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Sentimental Journey

Nobuyoshi ARAKI

Publisher:  KAWADE SHOBO SHINSHA

45 years after his honeymoon holiday with wife Yoko The limited reprint of a legendary photo book

Self-published in 1971, the rare original edition saw a print run of only a thousand copies. Now, the reprint the world has been waiting for has arrived.

• Edition includes typographic error on cover, spine and in the introduction text.
• E-mail when restocked

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Nobuyoshi Araki ‘Sentimental Journey 1971 – 2017’

295,00  DKK incl. VAT

Published with an exhibition at the Tokyo Photographic Art Museum, this profoundly poignant collection of photographs by Nobuyoshi Araki focuses on a single theme from his vast oeuvre: his wife Yoko. As Araki himself has said, “It’s thanks to Yoko that I became a photographer”. From their first encounter in 1968 until her premature death from ovarian cancer in 1990, Yoko was his most important subject and muse. The book explores Araki’s relationship with the woman he most treasured, beginning with his record of their honeymoon, and continuing with numerous photos in which she is the subject, as well as many others from after her passing that give a strong sense of her presence.

The exhibition title Sentimental Journey 1971-2017 refers to Araki Nobuyoshi’s “I-Photographs,” beginning with his self-publication of Sentimental Journey as a photobook in 1971, and to his life-long journey as a photographer.”

The exhibition Sentimental Journey 1971-2017 took place at the Tokyo Photographic Art Museum from July 25th to September 24th, 2017.

Specifications:    Hehe Press ・ 2017 ・ Hardcover ・ 18 x 25 cm. / 288 pages ・ English / Japanese ・ 9784908062186

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Singulart Magazine > Art History > Artworks under the lens > Sentimental Journey by Nobuyoshi Araki: An Exploration of Love

Sentimental Journey by Nobuyoshi Araki: An Exploration of Love

“ Sentimental Journey ” by Nobuyoshi Araki is a series of photographs that reflect love, togetherness, and mortality. Created in 1971, this series documents the routine yet extraordinary experiences of Araki’s honeymoon with his wife Yoko. With “Sentimental Journey,” Araki guides spectators to peep into his life, where ecstasy and despair coexist in a relationship. He has developed a piece that is both deeply personal and universally appealing to the human heart and soul.

Who Was Nobuyoshi Araki?

Nobuyoshi Araki – or just Araki – is one of the most prominent contemporary Japanese photographers. Araki was born in Tokyo in 1940, and he has been active for several decades and addresses various topics, including eroticism, kinbaku, and love for his wife, Yoko, who passed away. His style is dark and sexual, though emotionally honest, which makes him stand out from the majority of photographers who work in a rather provocative and sometimes even suggestive manner.

FUN FACT: Araki often incorporates cats into his photography, whether they’re posing alongside models or simply lounging in the background of his shots.

Araki started his photographic journey in the 1960s after attending Chiba University to study photography and film. He came into prominence with his series “Sentimental Journey” (1971) which photographed his honeymoon with Yoko. This series laid the foundation for most of his subsequent work meaning personal and artistic. To date, Araki has released more than 500 books, which makes him the most prolific living photographer.

He explores subject matters such as life, death, and sex, among others, within the context of Tokyo’s youth culture. All the photographs taken by Araki are seen to be very personal and naturally erotic and dramatic at the same time. However, Araki’s work has been censored and met controversies but his photography is exhibited in galleries and museums across the world.

What is Happening in Sentimental Journey?

“Sentimental Journey” is more than just a simple photo book; it is a documentary of Araki’s honeymoon with his wife Yoko in 1971. The series is a touching story that focuses on the emotions and truth of their journey. It is filled with snapshots of life and love, as well as displays of vulnerability between the couple. Consequently, looking through these photos, one is drawn into Araki’s personal life, experiencing his happiness, affection, and tenderness.

The journey described in the series is both physical and figurative. It begins with their wedding, moves on to their honeymoon, and offers periodic peeks at their lives together. Thus, Araki portrays both the ordinary and the fantastical in equal measure, highlighting the relatability of the human experience. The pictures range from happiness and hugs to solitude and contemplation. Each image is full of fleeting moments, ephemeral light, and the passage of time.

