Chewing Gum and Chocolate
Chewing Gum and ChocolatePhotographs and texts by Shomei Tomatsu
Availability: In stock
“A sardonic homage to America's influence on post-war Japan, Aperture’s definitive collection of Tomatsu’s defining work is filled with biting irony and subtle sweetness.” - TIME, April 1, 2014
“Tomatsu’s text is a fascinating complement to his well known early works as it conveys Tomatsu’s complex feelings (‘the separation between love and hate is paper-thin,’ he wrote) about what he terms the ‘Westernization’ of Japanese culture.” - ArtInfo, June 19, 2014
Shomei Tomatsu, one of Japan’s foremost twentieth-century photographers, created one of the defining portraits of postwar Japan. Beginning with his meditation on the devastation caused by the atomic bombs in 11:02 Nagasaki, Tomatsu continued to focus on the tensions between traditional Japanese culture and the growing westernization of the nation in his seminal book Nihon. Beginning in the late 1950s, Tomatsu committed to photographing as many of the American military bases in Japan as possible. Tomatsu’s photographs focused on the seismic impact of the American victory and occupation: uniformed American soldiers carousing in red-light districts with Japanese women; foreign children at play in seedy landscapes, home to American forces; and the emerging protest formed in response to the ongoing American military presence. He originally named this series Occupation, but later retitled it Chewing Gum and Chocolate to reflect the handouts given to Japanese kids by the soldiers—sugary and addictive, but ultimately lacking in nutritional value. And although many of his most iconic images are from this series, this work has never before been gathered together in a single volume. Leo Rubinfien contributes an essay that engages with Tomatsu’s ambivalence toward the American occupation and the shifting national identity of Japan. Also included in this volumeare never-before-translated writings by Tomatsu from the 1960s and ’70s, providing context for both the artist’s original intentions and the sociopolitical thinking of the time. Shomei Tomatsu (born in Nagoya, Japan, 1930; died in Naha, Japan, 2012) played a central role in Vivo, a self-managed photography agency, and founded the publishing house Shaken and the quarterly journal Ken. He participated in the groundbreaking New Japanese Photography exhibition in 1974 at the Museum of Modern Art, New York, and, in 2011, the Nagoya City Art Museum featured Tomatsu Shomei: Photographs, a comprehensive survey of his work. He was the recipient of numerous awards, including the 1999 Japan Art Grand Prix. Leo Rubinfien (editor and essay) is a photographer, writer, and curator. Books of his work include A Map of the East and Wounded Cities. In 2006, he cocurated Skin of the Nation, a retrospective of Shomei Tomatsu’s work; he also recently served as guest curator of Garry Winogrand. Both exhibitions were organized by the San Francisco Museum of Modern Art and traveled to other venues thereafter. John Junkerman (editor) is a documentary filmmaker and translator based in Tokyo. His films include the Academy Award nominated Hellfire: A Journey from Hiroshima (1986); Dream Window: Reflections on the Japanese Garden (1992); and Japan’s Peace Constitution (2005). He translated and edited texts for Anne Wilkes Tucker’s The History of Japanese Photography, translated Daido Moriyama’s Memories of a Dog, and collaborated on Leo Rubinfien’s Shomei Tomatsu: Skin of the Nation.