitions until 1978, when VOU dissolved.
Yamamoto, by his nature, was never self-promoting – not even when he corresponded with French Surrealists to publish their works. He lived through oppressed times, but continued to work with commitment to Surrealism while other photographic trends formed in Japan and became historicized. A 2001 solo exhibition at Tokyo Station Gallery, co-curated by John Solt and Ryuichi Kaneko brought a new audience to Yamamoto’s lifelong work.
Nonaka-Hill’s exhibition marks a return of Yamamoto’s work to Los Angeles after two museum exhibitions in 2013. It was subject of a two-artist exhibition at J. Paul Getty Museum entitled: “Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto”(1), and was featured in LACMA’s exhibition “Drawing Surrealism” (2).
Yamamoto’s work is included in the collections of the Nagoya City Art Museum, Tokyo Photographic Art Museum, Santa Barbara Museum of Art, the J. Paul Getty Museum, The Art institute of Chicago, and others.
(1) curated by Judith Keller and Amanda Maddox
(2) curated by Leslie Jones
- Kansuke YamamotoI’d Like to Think While Inside the Body of A Horse, 1964Gelatin silver printImage and paper:
9 x 7-3/8 inch
22.8 x 18.7 cm - Kansuke YamamotoSelf-Portrait, 1949Gelatin silver printImage and paper:
9-1/8 x 6-13/16 inch
23.1 x 17.3 cm - Kansuke YamamotoTitle unknown, ca. 1935Gelatin silver printImage & paper size:
9-3/16 x 11-13/16 inch
23.3 x 30 cm - Kansuke YamamotoMy Thin-aired Room, 1956Gelatin silver printImage size: 9-11/16 x 10-1/2 in, 24.7 x 26.5 cm
Paper size: 10 x 10-3/4 in, 25.3 x 27.1 cm - Kansuke YamamotoMy Thin-aired Room, 1956Gelatin silver printImage size: 9-11/16 x 10-1/2 in, 24.6 x 26.7 cm
Paper size: 10 x 10-3/4 in, 25.3 x 27.3 cm - Kansuke YamamotoWork, 1956Gelatin silver printImage and paper size:
6-3/16 x 11-7/16 inch
15.7 x 29.1 cm - Kansuke YamamotoWork, 1958Gelatin silver printImage and paper size:
16-5/16 x 10-3/8 inch
41.4 x 26.3 cm - Kansuke YamamotoHeart in Motion - Shadow of Happiness, 1950Gelatin silver printImage size: 9 3/4 x 7 1/2 in
Paper size: 10 1/8 x 7 3/4 in
Image size: 24.7 x 19.2 cm
Paper size: 25.6 x 19.7 cm - Kansuke YamamotoFloating City, 1950Collage on gelatin silver print, paperImage size: 6 1/8 x 8 3/4 in
Paper size: 6 3/4 x 9 1/8 in
Image size: 15.7 x 22.3 cm
Paper size: 17 x 23 cm - Kansuke YamamotoWork, 1959Gelatin silver printImage & paper size: 7-1/4 x 9-11/16 in, 18.5 x 24.9 cm
- Kansuke YamamotoTitle unknown, 1950Gelatin silver printImage & paper size: 9 5/8 x 11 3/4 in
Image & paper size: 24.4 x 29.9 cm - Kansuke YamamotoWork, 1959Gelatin silver printImage size: 6-7/8 x 7 in, 17.5 x 17.7 cm
Paper size: 8 x 7-5/8 in, 20.4 x 19.3 cm - Kansuke Yamamotooh Agatha, 1969Gelatin silver prints mounted on wooden panelImage size: 2 3/4 x 4 1/8 in each
Panel size: 20 x 23 7/8 x 1 in
Image size: 7 x 10.5 cm each
Panel size: 50.8 x 60.6 x 2.5 cm - Kansuke YamamotoWork, 1959Gelatin silver printImage & paper size: 11-1/2 x 7-13/16 in, 29.2 x 19.9 cm
- Kansuke YamamotoButterfly, 1970Gelatin silver printImage size: 6-5/16 x 4-1/2 in, 16.1 x 11.5 cm
Paper size: 12 x 10-1/8 in, 30.5 x 25.7 cm
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Tadaaki Kuwayama
Toshio Matsumoto
Keita Matsunaga
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Kimiyo Mishima
Kunié Sugiura
Takuro Tamayama
Tiger Tateishi
Sofu Teshigahara
Shomei Tomatsu
Wataru Tominaga
Hosai Matsubayashi XVI
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KENTARO KAWABATA / BRUCE NAUMAN
SAORI (MADOKORO) AKUTAGAWA: CENTENARIA
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NONAKA-HILL ♥ TATAMI ANTIQUES: A holiday sale of unique objects from Japan
TAKASHI HOMMA : REVOLUTION No.9 / Camera Obscura Studies
TATSUMI HIJIKATA THE LAST BUTOH: Photographs by Yasuo Kuroda
Kiyomizu Rokubey VIII: CERAMIC SIGHT
Masaomi Yasunaga: 石拾いからの発見 / discoveries from picking up stones
SHUZO AZUCHI GULLIVER ‘Synogenesis’
Koichi Enomoto: Against the day
Tatsuo Ikeda / Michael E. Smith