What’s So Special About Sentimental Journey?

“Sentimental Journey” is probably the novel that can evoke a great deal of bustle due to the genuine nature of its plot and the depth of the characters. It provides some implications of further episodes, such as in Yoko’s illness and death, which enrich the themes of the show with a certain sadness of just sharing some happy moments. This contradiction between something as ordinary and as simple as two strangers having a cup of coffee together and the dramatic, individual emotions and experiences they go through in life makes Araki’s narrative complex and engaging. 

Araki has been more or less influential to the current generation of photographers and his pacific and direct style has left a stamp on the art of photography where one could not imagine it could be engraving the work that belongs to the post-modernist age. His  Sentimental Journey remains a benchmark for any kind of sentimental photography where there is emotion, controversy, and a search for meaning in the human experience.

Interesting Facts About Sentimental Journey

Personal Yet Universal: Despite its deeply personal nature, “Sentimental Journey” resonates universally. The themes of love, intimacy, and loss are experiences that many can relate to, making the series both a personal memoir and a reflection on universal human experiences.

Candid Shots: Araki’s candid photography style in this series contrasts sharply with the more staged and composed erotic works he is often associated with. This rawness adds a layer of authenticity and immediacy to the images.

A Continuation: “Sentimental Journey” is the beginning of a long-term project that Araki continued with “Winter Journey” and “Sentimental Journey/Winter Journey,” documenting Yoko’s illness and eventual death. These series combined create a profound narrative arc that covers love, life, and loss.

Black and White Film: The use of black and white film in “Sentimental Journey” adds to the nostalgic and timeless quality of the photographs. The absence of color focuses attention on the emotion and composition of each image.

Artwork Spotlight: FOR JOHN

FOR JOHN by Araki is available on Singulart. This artwork is a moving series that is dedicated to the music artist John Lennon and reveals how Araki negotiates the personal and cultural domains successfully. Like “Sentimental Journey,” this series serves as a perfect example of Araki’s ability as a versatile and emotional artist.

Are you looking for a piece of artwork from Nobuyoshi Araki?

Singulart has limited edition prints of Nobuyoshi Araki. If you are looking for a piece of Araki‘s artwork for sale, simply click on the artwork or the button below to discover more!

Frequently Asked Questions

Who is the famous japanese photographer araki.

Nobuyoshi Araki (born 1940) is one of the most active photographers in Japan, having published over 500 photobooks and countless images since 1970. 

Who is the Japanese controversial photographer?

Born in 1940, Nobuyoshi Araki is a well-known and controversial Japanese photographer whose subjects are attractive women and his obsession with Tokyo, Japan, the city of his birth.

“Sentimental Journey” by Nobuyoshi Araki transcends mere photography; it’s a deeply personal and philosophical exploration. Through explicit and honest documentation, Araki invites us into his tempestuous love story with Yoko. The series showcases Araki’s storytelling prowess and his knack for finding beauty in the ordinary.

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Jesse’s book review – A sentimental Journey by Araki

Posted by Bellamy | Jul 31, 2013 | Photography | 7 |

A Sentimental Journey is a documentation of his wedding and honeymoon with his wife Yoko. While often sold as one, A Winter Journey is the title of the book that documents his wife’s last days (for this review I will just call it A Sentimental Journey). Getting right into it, the whole series works entirely because of its honesty. Diana Airbus once said that, “a photograph of two people in bed in shocking because a photograph is private, where as a movie showing two people in bed is not shocking because a movie is public.” For Araki this comes perfectly into play, because with A Sentimental Journey he doesn’t leave out a single detail and we see the entire private event as it is. When they have sex…we see it…and when they wake up in the morning…we see it. On first look it isn’t necessarily even beautiful, shots are rushed, there is not a lot of attention to compositions, a lot of overexposure/underexposure, but after going through the book; it’s entirely beautiful because of its straightforward honesty and subsequent lasting effect.

