YOKOTA, Daisuke. Collection of 10 books and zines. 2011-2015. - MOST SIGNED
is on back order
Collection of 10 books: Back Yard; Site; Site/Cloud; Linger [Teikai]; Vertigo; Teikai. Wandering at Midnight; Toransupearento; Cell; Immerse (Teikai); The Scrap.
[Tokyo]: [Self-published], .
4to (290 × 205 mm), pp.. 25 black-and-white photographs. Black-and-white photo-illustrated saddle-stapled wrappers. Signed by Yokota in black ink on inside rear wrapper. Two ‘Parapera’ stickers laid in. Fine.
First edition, signed. Reportedly produced in an edition of around 700 copies.
[Tokyo]: [Self-published], (2011).
4to (285 × 200 mm), pp.. 35 black-and-white photographs. Black-and-white photo-illustrated saddle-stapled wrappers. Edition no. on label affixed to inside rear cover. Signed by Yokota in black ink above label. Fine.
Second edition of 100 copies, signed.
Site / Cloud.
(Tokyo): Artbeat / G/P Gallery, (2013).
Oblong 4to (220 × 297 mm), pp.. 84 black-and-white and 18 colour photographs. Edited by Shigeo Goto. Design by Goshi Uhira. Grey endpapers. Black-and-white photo-illustrated paper-covered boards, spine and front lettered in black; tiny area of wear to spine. Signed by Yokota in black ink on rear free endpaper. Fine.
First edition, signed copy.
(London): Akina, (2014).
8vo (175 × 139 mm), pp.. 52 black-and-white photographs. Quarter blue synthetic leather over grey boards, titles in white linocut to front and rear, long stitch variation, continuous support sewing. Fine.
First edition, one of 77 copies specially bound for collectors in a different format and with a different sequence to the trade edition of 300.
[Tokyo]: (Newfave), (2014).
4to (293 × 208 mm), pp. (inc. 2 gatefolds). 62 black-and-white photographs. Edited by Daisuke Yokota and Kohei Oyama. Design by Goshi Uhira. Plain endpapers. Black-and-white photo-illustrated paper-covered boards over printed wrappers, white, text in black. Signed by Yokota in black ink on front free endpaper. Fine.
First edition of 500, a signed copy.
Teikai. Wandering at Midnight.
London: Akina, 2014.
8vo (136 × 177 mm), pp.. 57 black-and-white photographs. White cloth-covered boards, aperture cut into the cloth on the front with an inset black-and-white photographic reproduction, long stitch variation, continuous support sewing. Fine.
First edition, one of 77 copies specially bound for collectors in a different format to the trade edition of 300.
(Berlin and Tokyo): (Kominek and Newfave), (2014).
Oblong 4to (210 × 297 mm), pp. (inc. yellow acetate cover sheet). Black-and-white and colour photographs printed on acetate sheets. Spiral-bound with a black backing board. Signed by Yokota in pencil on first white page. Publisher’s original translucent blue bag. Fine.
First edition of 450, a signed copy.
[Tokyo]: [Twelvebooks and Daisuke Yokota], .
4to (291 × 203 mm), pp.. 56 colour photographs. Saddle-stapled self-wrappers; staples pulling slightly. Publisher’s black printed card with edition details signed and numbered by Yokota and laid in as issued. Near-fine.
First edition of 200 copies, available in four different versions lettered A-D of 50 copies each, this is an example of ‘Type D’.
[London]: Akina, 2015.
8vo (178 × 136 mm), pp.. 34 black-and-white and 18 colour photographs. Open spine sewn binding. Publisher’s black card slipcase, edged in black and blue tape. Title printed on a dyed piece of fabric affixed to front. Fine.
First edition, one of 77 copies specially bound for collectors in a different format to the trade edition of 260.
YOKOTA, Daisuke and Kenta Cobayashi.
[Tokyo]: [Self-published], .
4to (290 × 205 mm), pp. (18 loose folded sheets). 36 colour photographs which together make up the cover image. Colour photo-illustrated card covers, white, text in black. Fine.
First edition, one of eight different versions.
Daisuke Yokota was born in Saitama, Japan in 1983. This collection of some of his books gives an excellent overview of the development of his artistic practice over the past five years. Yokota creates haunting and distorted images by using various techniques add and reduce elements from his photographs, including developing, printing, and re-photographing his material up to ten times, analogue and digital manipulation, high temperature development, and chemical experiments with unexposed sheets of film. ‘As a premise, I think there’s a hierarchy of importance regarding the documentary nature of photography. Because photography has a documentary function, the material existence is important. But I think recordings and documents are originally vague. You can’t touch it, and even if the visual details are accurately reproduced, it’s just an image on a paper. Even though there’s a specific material of paper/film in front of you, you look at the surface of it and feel some reality that used to exist. I find that reversal fun.
... when I started photography I was a big fan of Daido Moriyama, and kept copying him in some way. But I knew that wouldn’t produce anything worthwhile. Until then, I was determined to only use film, but once digital became the mainstream, I thought I should try it. Once I tried it, I realised there was no financial restrictions. I could shoot so much. I could shoot an abnormally large amount, compared to when using a film camera. And I felt as if liberated from having intent for every single photo.
... there are times when you photograph because you’re driven by the desire to see. When you’re trying capture your ideal image, you’re inevitably working with the mindset of showing it to somebody. And when someone sees that, they’re passively being showed to, and it restricts them from seeing it freely. Instead of that, I want it to be in a more disarmed state, where it’s possible to see more proactively. Most of the products and objects in today’s world has a clear specified use to them, and we’re primed with their significance and content. In there, we no longer need the act of looking. But, for example—when something is broken, we are then able to look at its materials and shape, separate from its use. Personally, I’m attracted to that. When I make work, it’s important to me how much of that phenomenon I can retain’ (Yokota speaking at Vacant, Tokyo in 2015).
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