Ikkō Narahara

was a Japanese photographer. His work is held in the collection of the Museum of Modern Art in New York.

Early life and education Born in Fukuoka, Narahara studied law at Chuo University (graduating in 1954) and, influenced by statues of Buddha at Nara, art history at the graduate school of Waseda University, from which he received an MA in 1959.

Career He had his first solo exhibition, Ningen no tochi (Human land), at the Matsushima Gallery (Ginza) in 1956. In this Narahara showed Kurokamimura, a village on Sakurajima. The exhibition brought instant renown.

In the same year, Narahara was also included in the First International Subjective Photography Exhibition, an event associated with the newly founded Japan Subjective Photography League that briefly brought emerging photographers such as Kiyoji Ōtsuji and Yasuhiro Ishimoto into the same postwar framework as prewar avant-garde figures including Kansuke Yamamoto.

Narahara had shown his works in the first (1957) of three exhibitions titled The Eyes of Ten; exhibited in all three, and went on to co-found the short-lived Vivo collective.

Narahara's work often depicted isolated communities and extreme conditions. He made much use of wide-angle lenses, even hemispherical-coverage ("circular") fisheye lenses.

In 1967 Narahara won the Photographer of the Year Award from the Japan Photo Critics Association. He won numerous other prizes. From 1999 to 2005, Narahara was a professor at the Graduate School of Kyushu Sangyo University (Fukuoka).

Works by Narahara

Booklength collections Yōroppa: seishi shita jikan (, Where time has stopped). Kajima, 1967. Supēn: Idai naru gogo España: Grand tarde, Fiesta, Vaya con Dios. Tokyo: Kyūryūdō, 1969. Japanesuku (, Japanesque). Tokyo: Mainichi Shinbun-sha, 1970. Ōkoku / Man and his land. Tokyo: Chūōkoronsha, 1971. Shōmetsu shita jikan / Where time has vanished. Tokyo: Asahi Shinbun-sha, 1975. Seven From Ikko. Tokyo : Unac, 1976. Ōkoku: Chinmoku no sono, kabe no naka . Tokyo: Asahi Sonorama, 1978. Chikakute haruka na tabi . Tokyo: Shūeisha, 1979. Hikari no kairō: San Maruko (, Arcade of light: Piazza San Marco). Tokyo: Unac, 1981. Shashin no jikan . Tokyo: Kōsakusha, 1981. With Seigow Matsuoka . Narahara Ikkō (, Ikkō Narahara). Shōwa shashin zenshigoto 9. Tokyo: Asahi Shinbun-sha, 1983. Venetsia no yoru / Venice: Nightscapes. Tokyo: Iwanami, 1985. . Most of the text is in Japanese only, but the captions and an essay by Narahara are in English as well as Japanese. Shōzō no fūkei . Tokyo: Shinchōsha, 1985. . Ningen no tochi , Human land. Tokyo: Libroport, 1987. Fukkan, 2017. Hoshi no kioku (, The memory of stars). Tokyo: Parco, 1987. Venetsia no hikari / Venetian Light. Tokyo: Ryūkō Tsūshin, 1985. . Burōdowei / Broadway. Tokyo: Creo, 1991. . Dyushan dai-garasu to Takiguchi Shūzō shigā bokkusu / Marcel Duchamp large glass with Shuzo Takiguchi cigar box. Tokyo: Misuzu, 1992. . Kū / Emptiness. Tokyo: Libroport, 1994. . Takemitsu, Tōru and Giovanni Chiaramonte. Ikko Narahara: Japanesque. Milan: Motta, 1994. . In Italian Revised and augmented edition: Tokyo: Creo, 1995. Tokyo, the '50s. Tokyo: Mole, 1996. . Narahara Ikkō (, Ikkō Narahara). Tokyo: Iwanami, 1997. Poketto Tōkyō / Pocket Tokyo. Tokyo: Creo, 1997. . Ten / Heaven. Tokyo: Creo, 2002. Mukokuseki-chi / Stateless Land: 1954. Tokyo: Creo, 2004. . Jikū no kagami / Mirror of space and time. Tokyo: Shinchōsha, 2004. . En / En: Circular vision. Tokyo: Creo, 2004. .

Other books with work by Narahara Hiraki, Osamu, and Keiichi Takeuchi. Japan, a Self-Portrait: Photographs 1945–1964. Paris: Flammarion, 2004. Also presents work by Ken Domon, Hiroshi Hamaya, Tadahiko Hayashi, Eikō Hosoe, Yasuhiro Ishimoto, Kikuji Kawada, Ihei Kimura, Shigeichi Nagano, Takeyoshi Tanuma, and Shōmei Tōmatsu. Nihon nūdo meisakushū (, Japanese nudes). Camera Mainichi bessatsu. Tokyo: Mainichi Shinbunsha, 1982. Pp. 194–99 show nudes by Narahara. Nihon shashin no tenkan: 1960 nendai no hyōgen / Innovation in Japanese Photography in the 1960s. Tokyo: Tokyo Metropolitan Museum of Photography, 1991. Exhibition catalogue, text in Japanese and English. Pp. 18–29 show a selection of Narahara's earlier work. (That on p. 23 is upside down, as pointed out in an erratum slip.) Shashin toshi Tōkyō (写真都市Tokyo) / Tokyo/City of Photos. Tokyo: Tokyo Metropolitan Museum of Photography, 1995. Catalogue of an exhibition held in 1995. Also presents work by Takanobu Hayashi, Hiroh Kikai, Ryūji Miyamoto, Daidō Moriyama, Shigeichi Nagano, Mitsugu Ōnishi, Masato Seto, Issei Suda, Akihide Tamura, Tokuko Ushioda, and Hiroshi Yamazaki. Captions and texts in both Japanese and English. Yamagishi, Shoji, ed. Japan, a self-portrait. New York: International Center of Photography, 1979. (hard), paper). Also presents works by Ryōji Akiyama, Nobuyoshi Araki, Taiji Arita, Masahisa Fukase, Hiroshi Hamaya, Shinzō Hanabusa, Miyako Ishiuchi, Kikuji Kawada, Jun Morinaga, Daidō Moriyama, Kishin Shinoyama, Issei Suda, Shōmei Tōmatsu, Haruo Tomiyama, Hiromi Tsuchida, Shōji Ueda, Gashō Yamamura, and Hiroshi Yamazaki. Yamagishi, Shoji, and John Szarkowski, eds. New Japanese photography. New York: Museum of Modern Art, 1974. (hard), (paper). Also presents work by Ryōji Akiyama, Ken Domon, Eikō Hosoe, Masahisa Fukase, Tetsuya Ichimura, Yasuhiro Ishimoto, Bishin Jūmonji, Kikuji Kawada, Daidō Moriyama, Masatoshi Naitō, Ken Ohara, Akihide Tamura (as Shigeru Tamura), Shōmei Tōmatsu, and Hiromi Tsuchida.

Collections Museum of Modern Art, New York: 11 prints (as of January 2020) Museum of Fine Arts Houston