Bridging the gap between the optimism of first getting married and Yoko’s death are foreboding photographs of her death that at the time they were shot were entirely unassuming. The most obvious instance of this is the famous photo of his wife asleep in a boat during their honeymoon. In the photo she asleep in fetal position symbolizing birth, yet the context insinuates death. The fact that she is on a boat relatively of the same make that is used to send off (in certain cultures) the dead to the next life supports this insinuation. Also, during the honeymoon he snaps, a grave juxtaposed with a photo of a butterfly. A butterfly’s life cycle of metamorphosis when juxtaposed against a grave is highly suggestive.  Not to mention the semi nude photos of her either lying prone in an empty field or slumped in a chair…

This all leads us to A Winter Journey. Japanese culture from haikyo and their festivals, to their literature and film, carry a preoccupation with the seasons and what they symbolize. Yoko dying in winter is entirely symbolic and another instance of an unassuming but significant occurrence in A Sentimental Journey. Araki captures this perfectly with photos of day old snow in a gutter, dead tree outlines, and this wooden sign of a woman and her cat that is shot multiple times facing inclement weather (the wooden sign is significant because a subject of a lot of the photos was their cat). This all builds up the narrative and mystic of the book. And I as I recall saying for another book review, these are all novelistic elements that writers use to tell stories…yet Araki is able to do it perfectly with pictures alone.

Admittedly, I bought this book a bit pretentiously. I was offered a chance to attend a private exhibition that Araki occasionally holds for friends and such. I hadn’t a single Araki book at the time except for Naked Faces: The Works of Nobuyoshi Araki-1 (the red book in the series that has a color and a number and theme lol… I got it from Book-Off for 5 USD). I went to my favorite book shop in Tokyo, So Books and asked the owner Ikuo San that if he had my chance and my limited funds which book would he try to get signed and he recommended A Sentimental Journey. I didn’t even know the story behind it except from what I had seen in whatever volume of the great documentary series called Contacts that he was in. I haven’t met too many famous people in my life, but being in Tokyo I am friends with a lot of semi famous or people who I feel will be famous and have found they all have certain characteristics. The main one being mix of charisma and contradictory complexity. Araki even as he is now in failing health is the entire focus of whatever room he is in. When he laughs everyone does and when he speaks everyone is silent. Yet, he is a complex character, for instance at the gallery while making a grand sweeping gesture while talking, knocked over a little kid and didn’t even notice. Further proof of this came after I was given a quick introduction, stuttered through my bad Japanese and asked him to sign my book. He flipped through it making some comments and signed it. He took a serious tone after drawing his face and the year, because he added tears and said it is because he stills cries and thoughtfully took a moment to reflect. I thanked him and bowed, and before I could take a step back he had the room laughing again because of some completely unrelated out of context joke. I nervously laughed after having genuinely felt sorry a split second ago and could do nothing but go back for the free wine. A month or so ago I was talking with another photographer who got a chance to go to the same private exhibition and after feeling special about telling him my story, he told me Araki did the same exact thing for his copy of A Sentimental Journey tears and all. He really is a complex character.

Araki has to be the most published Japanese photographer. His books are dimes a dozen and they all vary. An original edition of A Sentimental Journey is the price of a digital Leica M. However the great reissued editions can be had for around 40 dollars. It really should be a stable in any photo book library because of its honesty and storytelling.

Jesse Freeman is a friend, photographer and movie buff. He has a great knowledge of photography books and classic cinema. He can also be relied upon for decent music recommendations. You can more of his work and passions at the following places: http://jessefreemanportfolio.tumblr.com/ http://www.flickr.com/photos/imnothinginparticular/ http://imnothinginparticular.tumblr.com/

This is one of those books that slips under the radar, yet makes for an interesting and pleasant read. I shall be sure to scour the shelves of my local Book Off to see if I can find something like this. Thanks Jesse.

Japancamerahunter

About The Author

Camera hunter, photographer, camera geek, Tokyoite and Englishman all rolled into one gracefully balding package. I have been living and working in Tokyo for 14 years now and it is my home. Tokyo is heaven for cameras and I know the secret spots and special places. Let me be your 'camera enabler'.

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this is hands down of my favorite photo books. thanks for posting this Bellamy and thanks for doing the review Jesse.

Thank you for checking it out.

