A new publication from Thames & Hudson titled "Moriyama: Quartet" brings together four seminal works from legendary Japanese street photographer Daido Moriyama's early career, offering unprecedented insight into the formation of one of photography's most influential voices. Editor and curator Mark Holborn has carefully assembled "Japan: A Photo Theater," "A Hunter," "Farewell Photography," and "Light and Shadow" into a single comprehensive volume that traces Moriyama's artistic evolution.
Holborn, whose distinguished career spans decades of photographic publishing and curatorial expertise, first encountered Moriyama's work through the Museum of Modern Art's 1974 exhibition catalog. Having spent six months in Japan from late 1971 to spring 1972, Holborn was already immersed in Japanese photography culture when he first met Moriyama in Tokyo around 1984. "I was very excited," Holborn recalls of his initial reaction to the work. "It felt like a language I instinctively understood, unlike any other photographers I had encountered."
The four books featured in "Quartet" represent a logical chronological progression in Moriyama's artistic development. "Japan: A Photo Theater" emerged from collaboration with renowned theater director Shuji Terayama, marking Moriyama's entry into professional photography. "A Hunter" documents his journey across Japan, capturing the raw energy of a nation in social and cultural upheaval. "Farewell Photography" reflects a period of personal and artistic crisis, coinciding with the street demonstrations and riots of 1968-69 in Tokyo.
The final work, "Light and Shadow" from 1982, represents Moriyama's artistic maturation. "He's found his language and is executing it brilliantly," Holborn explains. "The work is perfect at that point." This progression from experimental beginnings to masterful execution illustrates how Moriyama developed his distinctive visual vocabulary – a style characterized by high contrast, grain, and dynamic movement that would influence generations of photographers.
Holborn faced significant editorial challenges in combining four separate publications into one cohesive volume. "There's always the question of having the audacity to edit and sequence the work," he notes. The curator made difficult decisions about which images to include, occasionally omitting famous photographs to ensure the collection felt fresh rather than repetitive. His approach focused on creating "a beginning and an end" that would function as a unified narrative rather than simply an anthology.
The global recognition of Moriyama's work has evolved significantly since his early career. Initially dismissed or misunderstood, his radical approach to street photography – with its embrace of blur, grain, and unconventional framing – has become widely influential. Holborn draws parallels to William Eggleston, whose work also took decades to gain mainstream acceptance. "You start to see Eggleston's influence in album covers and movies," Holborn observes, noting how visual languages eventually permeate popular culture.
Moriyama's technique, once labeled simply as "Japanese" due to its high contrast and graphic nature, has proven to be universally applicable. The photographer has worked successfully in Los Angeles, New York, Gothenburg, and Morocco, demonstrating that his visual approach transcends cultural boundaries. "What was once a peculiarly Japanese experience becomes universally recognizable," Holborn explains, citing how modern urban experiences share common elements of spectacle and alienation.
As one of the last representatives of a generation born during World War II, Moriyama's perspective is rooted in Japan's post-war reconstruction and transformation. His references emerge from a specific historical context of austerity, rebuilding, and rapid cultural change that shaped his unique artistic vision. Later generations, born after the 1970s in a digital age with global internet access, lack these formative experiences that gave Moriyama's work its distinctive character.
The resurgence of interest in photography books as an art form has created new opportunities for projects like "Quartet." Holborn notes that publishing houses are now enthusiastic about work that would have been economically impossible just a decade ago. The global infrastructure connecting major cultural centers makes producing high-quality photography books viable, ensuring that important photographic work can continue to reach new audiences.
For aspiring curators and editors, Holborn offers practical advice based on his extensive experience. "The first thing is to understand what is at the core of the work," he emphasizes. "You need three key points: a point of entrance, a core and a point of exit." This structure, combined with intuitive understanding of what draws readers to particular work, forms the foundation of effective photo book curation.
"Quartet" represents more than a retrospective collection – it serves as a masterclass in the evolution of photographic vision. Holborn hopes readers will "enter the drama of the pages and the sequence" and emerge with transformed perception. "By the time they reach the end and put the book down, I hope they go out into the world and see it differently," he explains, referencing how great art changes viewers' relationship with their environment.
The publication stands as testament to Moriyama's enduring influence on street photography and visual culture. Through Holborn's careful curation, "Quartet" offers both photography enthusiasts and newcomers the opportunity to witness the formation of a legendary artistic voice, tracing the journey from experimental beginnings to the development of a visual language that continues to inspire photographers worldwide.
