The 1st Exhibition of New Cosmos of Photography 1992
Report on the open-selection meetings
Public selection : Nov.6.1992(FRI)
An open-selection meeting to decide the grand prize winner 1992 was held at the venue of the first exhibition of “New Cosmos of Photography,” at P3, auditorium of Tochoji Temple in Yotsuya, Tokyo. At the meeting presentations were given (display) of twelve excellent work award winners chosen from among entrants who took part in four contests in the year after the fall of 1991, and the selection was made by the panel of judges, Nobuyoshi Araki, Kotaro Iizawa, and Fumio Nanjo. The bases for the assessment of the nominees are concept, sense of the times, technique, potential, and presentation.The judges agreed with Iizawa who said, “All nominees, including Yamamoto, Chiba, and Iwasaki, are good, but the powerfulness of Kinoshita’s work is a step ahead.” In the end, Iori Kinoshita won the grand prize of the year. One million yen as an incentive prize and the privilege of holding a solo exhibition in the following year were presented to her.
Overall Evaluation
At the 1st open-selection meeting of “New Cosmos of Photography,” the winning works of the 1st, 2nd, 3rd, and 4th contests were evaluated.
Overview of the 1st selection
Nobuyoshi Araki
I’ve found this contest to be of a sort rarely seen in recent years. There is no comparable one around. I enjoy it because there are many curious entries of all sorts. Yet I feel a little disappointed that I can’t find what is commonly considered straightforward and good. Additionally, when an entrant does not provide a sufficient number of photos, it is difficult to convey their view of the world. A recent trend seems to be that whatever is uninteresting is regarded as art. Nothing is communicated to us, however, unless a photographer does what he really wants to do. I would very much like to see more of those who would tell us the photographer’s physical and emotional condition or first-hand feelings at the time of taking a picture. Anyway, I think it’s good that many entrants regard photographs as performances.
Kotaro Iizawa
As the entries had more variety than I had expected, I really enjoyed looking through them at the selection. I would say that it was a great success for the first public contest. Though I admit that how to present a work is an important factor in a contest, merely pursuing the completeness of the work, following a process that has been planned in detail makes photographs look unexciting. Unless there is, in the process of creation, a discovery that has a marked impact on the photographer to the extent that it could almost change them, the pictures are nothing but a reduced reproduction of the Starn Twins. As there are many hopefuls, I would recommend that they continue entering the contest. I look forward to seeing, for example, good works that are documentary in a broad sense with keen eyes fixed on the subject.
Fumio Nanjo
My overall impression is that the entrants seek technical innovation. But, I would rather pursue innovation in the content or the message. When there is new content, there will naturally emerge appropriate techniques. If one fails to think about that, the works and presentations would look like something that we have seen somewhere before. As is usually understood, more powerful works are made possible when one starts to probe their inner world - what they really want to express.
Overview of the 2nd selection
Nobuyoshi Araki
This time there are more works that have been created in depth, which means that the standard or the entrants’ artistic sense has improved. I think they are no longer what are called amateur works. I’m impressed that all of the entrants are working so hard. Those who were unsuccessful in the first contest have taken up a challenge again. If I said, “this is no good,” they might assault me somewhere, I’m afraid. They have such vigor. Many photos do not have a great appeal, however, because completeness is their only aim. Photos are alive. Avoid incubation and make in-season expressions just as I do.
Kotaro Iizawa
I’m pleased to learn that entrants who took part in the first contest have entered the second one again. In addition, their standard has improved. That’s why Kon and Shimizu, winners this time, were rated highly. The particularity and narcissism of their works look alike, but there are subtle differences between them. Even when one is particular about their own world, they should still provide an open circuit that reaches viewers somewhere. Except for the winners, I was impressed by the terrifying expression in Kikuchi’s “Quiet Person,” Kawai’s enthusiastic desire for creation, and the humor of Endo.