Nice review. Thanks

Araki is my favorite photographer. I have a handful of his books and have to agree this is one of his best. Great review Jesse and pretty awesome that you got to meet him, that is my all time goal.

Thanks for checking it out…it was really crazy to meet him~

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Sentimental journey/winter journey: araki nobuyoshi's contemporary shishōsetsu.

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Until 29 August 2021

THE JABLONKA COLLECTION

Nobuyoshi Araki (*1940) numbers among Japan’s most important and productive contemporary photographers. Though known primarily for his nudes, as provocative as they are now controversial, Araki’s oeuvre encompasses a diversity of themes including cities, still lifes, and everyday themes.

This exhibition of the ALBERTINA MODERN concentrates on the development of the artist’s influential I-Photography , with which he began radically renewing classic documentary photography in the 1960s under the influence of Tokyo’s various avant-garde movements. His photographic debut about the working-class boy Satchin and his brother Mabo (1963) is included here, as are his series on Tokyo’s urban life.

At the center of this presentation is Araki’s grandiose and influential series Sentimental Journey (1971–2010). In this long-running project, he makes a theme of his own life in the form of blunt, snapshot-like photos of his wife Yoko . Much like in a diary, these intimate photos show their honeymoon, their life together as a couple, and Yoko’s untimely death. The artist only finished working on this autobiographic theme a few years ago with a final continuation of the series.

This exhibition draws on the collector and former gallery owner Rafael Jablonka’s comprehensive holdings, which were transferred to the Albertina in 2019. Araki’s long-time companion, Rafael Jablonka was able to build up one of the most distinguished collections of Araki photographs, which assembles works from different creative phases and can be seen here for the first time in excerpts under a thematic focus.

On view from 26 May until 29 August 2021

Nobuyoshi Araki | Sentimental Journey, 1971 | The ALBERTINA Museum, Vienna - The JABLONKA Collection© Nobuyoshi Araki

Nobuyoshi Araki | Sentimental Journey, 1971 | The ALBERTINA Museum, Vienna - The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | The Past, 1972-1973 | The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Sentimental Journey : Winter Journey, 1990 | The ALBERTINA Museum, Vienna - The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Laments, 1990-1996 | The ALBERTINA Museum, Vienna – The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Private Photography, 1993 | The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Self portrait with Yoko, 1991 | The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Sentimental Journey : Winter Journey, 1.2.1990 | The ALBERTINA Museum, Vienna – The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Sentimental Journey : Winter Journey, 30.10.1989 | The ALBERTINA Museum, Vienna – The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Sentimental Journey : Spring Journey, 2010 | The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Tokyo, 1995 | The ALBERTINA Museum, Vienna – The JABLONKA Collection © Nobuyoshi Araki

Nobuyoshi Araki | Private Photography, 1993 | The ALBERTINA Museum, Vienna – The JABLONKA Collection © Nobuyoshi Araki

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Nobuyoshi Araki - Sentimental Journey 1971 - 2017 - Hardcover – January 6, 2017

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• Print length 288 pages
• Language English, Japanese
• Publisher Hehe
• Publication date January 6, 2017
• Dimensions 9.84 x 0.94 x 7.28 inches
• ISBN-10 4908062188
• ISBN-13 978-4908062186
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• Publisher ‏ : ‎ Hehe (January 6, 2017)
• Language ‏ : ‎ English, Japanese
• Hardcover ‏ : ‎ 288 pages
• ISBN-10 ‏ : ‎ 4908062188
• ISBN-13 ‏ : ‎ 978-4908062186
• Item Weight ‏ : ‎ 1.85 pounds
• Dimensions ‏ : ‎ 9.84 x 0.94 x 7.28 inches
• #5,887 in Photography & Video

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Nobuyoshi Araki

1940, Tokyo, Tokyo prefecture

One of the most prolific figures in the field of Japanese photography, Nobuyoshi Araki (b. 1940) has produced countless pictures and more than five hundred photobooks since 1970. Such an abundant body of work defies easy categorization, an endeavor made all the more challenging by Araki’s experimentation with media including collage, film, and, more recently, Polaroid instant technology . Araki’s wry, irreverent work, frequently employing sexual subject matter, has often ignited controversy and earned him a degree of notoriety. The frenetic nature of his photographs, which he tends to shoot with very little preparation, is emblematic of the Japanese experience of World War II and its chaotic aftermath.

