写真家 新山清の世界 パーレット時代

写真家 新山清 kiyoshi niiyama写真家 新山清 kiyoshi niiyama






     

新山清の世界
ペンタックス時代1952〜1962
      (会場:ギャラリーコスモス)

2013年4月30日(火)〜5月12日(日)
11:00〜18:30 (月休館日)
入場無料

昨年の展示に引き続き、35mmフィルムで撮影した作品展の第3弾になります。撮影は1952年よりアルコ、タナック等から始まり1969年のペンタックスで終わりました。旧名称、旭光学商事株式会社(現在ペンタックスリコーイメージング株式会社)に1958年に入社し1969年まで、サービスセンター所長、宣伝部長、ワールドコンテスト事務局長を歴任、写真家との交流、アマチュアの方への指導等に情熱を傾けました。何より好んで撮影したカメラとして、名称はペンタックス時代と致しました。お楽しみいただければ幸いです。

 


     
新山清の世界
新山清 生誕100年記念 横浜赤レンガ倉庫1号館 2階ABホール

2011年9月27日(火)〜10月2日(日)
10:00〜19:00 (期間中休館日無し)
入場無料
本年は生誕100年目になります。

生誕100年を記念して戦前、戦争、敗戦、そして混乱の中からの復興。最も波乱に満ちた昭和の一つの時代の様相を、新山清の眼を通して造形的なアート作品になっています

 

     
新山清の世界
新山清 生誕100年記念 写真の町・北海道東川町文化ギャラリー

2011年9月17日(土)〜10月2日(日)
10:00〜17:30 (期間中休館日無し)
入場料100円、町外200円
本年は生誕100年目になります。

17日(土)ギャラリートークショー14:00〜16:00
18日(日)、19(月)暗室:加藤法久氏によるワークショップ9:00〜17:00 


     
新山清の世界
ペンタックス時代1952〜1969

2011年5月3日(火)〜5月15日(日)
11:00〜18:30 (月曜休)
本年は生誕100年目(2011年8月30日)になります。
  昨年までの「バーレット」「ソルントン」のブローニー判カメラからの作品展から本年より、35mmフィルムで撮影した作品展になります。撮影は1952年よりアルコ、タナック等から始まり1969年のペンタックスで終わりました。旧名称、旭光学商事株式会社(現在HOYA株式会社PENTAXイメージング・システム事業部)に1958年入社1969年まで、サービスセンター所長、宣伝部長、ワールドコンテスト事務局長を歴任、写真家との交流、アマチュアの方への指導等に情熱を傾けました。何より好んで撮影したカメラとして、名称は「ペンタックス時代」といたしました。
お楽しみいただければ幸いです。








