Kohei Yoshiyuki, ‘Untitled’, 1971, Photography, Gelatin silver print, James Barron Art
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Kohei Yoshiyuki

Untitled, 1971

Gelatin silver print
16 × 20 in
40.6 × 50.8 cm
Edition 8/10 + 0AP
.
$12,000
Ships from Kent, CT, US
Free shipping worldwide
Location
Kent
Locked
Secure payment
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Medium
Signature
Hand-signed by artist, stamped by artist's estate, Signed, numbered, and stamped in ink on verso
Frame
Included
Kohei Yoshiyuki
Japanese, b. 1946
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While working as a commercial photographer in Tokyo, Kohei Yoshiyuki took a nighttime stroll through a public park, stumbling across what would become the subject of the strange, disturbing series for which he is famous: couples having sex and the moth-like voyeurs who watch them. Titled “The Park” (1970s), this series of black-and-white photographs was shot with a handheld camera and infrared film. Raw and grainy, the photographs capture the voyeurs from behind, as they surreptitiously approach the couples. The voyeurs-eye view implicates Yoshiyuki, viewers of his work, and photography itself in this violation of privacy. “My intention was to capture what happened in the parks, so I was not a real ‘voyeur’,” he explains. “But I think…the act of taking photographs itself is voyeuristic somehow. So I may be a voyeur, because I am a photographer.”

Kohei Yoshiyuki, ‘Untitled’, 1971, Photography, Gelatin silver print, James Barron Art
Save
Save
View
View in room
Share
Share
Medium
Signature
Hand-signed by artist, stamped by artist's estate, Signed, numbered, and stamped in ink on verso
Frame
Included
Kohei Yoshiyuki
Japanese, b. 1946
Follow

While working as a commercial photographer in Tokyo, Kohei Yoshiyuki took a nighttime stroll through a public park, stumbling across what would become the subject of the strange, disturbing series for which he is famous: couples having sex and the moth-like voyeurs who watch them. Titled “The Park” (1970s), this series of black-and-white photographs was shot with a handheld camera and infrared film. Raw and grainy, the photographs capture the voyeurs from behind, as they surreptitiously approach the couples. The voyeurs-eye view implicates Yoshiyuki, viewers of his work, and photography itself in this violation of privacy. “My intention was to capture what happened in the parks, so I was not a real ‘voyeur’,” he explains. “But I think…the act of taking photographs itself is voyeuristic somehow. So I may be a voyeur, because I am a photographer.”

Kohei Yoshiyuki

Untitled, 1971

Gelatin silver print
16 × 20 in
40.6 × 50.8 cm
Edition 8/10 + 0AP
.
$12,000
Ships from Kent, CT, US
Free shipping worldwide
Location
Kent
Locked
Secure payment
Secure transactions by credit card through Stripe.
Learn more.
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