Araki entered Chiba University in 1959, majoring in photography and film. The regimented and technical nature of the program, then situated in the engineering department, was unappealing to the nonconforming Araki. The film he turned in as his final project, however— Children in Apartment Blocks (1963)—served as the germ for one of his earliest photographic series, for which he received an award from Taiyo magazine the following year. Satchin (1964) focuses on schoolchildren in the Shitamachi neighborhood of Tokyo, which remained largely unchanged amid the flurry of rapid urban transformation leading up to the 1964 Tokyo Olympics. After graduation, Araki took a job as a commercial photographer for the advertising firm Dentsu. While he found the work frustratingly dull, he made good use of Dentsu’s well-stocked facilities to pursue photography on his own time, going so far as to illicitly use the company’s photocopier to produce an early photobook.

Two events pivotal to Araki’s life and work took place in the late 1960s: his father died in 1967, and he met his future wife, Yoko Aoki, then working as a typist at Dentsu, the following year. Death and love would become two of the principal driving forces behind Araki’s profoundly human photography, and Yoko would become Araki’s most frequent photographic subject. The couple wed in 1971 and embarked on a honeymoon, which Araki extensively photographed. With its narrative style, personal tone, and vernacular aesthetic, the resulting volume— Sentimental Journey (1971)—is regarded as one of the most important Japanese photobooks of the twentieth century. Araki’s growing success as a photographer allowed him to leave Dentsu to focus solely on his artistic career in 1972.

Araki has referred to his wide-ranging and eclectic work as “I-photography,” after the “I-novel,” a Japanese confessional literary genre often written in the first person. His unwavering concentration on his own life and experiences—sexual and otherwise—pushed against the dominant documentary photographic aesthetic, epitomized by such figures as Hiroshi Hamaya, as well as the are-bure-boke (grainy, blurry, and out-of-focus) aesthetic of the Provoke movement, prevalent in Japanese avant-garde photography beginning in the late 1960s. Araki tackled these approaches head-on in his series Pseudo-Reportage . The related photobook, published in 1980, pairs these quasi-documentary pictures with misleading captions, underscoring the problematic nature of photographic veracity.

After Yoko passed away, in 1990, Araki began a host of new projects, even using his own diagnosis with prostate cancer in 2008 as a jumping-off point to explore the diminishing status of analog photography. 2THESKY, my Ender (2009) consists of photographs covered with salt, which will cause the object to deteriorate over time, mirroring the physical decline of the photographer himself. While he was not included in the landmark exhibition New Japanese Photography at the Museum of Modern Art in New York in 1974, organized by John Szarkowski and Shoji Yamagishi, he was included in Yamagishi’s second exhibition collaboration in the United States, Japan: A Self-Portrait at the International Center of Photography in New York in 1979. Araki gained international exposure in Europe prior to this, participating in Neue Fotografie aus Japan at the Kulturhaus der Stadt, Graz, Austria, his first group show outside Japan, in 1977. His first international solo show took place in 1992: Akt-Tokyo: Nobuyoshi Araki 1971–1991 at the Forum Stadtpark, Graz.

— Matthew Kluk

Nobuyoshi Araki Selected Bibliography

Nobuyoshi Araki’s “more is more” approach to photography

“photo devil” nobuyoshi araki discusses his freewheeling method of capturing his subjects. he describes how rather than aiming for perfection, he embraces all the noise and flaws that come with shooting whatever he is attracted to in a particular moment., works in the collection by nobuyoshi araki, pseudo-reportage, kinbaku (bondage), essays and artist talks, exhibiting “the end of modern photography”: ten artists of contemporary japanese photography and fifteen photographers today, february 2022, related exhibition.

Voyeurism, Surveillance, and the Camera since 1870

May 28, 2010–january 8, 2012.