・明治44年、愛媛県に生まれる。

・東京電気専門学校卒業
・昭和10年、理化学研究所に就職後、11年パーレット6.3付で 写真をはじめパーレット同人会に所属する。

・写真雑誌に数十回入選。

・大日本サロン・アシヤサロン・国画展・国際サロン入選・ パーレット同人会展特選・準特選・研展銅賞2・入選数回

・東京美術協会最高賞・全関 西サロン特選4回。

・アルス写真年鑑特選2・準特選2・入選4

・アメリカポピュラーフォトコンテスト入選

・ロンドン・パリサロン数点入選。

・二科展4回入選・個展1回。

・全国写真連盟役員・東京写真研究会審査員などとして全国 アマチュアの指導に活躍。

・昭和33年旭光学に入社、東京サービスセンター所長、昭和 44年5月13日、精神異常者の凶刃に倒れ急逝。


  Born in Ehime Prefecture, in Japan in 1911.
Graduated from Tokyo Institute of Electricity.
In 1935, Kiyoshi Niiyama joind Rikagaku Kenkyusyo, and in 1936, he started to take photographs using Pearlett with F6.3 lens, and become a member of the Pearlette Camera Coterie. His works were accepted for photographic magazines several tens of times .
Selected for Dai Nippon Salon, Ashiya Salon , Kokugakai Exhibition and the International Photographic Salon.
Received the Grand Prize and the Runner-Up Prize at the Pearlette Camera Coterie.
Awarded the Bronze Prize twice and accepted several times at the Kenten(annual exhibitions of the Tokyo Photographic Research Society).
Won the Grand Prize at the exhibition hosted by the Tokyo Arts Association.
Received the Grand Prize four times at the All-Kansai Salon.
Reecived the Grand Prize twice, Runner-Up Prize twice and accepted four times by the Ars Photographic Annual.
Accepted for the Populer Photographyof the U.S.A.(Vol.55 No.3 September 1964)
Several of his works were accepted at photographic salons in London and Paris.
Accepted four times for the Nika-kai Exhibition also solo exhibition.
A board member of the All-Japan Association of Photographic Societies, and also a member of the Screening Committee at the Tokyo Photographic Research Society, he played an active rolein providing advice and guidance to japanese amateur photographers nationwide.
In 1958, he joined Asahi Optical Co. Ltd where he assumed the post of Directer of the Tokyo . 1969, Kiyoshi Niiyama died a sudden death, falling victim to the knife of a mentally disturbed person.

