Tomoko Sawada
(Ранее мельком:
http://forum.znyata.com/viewtopic.php?p=41685#41685 )
О себе пишет:
Tomoko Sawada was born in in Kobe, Hyogo, Japan, in 1977. She graduated from Seian University of Art and Design in 2000 and completed a postgraduate course the following year. In 2000, Sawada was awarded a Special Prize in the Canon New Century of Photography competition.
In 2004, she won the 29th Kimura Ihei Memorial Photography Award and the Young Photographer in New York Award at the twentieth Annual Infinity Awards. She held a solo exhibition of her work at Zabriskie Gallery in New York in 2003. Her work has also been shown as part of group shows like "The Self" (Photoespana, Madrid, 2002) and "About Face: Photography and the Death of the Portrait"
In Kobe, Japan, I used an instant ID photo machine to produce my first work entitled "ID400." The photo machine, a small vending machine-like contraption, can be found in numerous locations around the city.
(
http://www.imow.org/community/directory ... serId=5434 )
Еще здесь:
http://www.canon.com/scsa/newcosmos/gal ... index.html
и здесь:
http://www.photobooth.net/art/index.php?artistID=19
Большой важный текст — вот здесь:
Tomoko Sawada — Fundació Joan Miró:
It all began when Tomoko Sawada was a student at the Seian University of Art and Design in Kyoto. That year, the compulsory subject was self-portraiture - an opportunity for the young artist to tackle this classic genre and reinvent it or appropriate it in an original way. Her teacher had been a pupil of Morimura - famous for including his own portrait in masterpieces of Western art - which meant that the basic tenets of her work were clearly established.
At the age of twenty-two, Tomoko Sawada produced one of her first series, ID 400 (1999), a hundred passport-sized black-and-white photos: good girls and naughty girls, classical and modern girls, girls with thick or plucked eyebrows. The series was produced with the minimum of technical resources: a photo machine at a petrol station. After this set of individual photos, Sawada began to explore in the opposite direction: group photographs, with a series of class photos in which the uniformed girls are the artist herself (School Days, 2006). This computer-generated series questioned the place of the individual within the group, originality in the midst of uniformity, and the values of the first social mould in life, which in Japan is the school. In her work, Tomoko Sawada does not judge or condemn Japanese social customs but simply makes the viewer notice them. In Omiai (2001), she concentrated on the continuing practice of arranged marriages (10% of marriages since 1995, but 70% fifty years ago). The girl's parents have a portfolio made up in a professional photographer's studio in order to present the future bride, posing and dressed for any occasion, to possible suitors. Sawada dresses herself in traditional kimonos or Western tailored suits or as a professional woman, to present these candidates for marriage in the appropriate poses for catching the ideal husband.
…Gothic and Kawaii
For the exhibition in the Espai 13 at the Joan Miró Foundation, Tomoko Sawada has created a new series of photographs - Decoration - in which she portrays a way of dressing that can be seen in particular in the Harajuku district in Tokyo: the Gothic Lolitas.
http://fundaciomiro-bcn.org/exposicio.p ... osicio=909
Interview
June 11, 2008
Tomoko Sawada
Интервью на Artkrush предваряется таким сообщением:
Tomoko Sawada is a fast-rising star in Japan's contemporary photography scene. Her self-portraits from the past decade explore the endless permutations of a national female identity. Japanese independent curator Noriko Fuku — who co-organized New York's International Center for Photography group show Heavy Light: Recent Photography and Video from Japan with ICP curator Christopher Phillips — talks to Sawada about her work and the ideas behind her multiple photographic selves.
NF: The first time I saw your work was in the New Cosmos of Photography catalogue in 2000. Your work ID400 (1999) won the Special Prize. At the time, I had a hunch that you were from the Kansai region. Your work has a particularly Kansai sense of vitality and humor. Can you tell me a bit about that work and how you came to make it?
TS: I first came across self-portraiture as a student in junior college. After transferring to a university, I began to focus on photography. I studied the history of photography, as well as the work of contemporary photographers from around the world, while learning the newest techniques on a daily basis…
…NF: When you look at the work of Morimura or Yanagi, what do you think the similarities and differences are between your own work and theirs?
TS: My work is often compared with Morimura's, although not with Yanagi's. The first artist I knew about who was making self-portraits was Cindy Sherman, and Morimura was the second. Since he was a famous person out of a textbook to me, being in the same exhibition with him was like being in the same company as Andy Warhol or Man Ray. But as artists, the only thing Morimura and I have in common is a methodology; otherwise, our themes are completely different.
Весь текст:
http://www.artkrush.com/167185
Подборка публикаций:
http://www.zabriskiegallery.com/Sawada% ... eviews.htm
Несколько работ на artnet:
http://images.artnet.com/picture.asp?da ... filetype=2
http://www.artnet.com/artist/160804/tomoko-sawada.html
См. также обзор здесь:
The Many Facets Of Tomoko Sawada
…In digital worlds, people would say iPhoto, therefore I am. Tomoko took the shots in the late 90s in a conventional photo booth located in a parking lot along the Kobe subway, where she used the restroom in front of the booth to dress up, unintentionally scaring away some of the restroom’s vistors.
http://pingmag.jp/2008/02/25/the-many-f ... ko-sawada/