Investigating the shifting boundaries between seeing and spying, the private act and the public image, Exposed challenges us to consider how the camera has transformed the very nature of looking. Bringing together historical and contemporary photographs, films, and video works by both unknown photographers and internationally renowned artists, this provocative exhibition examines some of the camera’s most unsettling uses, including pornography, surveillance, stalking celebrity, and witnessing violence. Exposed poses compelling and urgent questions about who is looking at whom, and why.

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Hiromi Tsuchida

Please note that artwork locations are subject to change, and not all works are on view at all times. If you are planning a visit to SFMOMA to see a specific work of art, we suggest you contact us at [email protected] to confirm it will be on view.

Only a portion of SFMOMA's collection is currently online, and the information presented here is subject to revision. Please contact us at [email protected] to verify collection holdings and artwork information. If you are interested in receiving a high resolution image of an artwork for educational, scholarly, or publication purposes, please contact us at [email protected].

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Can a Feminist Embrace Araki?

At the Museum of Sex, a new look at the prolific—and provocative—Japanese photographer.

Nobuyoshi Araki, Marvelous Tales of Black Ink (Bokuj ū Kitan) 068 , 2007

Being a feminist and an admirer of the work of Nobuyoshi Araki are two viewpoints that do not easily fit well together—especially in our current era of #MeToo. Araki, one of Japan’s most celebrated photographers, is a controversial figure whose work has been derided for its pornographic and sexually demeaning depictions of women. How, then, to reconcile this popular and occasionally apt perception of Araki as misogynistic with a pro-women attitude? Surprisingly, the current Araki retrospective at the Museum of Sex does a lot to address this question.

Acknowledging this prevalent, mostly Western view of Araki’s photography as sexist and devoid of meaning, the curators at the Museum of Sex have justifiably chosen to frame their exhibition with a direct confrontation of the controversy surrounding his work. Organized by the major themes that have defined the artist’s nearly fifty-year career, The Incomplete Araki covers two floors in a presentation that examines the paradoxes within his copious and consciously branded output. Traveling through the show elicits fluid opinions and conclusions in the viewer, at times seeming to confirm Araki as bluntly misogynistic while at others reframing him as a deeply private sentimentalist. Both perceptions are equally valid when assessing the slippery factual and fictional persona that Araki has cleverly nurtured into “Ararchism”—a portmanteau of “anarchy” and “Araki.

On entering the exhibition on the museum’s second floor, the outspoken, incendiary side of Araki is in full view as one moves down a darkened hallway adorned with rope knots suggestive of kinbaku-bi (Japanese rope bondage art) to confront a lone spot-lit photograph of a suspended, bound kimono-clad woman with her legs splayed, her genitals barely covered by a flower. Conscious of their audience, the curators at the Museum of Sex are literally roping in the viewer’s attention with the most sensational work before slowly unfurling a more nuanced reading of Araki.

With the initial shock in place, the photographs that follow in the second floor galleries vacillate between large-scale black-and-white and color images of bound women alone, women having sex, models in a studio setting with Araki, and more intimate, date-stamped images that include bound women as well as Tokyo cityscapes, the photographer’s back terrace, his adored cat Chiro, and cloud-filled skies. Expanded wall texts and interspersed video interviews draw attention to the contradictions on display: details on Araki’s relationships with his models (both consensual sexual participation and one anonymous model’s accusation of sexual harassment), notes on his relentless self-branding and cultivated celebrity status, comments on his freewheeling merger of fact and fiction, and a historical explanation of kinbaku-bi are a few of the issues tackled.

If exiting the exhibition without continuing to the third floor, the feminist who admires Araki would be inclined toward an overwhelmingly negative evaluation, having gleaned only subtle hints at Araki’s full range. But a signal of what is to come can be found on the last gallery wall of the second floor. Less dramatic than the nudes, but critically important, is a copy, and associated page-turning video, of one of Araki’s early Xerox Photo Album books. Its modest and roughly printed monotone images are juxtaposed on the same wall with similarly unadorned, more personal portrait and landscape prints from his 1995 Endscapes series. Herein lies a key to a broader, more complex reading of Araki that unfolds in its full intensity on the next floor.