Hiroshi Sugito: the garden with Zenzaburo Kojima
Zenzaburo Kojima: This very green
Tomohisa Obana: To see the rainbow at night, I must make it myself
Daisuke Fukunaga: Beautiful Work
- 2021 -
Natsuyasumi: In the Beginning Was Love
Takashi Homma: mushrooms from the forest
– 2020 –
Hosai Matsubayashi XVI & Trevor Shimizu
Sterling Ruby and Masaomi Yasunaga
– 2019 –
A show about an architectural monograph
Yutaka Matsuzawa
Yutaka Matsuzawa through the lens of Mitsutoshi Hanaga
Takuro Tamayama & Tiger Tateishi
Kunié Sugiura
Masaomi Yasunaga
Miho Dohi
Wataru Tominaga
Naotaka Hiro
Parergon: Japanese Art of the 1980s and 1990s
Tadaaki Kuwayama
– 2018 –
Toshio Matsumoto
Kentaro Kawabata
Kansuke Yamamoto
Kazuo Kadonaga: Wood / Paper / Bamboo / Glass
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-2025-
Artillery Magazine, Sawako Goda
-2024-
Artsy, Nonaka-Hill
Richesse, Nonaka-Hill Kyoto
Bijutsutecho, Nonaka-Hill Kyoto
The Art Newspaper, Nonaka-Hill Kyoto
Meer, Kyoko Idetsu
Bijyutsutecho, Masaomi Yasunaga
Switch, Masaomi Yasunaga
ARTnews JAPAN, Masaomi Yasunaga
Richesse, Masaomi Yasunaga
Art Basel, Daisuke Fukunaga, Imai Ulala
Art Basel, Kazuo Kadonaga, Sofu Teshigahara
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ADF webmagazine, Yasuo Kuroda, Tatsumi Hijikata
e-flux, Sanya Kantarofsky, Yasuo Kuroda
Los Angeles Times, Kenzi Shiokava
Artillery, Masaomi Yasunaga
Contemporary Art Daily Shuzo Azuchi Gulliver
- 2022 -
Contemporary Art Daily, Tomohisa Obana
ARTE FUSE, Daisuke Fukunaga
Contemporary Art Daily, Daisuke Fukunaga
Contemporary Art Review Los Angeles (Carla), Daisuke Fukunaga
What's on Los Angeles, Daisuke Fukunaga
Hyperallergic, Daisuke Fukunaga
Artillery, Kentaro Kawabata
Larchmont Buzz, entaro Kawabata
- 2021 -
Art Viewer, Natsuyasumi: In the Beginning Was Love
Hyperallergic, Natsuyasumi: In the Beginning Was Love
Art Viewer, Takashi Homma
Hyperallergic, Busy Work at Home
Art Viewer, Busy Work at Home
Hyperallergic, Ulala Imai
Contemporary Art Review Los Angeles (Carla), Ulala Imai
Contemporary Art Daily, Ulala Imai
artillery, Ulala Imai
Special Ops, Ulala Imai
Art Viewer, Ulala Imai
artillery, Matsubayashi & Trevor Shimizu
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Ceramic Now, Sterling Ryby and Masaomi Yasunaga
Hypebeast, Sterling Ryby and Masaomi Yasunaga
Art Viewer, Sterling Ruby and Masaomi Yasunaga
Air Mail, Sterling Ruby and Masaomi Yasunaga
Los Angeles Times, Kaz Oshiro
ArtnowLA, Kaz Oshiro
What's on Los Angeles, Kaz Oshiro
KCRW, Kaz Oshiro
Tique, Kaz Oshiro
Contemporary Art Daily, Kaz Oshiro
Art Viewer, Kaz Oshiro
Contemporary Art Daily, Sofu Teshigahara
Art Viewer, Sofu Teshigahara
KCRW, Sofu Tsshigahara
Hyperallergic, Nonaka-Hill
Los Angeles Times, Keita Matsunaga
– 2019 –
Los Angeles Times, Tatsumi Hijikata
Art Viewer, Tatsumi Hijikata, Eikoh Hosoe
Contemporary Art Review Los Angeles, Tatsumi Hijikata, Eikoh Hosoe
ArtAsiaPacific, Yutaka Matsuzawa
Los Angeles Times, Tatsumi Hijikata
AUTRE, Tatsumi Hijikata, Eikoh Hosoe
Los Angeles Times, Nonaka-Hill
ARTFORUM, Takuro Tamayama, Tiger Tateishi
Art Viewer, Takuro Tamayama, Tiger Tateishi
KCRW, Nonaka-Hill
LA WEEKLY, Nonaka-Hill
AUTRE, Takuro Tamayama, Tiger Tateishi
ArtsuZe, Takuro Tamayama, Tiger Tateishi
ARTFORUM, Review: Tadaaki Kuwayama, Rakuko Naito
Art Viewer, Masaomi Yasunaga, Kunié Sugiura
Los Angeles Times, Masaomi Yasunaga
KQED, Tadaaki Kuwayama, Rakuko Naito
Contemporary Art Daily, Naotaka Hiro, Wataru Tominaga, Miho Dohi
Los Angeles Times, Miho Dohi
Los Angeles Review of Books, Miho Dohi
Bijutsu Techo, Naotaka Hiro, Wataru Tominaga, Miho Dohi
Art Viewer, Miho Dohi
Art & Object, Parergon
COOL HUNTING, Felix Art Fair
Art Viewer, Tadaaki Kuwayama
artnet news, Nonaka-Hill
Contemporary Art Review Los Angeles (Carla), Tadaaki Kuwayama
– 2018 –
Art Viewer, Kentaro Kawabata
Contemporary Art Daily, Kazuo kadonaga
Los Angeles Times, Kazuo Kadonaga
ARTFORUM, Kazuo Kadonaga
Contemporary Art Daily, Shomei Tomatsu
KCRW, Kimiyo Mishima, Shomei Tomatsu
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