43:
suffered from acute radiation syndrome for weeks after the test. The crew was fishing outside of the danger zone that the US had declared beforehand, but the test was twice as powerful than anticipated; which put the crew in harm's way. The fallout reached the ship two hours after the explosion. The crew had attempted to escape; but in taking the time to retrieve their gear, they had exposed themselves to the radioactive fallout for several hours. They were treated, and during the course of treatment they were infected with hepatitis via blood transfusions. All except for the chief radioman of the ship recovered; as he had underlying health issues that were exacerbated by the hepatitis infection. As more information about the blast was obtained, it was estimated that a total of over one hundred other fishing vessels were affected.2 Arai began to document what he could– mainly encounters with surviving crew members and the salvaged hull.
121:"Photography Will Be" –– Aichi Prefectural Museum of Art "Silver-plated" –– Artpace San Antonio "In the Wake" The Museum of Fine Arts, Boston "To What End?" –– Camera Austria, Graz "The 41st Ikei Kimura Award Exhibition" –– Konica Minolta Gallery Dubai Photo, 2016 "In the Wake" –– Japan Society, NYC 2016 Festival Photo La Gacilly, 2016 "Tomorrow's History" –– Gallery Intersection 611, Hiroshima (Work in Progress) "A New and Mysterious Art" –– Howard Greenberg Gallery The 11th Shanghai Biennale, The Power Station Museum, Shanghai, 2017 "In the Wake" –– Asia Society Houston, 2017 "Takashi Arai: Bright was the Morning" Yokohama Civic Art Gallery Azumino
58:
event that occurred during his lifetime, whereas other nuclear events he has had as the subject of his work (like the Daigo
Fukuryu Maru) are significantly older. Exposed in a Hundred Suns takes on the idea in a different way. This series is a series of historical monuments in the Atomic Age; including work addressing the Daigo Fukuryu Maru. The project focuses on the surface of objects that have been exposed to events (like the Fukuryu Maru) and subsequently altered because of that; ultimately trying to allow people to discover their connection to these events, and create an opportunity to share the memories of those who may have experienced it.
66:
in 2011. It as originally housed on Arai's website, but has since moved to
Instagram. Rather than being on an Instagram account under Arai's name, it is housed on an account named daily_dag with his name and website link the bio. His short description of the project in the bio reads "Daily daguerreotype practice and ambient sounds during exposures since 2011." Photos from before the move to Instagram are still housed on Arai's website under a tab called "Daily D-type Project" . As fitting for the description, the Daily Daguerrotype Project does not have a consistent choice of subject–– the subjects range from people, to flowers, to landscapes.
62:
bomb was dropped on
Hiroshima, an oddly large number if pumpkins were harvested in Hiroshima. 49 "pumpkin bombs" –– dummy atomic bombs –– were dropped in 49 locations that would have been targeted if Japan had not surrendered. This was the basis of the project, and the original plan had been to charter a North American B-25 Mitchell to actually drop pumpkin "bombs" (which would have been 49 real pumpkins).
