About Shadai Gallery
Tokyo Polytechnic University is the most traditional and longest-established photographic institution in our country since 1923. Among other university establishments, Shadai Gallery was opened in 1975 as Japan’s pioneer facility and existence that exhibits, collects and researches both domestic and international photographs.
Photo studio soon after the establishment of university（around 1927）
Eikoh Hosoe at the opening of Shadai Gallery
When talking about Shadai Gallery, it is inseparable with one of the leading Japanese photographers, Eikoh Hosoe, who was the founding director of the gallery. Hosoe, born in 1933 is known for his series such as “Ordeal by Roses” (1963) modeled by Japanese author Yukio Mishima, and “Kamaitachi” (1969) which documented Japanese choreographer Tatstumi Hijikata. Since young, hosoe’s style of shooting numerous human bodies as his portrait gave sensations throughout the world. In 1975, Hosoe, who was already a striking photographer at the time, acceded as a professor at Tokyo Polytechnic University. As one of the conditions as becoming part of photographic education, he suggested the installation of a gallery for the spread of the art.
Back in 1975, photographs were already exhibited and archived like any other art genre, such as paintings and sculptures at museums across the United States and Europe.
In Japan, however, such culture was not yet accustomed and there were no such public institutions that followed the manner. Hosoe made a point that the most effective way to express “ the wonderfulness of photography” and “the love and respect to photography,” is to make a gallery within an academic facility. With this strong will, Shadai Gallery welcomed its opening with the exhibition of “ Wynn Bullock” on May 20th, 1975.
Invitation of Wynn Bullock Exhibition（1975）
Wynn Bullock Exhibition（1975）
Wynn Bullock (1902-1975), a famous American photographer participated in “The Family of Man” held at the Museum of Modern Art in New York in 1955 with his “Let There Be Light” (1954) used as the leadoff piece. The exhibition was to celebrate the museum’s 25th anniversary and it toured around more than 38 countries worldwide, allowing nine million people view the show. His exhibition at Shadai Gallery was his first solo show in Japan, and it became a big focus.
Since then, Shadai Gallery has organized numerous solo exhibits of well-known foreign photographers and historically signified domestic photographers. During the exhibitions, the gallery often invites the artists for special workshops and talk shows involving students as well as general visitors.
When Shadai Gallery was opened, Tokyo Polytechnic University held its original name, Tokyo College of Photography (Tokyo Shashin Daigaku), which was called Sha-dai for short. Hence the name of the gallery came from this abbreviation but even after the school name changed to Tokyo Polytechnic University in 1977, the gallery name stuck to this day.
Shadai Gallery archives more than ten thousand photographs and as for an institution affiliated with an educational establishment, this number should be renowned to the world.
The gallery’s collection includes works from worldly known photographers such as William Henry Fox Talbot, Nadar, and Edward Weston as well as Ihei Kimura, Shomei Tomatsu and Ikko Narahara. Also among them, over twelve hundred important works of Ken Domon and a nine hundred early works of Daido Moriyama should be noted as an important part of the collection.
These collections are put to practical use for education and research daily, and are exhibited to the public for photography fans inside and outside of campus throughout the year.
Current exhibition
Landscapes of Prayer: From the Domon Ken Self-Selected Photography Collection
Domon Ken Exhibition
The Domon Ken Collection housed at the Shadai Gallery includes over 1200 photographs. Taken from that collection, this exhibition of photographs of nature and Buddhist statues spotlights landscape photography that was published in the Domon Ken Jisen Shashinshū (Domon Ken Self-Selected Photography Collection; Sekai Bunkasha, 1977).
According to the credits for that book, the “composition, layout, bookmaking” was handled by Kamekura Yūsaku, a leading Japanese graphic designer who was responsible for the posters for the 1964 Tokyo Olympics and Expo ’70 in Osaka, the Nikon and NTT logos, and other designs. He met Domon in his teens and they developed a relationship of deep trust, to the extent that they were called “sworn brothers.” They collaborated on many projects.
In designing this book, Kamekura organized it into three volumes. The first volume begins with color landscape photographs, followed by images of Japanese traditions and Buddhist statues. The second volume presents Domon’s early work, along with photographs from The Children of Chikuhō and Hiroshima series. The third volume begins with famous works from the Fūbō (Looks) and Bunraku series and concludes with monochrome photographs of landscapes and Buddhist statues.
Thus the presentation of the work Domon took pride in is bookended by color and monochrome landscape photographs. In his own book* , Kamekura wrote, “His photographs are strong. And his photographs are sentimental.” He commented, “I have always liked his landscapes,” and remarked on Domon as a person, noting, “When I praised his landscape photography, he became strongly self-conscious.” These thoughts may have been behind his composition of the collection. However, in the same book, he wrote that Domon “examined everything with his own sensitivity and held his ground obstinately until he was satisfied. This was true of his attitude toward themes, but also toward the bookmaking. He would not approve a layout, particularly, unless it conformed to his will.” Thus the composition of the collection might well have been carried out under Domon’s strong demands. Doesn’t this increase one’s interest in Domon’s landscape photography even further?
The purpose of this exhibition is not to determine whose hands were behind the composition of that collection, but rather to take a new look at Domon’s gaze on landscapes, which a leading Japanese designer heralded and which made the photographer himself “self-conscious.”
In addition, this exhibition is held in conjunction with the Domon Ken Prize, sponsored by Mainichi Shimbunsha, and coincides with the announcement of this year’s award-winner.
Planned and organized by Suganuma Hiroshi
*Dezain Zuisō: Ririku Chakuriku (Notes on Design: Departures and Landings; Bijutsu Shuppansha, 1972).
Domon Ken (1909–1990)
Born 1909 in Sakata, Yamagata Prefecture. From his middle school years, he aimed to become a painter, but he abandoned that plan due to family circumstances. In 1933, he apprenticed at the Miyauchi Kōtarō Photography Studio, a commercial studio, but he set his sights on photojournalism and, in 1935, joined Nippon Kōbō (Japan Studio), which Nattori Yōnosuke formed after returning from Germany. After the war, in camera magazines and elsewhere, he advocated “absolutely unstaged” photo-realism, exerting a strong influence on the Japanese world of photography. In 1958, he published Hiroshima (Kenkōsha), a collection that was acclaimed in Japan and abroad. His 1960 photobook Chikuhō no Kodomotachi (The Children of Chikuhō; Patoria Shoten), depicting the plight of the Chikuhō coalmining region, was a bestseller that sold over 100,000 copies. In the series that became his life work, the Kōji Junrei (Pilgrimage to Ancient Temples), he photographed Buddhist temples and statues over four decades, dedicating himself to the long-term effort to photograph Japan.
Landscapes of Prayer: From the Domon Ken Self-Selected Photography Collection
Domon Ken Exhibition
Dates: Monday, April 15, 2024 - Saturday, June 1, 2024
Hours of operation: 10:00 - 19:00
Closed: Thursday, Sunday, National Holidays
Admission free
Gallery Information
Tokyo Polytechnic University, Shadai Gallery
40th Anniversary Exhibition（2015）
2-9-5 Honcho, Nakano-ku, Tokyo
164-8678, Japan
