Daido Moriyama

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“What Szarkowski called Moriyama’s nihilism is closer to the spirit of Baudelaire or of Rimbaud than it is to much that is American. It runs so deep in him that, in one of his most interesting turns, he rejected photography itself. We would be mistaken, though, to think that Moriyama was going for any sentimental fogginess, derived perhaps from old Japanese painting. What he reiterates again and again here, I am sure, is fury–about photography’s inability to say all that Moriyama would have it say, about its being unequal to the truth of terrible experience. The book suggests that description can only be a lie, that we can never know the world through seeing it, and in fact Moriyama has made the fascinating reflection that he was always working against photography…”
Leo Rubifien, Art in America, 1999