61:
Another project similar in concept, but not in medium, to the two previously mentioned project is Arai's 49 Pumpkins. Originally commissioned by
Artpace San Antonio, 49 Pumpkins is a short film that addressing a series of events following the bombing of Hiroshima. For context, a year after the atomic
142:
Arai has also worked as a researcher for interdisciplinary studies since 2017. These projects include the “Interdisciplinary
Studies of Radiation Effects on the Everyday Life of Victims” with the National Museum of Ethnology, and “Anima Philosophica: Nature, Disaster, and Animism in Japan” with the
133:
for his first monograph "MONUMENTS" (PGI, 2015). He is also the winner of the Source-Cord Prize (the Solas Prize) 2014, UK, and
Photographic Society of Japan Awards: Newcomer's Award (2016). In 2018 he won the category prize at the 72nd Salerno International Film Festival for his short film “Oshira
57:
The product of these ventures can be seen in two of his major projects. Here and There – Tomorrow's
Islands, a series of documentary-style daguerreotypes that he created in Fukushima after the triple disaster there in 2011. This project stands out from others he has done, as this addresses a nuclear
65:
His other major projects include
Tomorrow's History. This is a collection of daguerrotype portraits of teenagers from historically stigmatized teenagers; which was then coupled with an interview of the subject of the photograph. The Daily Daguerreotype Project is Arai's ongoing project that started
42:
fishing boat, a vessel that was affected by nuclear fallout from the US's thermonuclear weapon test at Bikini Atoll in 1954. Called Castle Bravo, the thermonuclear weapons test occurred on March 1, 1954. The boat was contaminated by the fallout from the test, and the crew of 23 men aboard the ship
377:
37:
Beginning in 2010, when he first became interested in nuclear issues, Arai has used the daguerreotype technique to create individual records—micro-monuments—of his encounters with people, objects, and places that had been through or affected by nuclear events. The first of these events was the
33:
According to Arai, he does not view the daguerreotype as a piece of nostalgia used to harken back to the days of a classical method. He has taken the daguerrotype on as his own personal medium, saying that he finds it "a reliable device for storing memory that is far better for recording and
29:
Arai started
University as a student of biology, and encountered photography for the first time there. He encountered the daguerrotype in a search to trace photography back to its roots, and dedicated the time and effort necessary to master the complex technique behind it.
192:
Arai started
University as a student of biology, and encountered photography for the first time there. He encountered the dauerrotype in a search to trace photography back to its roots, and dedicated the time and effort necessary to master the complex technique behind
357:
358:"March 23, 2014, The Sun at the Apparent Altitude of 570 m in WNW, Hijiyama Park, Hiroshima from the series Exposed in a Hundred Suns | Museum of Fine Arts, Boston"
634:
639:
106:
209:
51:
47:
87:
94:
79:
591:
22:(born June 5, 1978) is a Japanese photographer/visual artist who is well known for his unique practice in contemporary
98:
75:
315:
388:
46:
This project led him to photograph the deeply interconnected subjects of Fukushima, Hiroshima, and Nagasaki. After
629:
179:
39:
294:
624:
102:
130:
231:
83:
110:
618:
23:
577:
563:
549:
535:
521:
507:
493:
479:
465:
451:
437:
423:
409:
336:
273:
245:
205:
259:
34:
transmitting interactions with his subjects than modern photography."
316:"Artists & Works | Roppongi Crossing 2013: OUT OF DOUBT"
171:
592:"TAKASHI ARAI RECEIVES 41ST KIMURA IHEI PHOTOGRAPHY AWARD"
143:
Institute for Research in Humanities, Kyoto University.
74:
Arai's work has appeared in numerous exhibitions, at
295:"Japanese Photography from Postwar to Now · SFMOMA"
54:and depicted the aftermath of the triple disaster.
232:"Exposed in a Hundred Suns – Takashi Arai Studio"
274:"In the Wake | Museum of Fine Arts, Boston"
26:. He is based in Kawasaki & Tono, Japan.
8:
260:"Daily D-type Project – TAKASHI ARAI STUDIO"
578:"Installation views – TAKASHI ARAI STUDIO"
564:"Installation views – TAKASHI ARAI STUDIO"
550:"Installation views – TAKASHI ARAI STUDIO"
536:"Installation views – TAKASHI ARAI STUDIO"
522:"Installation views – TAKASHI ARAI STUDIO"
508:"Installation views – TAKASHI ARAI STUDIO"
494:"Installation views – TAKASHI ARAI STUDIO"
480:"Installation views – TAKASHI ARAI STUDIO"
466:"Installation views – TAKASHI ARAI STUDIO"
452:"Installation views – TAKASHI ARAI STUDIO"
438:"Installation views – TAKASHI ARAI STUDIO"
424:"Installation views – TAKASHI ARAI STUDIO"
410:"Installation views – TAKASHI ARAI STUDIO"
134:Kagami (The Mirror of the Oshira Deity).”
93:His works are held in the collections of
107:Tokyo Metropolitan Museum of Photography
152:
182:from the original on January 23, 2023
166:
164:
162:
160:
158:
156:
7:
90:, among other international venues.