1964年

1969年

2003年

2004年

2005年

2005年

2006年

2007年

2008年

2008年


2008年


2009年

2009年
Gekko Gallery 「変貌」

Pentax Gallery 「木石の詩」遺作展

Gallery Cosmos 「変貌」

Gallery Cosmos 「川崎埋立地」

Gallery Cosmos 「台湾野柳」

ベルリン Monochrom gallery 「変貌」

Gallery Cosmos 「懐かしのスタートカメラ展」

Gallery Cosmos 「パーレット時代」

横浜レンガ倉庫 「新山清の世界」

ベルリン Kicken Gallery 「Otto Steinert & Kiyoshi Niiyama」

Gallery Cosmos 「パーレット時代U」
写真集「パーレット時代」が日本カメラ社より刊行


Gallery Cosmos 「ソルントン時代」

ニューヨーク Gallery Cantelmo
    1964 Exhibition at the Gekko Gallery, Tokyo

1969 Exhibition at the Pentax Gallery, Tokyo

2004 Exhibition at the Gallery Cosmos, Tokyo

2005 Exhibition at the Gallery Cosmos, Tokyo

2006 Exhibition at the Gallery Cosmos, Tokyo

2006 Exhibition at the Monochrom Gallery, Berlin

2007 Mar Exhibition at the Gallery Cosmos, Tokyo

2007 May Exhibition at the Gallery Cosmos, Tokyo

2008 Exhibition at the Yokohama red Brick Werehouse

2008 Exhibition at the Kicken Gallery, Berlin

2008 Exhibition at the Gallery Cosmos, Tokyo

2009 Exhibition at the Gallery Cantelmo, New York



OTTO STEINERT and KIYOSHI NIIYAMA KICKEN BERLIN presents OTTO STEINERT (1915-1978), one of the most important photographers in post-war Germany in an exhibition curated by Wolfgang Schoppmann. A medical doctor and self-taught photographer, OTTO STEINERT discovered anew the artistic potential of photography by integrating experimental innovations from the 1920's avant-garde art movements into the photographic medium. He is known as the initiator and leading figure of 1950's 'Subjective Photography'. With Laszlo Moholy-Nagy, Man Ray und El Lissitzky as his aesthetic guides, OTTO STEINERT began searching for an explicitly photographic form of expression. He distanced himself not only from the predominantly documentary style of the post-war years but also from the fashion and reportage photography burgeoning at that time. His aim was to draw out the creative, subjective potential in photography using means that were unique to the medium. In 1949 he founded (along with Wolfgang Reisewitz, Peter Keetman, Siegfried Lauterwasser, Toni Schneiders and Ludwig Windstosser) the group of artists known as 'fotoform', a name he also coined. When the photography exhibition jury at a trade fair in Neustadt refused to show the work of these artists, claiming it was too extravagant, Wolfgang Reisewitz compelled them to put up a show of the disqualified artworks. These works were then shown again later at the photokina in Cologne where they were celebrated by the press as having the effect of 'an atomic bomb dropped into the compost heap of this exhibition'. Dominating the photographs of OTTO STEINERT is not the picture subject itself, but rather his subjective take on the subject matter, which he frequently altered. This has the effect of drawing the viewer away from the subject and directing attention towards rich contrasts, the inherent characteristics of light itself, and competing shapes and forms. This is seen for example in the way water surfaces or thatched roofs ('Schwarzwalddach', 1956) become inscrutable, black and white textured picture planes or the way power lines appear as fine line graphic drawings ('Punkte und Linien', 1953). OTTO STEINERT took pictures of lights at night while simultaneously moving the camera, creating light trails on film which he called 'Luminogramme'. These abstract images bring to mind Hans Hartung's paintings (art informel) or Jackson Pollock's drip canvases. And by experimenting with various arrangements of light sources, he further advanced the photogram technique (in which objects are placed directly on to light sensitive film material), used successfully by Moholy-Nagy und Man Ray. He exploited solarization in a similar fashion by making use of the surrealistic effects created when a developing image is exposed to white light. Furthermore, OTTO STEINERT invented a new technique know as sandwich photography. This consisted of combining two or more negatives to create a collage-type fragmentation - an effect similar to that of the double exposure. In addition, he was interested in movement photography. Using long exposure times, he created snapshots that appear to defy time and space - fleeting imagery of moving objects and people that appeared to be simultaneously present and absent such as 'Ein-Fus-Ganger' (ca. 1950). At an early date, OTTO STEINERT also collected photographs taken by international photographers. He used this work as teaching material for the photography course he initiated at the Staatliche Schule fur Kunst und Handwerk in Saarbrucken. Using this collection as a basis, OTTO STEINERT curated and organized the exhibitions 'subjektive fotografie I-III' (1951, 1954, 1958). This show included not only the old masters of experimental photography such as Moholy-Nagy, Man Ray, Raoul Hausmann and Herbert Bayer but also international contemporary greats such as Brassai as well as contemporary Belgian, French, English, Swiss, Swedish and later also American and Japanese photographers who followed similar aesthetic goals as the 'fotoform' group. This exhibition gave the name 'Subjective Photography', to this photography style - the most prominent representative of which is OTTO STEINERT. In 1959 OTTO STEINERT began teaching at the Folkwangschule in Essen where he also developed the photographic collection at the Folkwang Museum. He held his professorship until his death in 1978. Some of his works are currently traveling around the world in 'Subjective Photography - the German Contribution 1948-1963', an exhibition at the Institut fur Auslandsbeziehungen (Institute for Foreign Relations) in cooperation with the Goethe Institute. @ Kicken II: KIYOSHI NIIYAMA In 1954 OTTO STEINERT wrote a letter to the Japanese photographer KIYOSHI NIIYAMA (1911-1968), asking him to send some of his work to Germany for the second subjective photography exhibition he was planning. Due to the confusion surrounding the Second World War, KIYOSHI NIIYAMA felt compelled to bow out. How well his work would have complimented OTTO STEINERT's and how painful his absence must have been for Steinert can be experienced in the parallel showing of both photographers work. In fact, it is amazing how similar their subject matter and aesthetic approach are considering the physical distance between them and their cultural differences. Niiyama shows a fascination for the moment when the captured object loses its concrete psychical properties and is transformed into an interplay of forms and contrasts, surface compositional planes and deeper design structures. Niiyama draws upon the painterly and graphic design traditions of his own culture: the flat compositions of Japanese woodcuts and Japanese landscape painting. KIYOSHI NIIYAMA had an enduring influence on history of 20th century Japanese photography: he was on the supervisory board of an important Japanese photography association and was on the jury of an eminent Tokyo-based photography group and received numerous national and international awards. In spite of the hard contrasts and dark tones he shared with Steinert, his work radiates a poetic harmony and a nearly crystalline calm. Claudia Wente Translated by Constance Hanna



 
写真家 新山清

昭和44年5月
台湾にて 最後の遺影
生前はアマチュアの指導にも尽力。近年ドイツの写真家オット・シュタイナートとの交流の手紙が発見され話題となった。 撮影: 徐清波

※近年ではドイツの名門フォトギャラリー「キッケンギャラリー」がパリフォトに出品している。
 
新山清の世界
「パーレット時代 1937-1952」

日本カメラ社

¥3,780(税込)

ハードカバー、120ページ




ISBN 978-4-8179-2114-7
 

 
新山清の世界
「ソルントン時代 1947-1969」

コスモスインターナショナル社

¥3,780(税込)

ハードカバー、120ページ




ISBN 978-4-8179-2114-7
 



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Email: niiyama@cosmosint.co.jp 
   
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