In contrast to the dark and theatrically lit second floor, the upper-floor gallery is awash with an even light that serves to showcase a spectacular room-size case filled with over 450 books from Araki’s prolific photobook production. Presenting the tomes cheek-by-jowl with only their covers visible, the display cleverly includes several interspersed videos of book interiors. The overall impression is a sea of books that covers every stage of Araki’s career, which serves to introduce several of the more introspective thematic obsessions presented on the gallery walls surrounding the case. Foremost is a selection of prints associated with Araki’s Sentimental Journey (1971) and Sentimental Journey/Winter Journey (1991) books, each chronicling an important period in Araki’s tender relationship with his now-deceased wife, Yoko. Black-and-white images of a young Yoko on her honeymoon share the walls with her flower-filled casket—all reflective of the gentle romanticism of a man in love.

A less sensational yet still highly sexual perspective is found in the group of Erotos images that examine Araki’s unabashed fixation on the dichotomy of Eros (the impulse toward life and sex) and Thanatos (the impulse toward death). Verging on the abstract, these close-up images of organic and flower forms suggest the sensuality and ephemerality of life without the aggressive sexuality found in the bondage photographs. A curatorial pairing of sexually brazen nineteenth-century ukiyo-e woodblock prints—one with specific references to kinbaku-bi—next to staged photographs of bound women provides further analysis of Araki’s contradictory forces. As Araki observes, “Photography, in a way, is a modern ukiyo-e.” However, he is quick to point out that he likes to take photographs similar to shunga (erotic ukiyo-e), but has yet to reach that level of mastery.

Paradoxes and obsessions shape Araki’s world, which blurs the boundaries between respectful depictions of women and pornography. Whether presenting a spectacularly lit photograph of a bound woman, a group scene of drunken, sexualized debauchery at Tokyo Lucky Hole (Araki’s favorite bar in Shinjuku’s Kabukicho district), or a tender photograph of his late wife, Araki is a complex persona and artist who should be more fully explored in the U.S. beyond his provocative, audience-arousing bondage photographs. The Museum of Sex is apparently the only institution in the U.S. willing to take on this challenge. As a retrospective, The Incomplete Araki is indeed incomplete—as any retrospective of his would be, given his immense output—but it is nevertheless a window into a fascinating artist. While the exhibition lures visitors with the more provocative and titillating photographs, its lasting imprint dispels many of the one-dimensional viewpoints that otherwise keep Araki’s work from being embraced by a broader audience.

The Incomplete Araki: Sex, Life, and Death in the Works of Nobuyoshi Araki  is on view at the Museum of Sex, New York, through August 31, 2018.

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9. Araki Nobuyoshi’s Sentimental Journey—Winter , or, 137 Eternal Bones

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Nobuyoshi Araki has achieved world-wide acclaim for his photography, which he began creating in the 1960s. He is known for the great variety of themes and techniques he employs in his work, and for his drive to create, which has resulted in his publishing over 500 photobooks to date—a drive that continues unabated today.

This exhibition catalogue focuses on one theme from his vast oeuvre, his wife Yoko. As Araki himself has said, “It’s thanks to Yoko that I became a photographer.” From their meeting in 1968 until her death in 1990, Yoko was his most important subject.

She has continued to be a major influence on his photography even after her death. In this catalogue, we explore his relationship with the subject he treasured so much and reflect on the “I-Photograph” that is the essence of Araki’s work through his photographs of Yoko and his many works that give a strong sense of her presence. The exhibition title, “Sentimental Journey 1971– 2017–,” refers to Araki Nobuyoshi’s “I-Photographs,” beginning with his self publication of Sentimental Journey as a photobook in 1971, and to his life-long journey as a photographer.

texts: Gozo Yoshimasu(poes), Juergen Teller(Photographer), Seiichi Furuya (Photographer), Miyako Ishiuchi(Photographer), Daido Moriyama(Photographer), Toshiharu Ito(Professor, Department of Inter-Media Art, Tokyo University of the Arts), Filippo Maggia (Director, Head of Projects at Fondazione Fotografica Modena), Michio Kasahara (Tokyo Photographic Art Museum), Hiromi Kitazawa (Curator)

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