Fumio Nanjo
On the whole, the tension is high this time. There are few works of poor quality. So, it is my hope that entrants will enhance their tension in pursuit of new ideas or unexpected images. When an entry is composed of one photograph, it is difficult to grasp the photographer’s intention even if it looks attractive. Providing at least three to five pictures will help us to make a judgment. When each photo in one work is of totally different type, however, it is questionable if the photographer can be relevantly identified. The attitude “I can do everything, so please choose from them,” is considered to be senseless. Applicants are advised to bring their works to the ultimate stage before presenting them. Though it is unnecessary to frame works, a neat presentation is required. If presentation is carelessly prepared, no matter how good the work may be, the photographer’s expressive ability is questioned.
Overview of the 3rd selection
Nobuyoshi Araki
I like it that everyone is selfishly doing things their own way. They seem to say that the evaluation is not necessary, and I like their strength as if to refuse to be affected others’ comments. However, there are many works that look like the products of photographers trying hard to squeeze ideas from a stupid mind. That is not the right way. Just go ahead using even a small idea. Once you begin, you will become aware of many things. Go further wihile moving around and meeting the outside world. I want to see photographs that reflect the photographer’s living body moving together with the subject.
Kotaro Iizawa
I have the impression that a certain pattern has become apparent by this third contest. The quality is not lower, but few entries a have a startlingly fresh appeal. I would like to see a work about which I can’t help saying, “I like it,” whatever others may say about it. In selecting good works this time, the judges’ opinions differed. There were many good works, but on the other hand, there were few outstanding works. Endo’s power is valued highly, and the winner of the first contest, Iwasaki has made a fine work. Yet it is regrettable that they are not powerful enough despite the great volume. I would give a piece of advice to former winners. Don’t be too sure of your abilities because of success one time. I expect that they will try hard to enhance their works. A wish common to all our judges is to nurture successfully and capable artists from New Cosmos of Photography.
Fumio Nanjo
On the whole, tension high this time. There are few works poor quality. So, it is my hope that entrants will enhance their tension in pursuit of ideas that have never been known before or unexpected images. When an entry is composed of one photograph, it is difficult to grasp the photographer’s intention even if it looks attractive. Providing at least three to five pictures will help us make judgment. When each photo in one work is of totally different type, however, it will be questionable if the photographer can be relevantly identified. The attitude “I can do everything, so please choose from them,” is considered senseless. Applicants are advised to bring their works to the ultimate stage before presenting them. Though it is unnecessary to frame works, the neat presentation is required. If the presentation is carelessly prepared, no matter how good the work may be, the photographer’s ability of expression is questioned.
Overview of the 4th selection
Nobuyoshi Araki
There are all sorts of works this time too. As we are now in the experimental stage of the New Cosmos, we should try anything. I’m still far ahead of those entrants, but I feel their enthusiasm. It is a good point of photography that the photographer’s subconscious is automatically revealed. What is best with photography is not to photograph deliberately but to be surprised or learn something we don’t expect to emerge. I am doubtful about having a framework at the beginning as to how to show the subject. Just following a plan is not exciting at all. I would suggest that they experience more mistakes of youth.
Kotaro Iizawa
As the number of items in a work was larger this time, I enjoyed looking through the entries. Photo diaries of a sketchbook type have become regulars, and the quality of many works has improved as well. Yet, the participants have to do far a better job to reach the level of Araki’s “CrazyPhotographer’s Diary.” I would suggest that they go beyond the stage of a self-satisfied way of enjoying photography. Unexpectedly, all of the judges agreed on three award winners selected. Frankly, I feel that any work could be a winner. After having made selections four times, I assume that the abilities of the judges are being put to the test. It is a tough tough job.
Fumio Nanjo
The overall quality is steadily increasing. Those who repeatedly enter this competition have tried different paths, and acquired a greater depth of concept. Both wild and controlled works have increased. How can we define professional expressions? One has to devote all of one’s energy to the task of expression and reflect on what one is doing. That other self must strictly check the quality of presentation such as printing and framing. Only works that have a marked impact in every aspect of concept, level of expression, and presentation can attract the judges’ attention. All applicants should take that point into account.
