Artist
Naoya Hatakeyama
Japanese
1958, Rikuzentakata, Iwate Prefecture

Works in the Collection by Naoya Hatakeyama
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Naoya Hatakeyama
Lime Hills #15318
1987, printed 2002 -
Naoya Hatakeyama
Lime Hills #23514
1988, printed 2002 -
Naoya Hatakeyama
Lime Hills #29214
1990 -
Naoya Hatakeyama
Ciel Tombé #219
1991, printed 2011 -
Naoya Hatakeyama
Maquettes / Light #3011
1995 -
Naoya Hatakeyama
CAMERA
1995-2009 -
Naoya Hatakeyama
Blast #00417
1995, printed 2013 -
Naoya Hatakeyama
Blast #00417
1995, printed 2013 -
Naoya Hatakeyama
Blast #00417
1995, printed 2013
Essays and Artist Talks
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Artist Talk: About My Work
September 2017
Photographs teach us the “certainty” of extrinsic reality; at the same time they teach us the “uncertainty” of what happens when reality is internalized in our thought process. When we look at photographs merely as information, there are no evident changes in our impressions of them over time. But our mental state continually changes on a daily basis. It stands to reason that the meaning given by a photograph will change depending on the change in the mental state of the person viewing the photograph. That may occur after my talk tonight. I hope that it is not a “meaningless change” but a “good change.” I looked at the PhotoAlliance website before I came. There was an announcement about my talk, and I was struck by the phrase “our relation to changes in the natural and man-made landscape we inhabit.” Here, also, is the word change. There is also the word landscape. And the word natural as well as the word man-made. Finally the word inhabit. I thought these five words aptly expressed my interests. As we see my photographs tonight, I think we will be thinking about these words. If I were to add another important word, it would, of course, be photography. Change, nature, man-made, landscape, inhabit: how do these words intersect with our topic of interest, photography?This clumsy oil painting is one I made when I was seventeen years old (fig. 1). For reasons that I don’t know, my interest in art increased dramatically when I was in high school. I was born in Iwate Prefecture, in the northern part of Honshu, the largest of Japan’s four major islands. In English Iwate means rock and hand, an unusual place name. They say that this place name is from a legend in which an ogre promised the gods, “I won’t behave badly anymore,” and pressed his handprint into a rock. I don’t know if it was due to this place name, but from childhood I liked hard things better than soft. I preferred rocks and metals to animals and plants. It was the cement factory that I passed by every day on my way to high school that I chose as my subject for the first oil painting I made on canvas.
related exhibition
related exhibition
Photography Now
China, Japan, Korea
September 12–December 20, 2009
Drawn entirely from SFMOMA’s collection, Photography Now showcases pictures by nearly 30 contemporary artists working in China, Japan, and Korea. Documentary work from China depicts a shifting culture, in particular rapid urbanization and the effects of industrialization on society. Inspired by Robert Frank, Luo Dan journeyed from Shanghai to Tibet, making pictures that explore dramatic economic changes across China. In Japan, Rinko Kawauchi makes lyrical pictures that focus on the poetic details of daily life, and Yasumasa Morimura examines the nature of cultural identity through appropriation. Korean photographer Bohnchang Koo’s minimal photographs of ordinary architectural elements reflect upon the passage of time.
This exhibition is organized by the San Francisco Museum of Modern Art and is generously supported by the E. Rhodes and Leona B. Carpenter Foundation.
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