88:National Museum of Modern Art, Tokyo
635:21st-century Japanese photographers
246:"49 Pumpkins – Takashi Arai Studio"
212:from the original on March 14, 2023
640:21st-century Japanese male artists
95:San Francisco Museum of Modern Art
80:San Francisco Museum of Modern Art
48:2011 TĹŤhoku earthquake and tsunami
14:
129:In 2016, Arai received the 41st
1:
318:. Mori Art Museum. 2013-01-06
389:"Orient/Asie - Aller\Retour"
178:(in English and Japanese).
99:Museum of Fine Arts, Boston
76:Museum of Fine Arts, Boston
656:
339:. Sfmoma.org. 2012-05-13
70:Collections and exhibits
337:"Takashi Arai · SFMOMA"
117:List of installations
16:Japanese photographer
206:"Daigo Fukuryū Maru"
103:Peabody Essex Museum
262:. 24 November 2019.
40:Daigo Fukuryū Maru
131:Kimura Ihei Award
50:he often visited
647:
609:
608:
606:
605:
596:
588:
582:
581:
574:
568:
567:
560:
554:
553:
546:
540:
539:
532:
526:
525:
518:
512:
511:
504:
498:
497:
490:
484:
483:
476:
470:
469:
462:
456:
455:
448:
442:
441:
434:
428:
427:
420:
414:
413:
406:
400:
399:
397:
396:
385:
379:
375:
369:
368:
366:
365:
354:
348:
347:
345:
344:
333:
327:
326:
324:
323:
312:
306:
305:
303:
302:
291:
285:
284:
282:
281:
270:
264:
263:
256:
250:
249:
242:
236:
235:
228:
222:
221:
219:
217:
202:
196:
195:
189:
187:
168:
113:, among others.
655:
654:
650:
649:
648:
646:
645:
644:
615:
614:
613:
612:
603:
601:
594:
590:
589:
585:
576:
575:
571:
562:
561:
557:
548:
547:
543:
534:
533:
529:
520:
519:
515:
506:
505:
501:
492:
491:
487:
478:
477:
473:
464:
463:
459:
450:
449:
445:
436:
435:
431:
422:
421:
417:
408:
407:
403:
394:
392:
387:
386:
382:
376:
372:
363:
361:
356:
355:
351:
342:
340:
335:
334:
330:
321:
319:
314:
313:
309:
300:
298:
293:
292:
288:
279:
277:
272:
271:
267:
258:
257:
253:
244:
243:
239:
230:
229:
225:
215:
213:
204:
203:
199:
185:
183:
176:takashiarai.com
170:
169:
154:
149:
140:
127:
119:
84:Mori Art Museum
72:
17:
12:
11:
5:
653:
651:
643:
642:
637:
632:
627:
617:
616:
611:
610:
583:
569:
555:
541:
527:
513:
499:
485:
471:
457:
443:
429:
415:
401:
380:
370:
349:
328:
307:
286:
265:
251:
237:
223:
197:
151:
150:
148:
145:
139:
136:
126:
123:
118:
115:
71:
68:
15:
13:
10:
9:
6:
4:
3:
2:
652:
641:
638:
636:
633:
631:
630:Living people
628:
626:
623:
622:
620:
600:
593:
587:
584:
579:
573:
570:
565:
559:
556:
551:
545:
542:
537:
531:
528:
523:
517:
514:
509:
503:
500:
495:
489:
486:
481:
475:
472:
467:
461:
458:
453:
447:
444:
439:
433:
430:
425:
419:
416:
411:
405:
402:
390:
384:
381:
378:
374:
371:
359:
353:
350:
338:
332:
329:
317:
311:
308:
296:
290:
287:
275:
269:
266:
261:
255:
252:
247:
241:
238:
233:
227:
224:
211:
207:
201:
198:
194:
181:
177:
173:
167:
165:
163:
161:
159:
157:
153:
146:
144:
137:
135:
132:
124:
122:
116:
114:
112:
108:
104:
100:
96:
91:
89:
85:
81:
77:
69:
67:
63:
59:
55:
53:
49:
44:
41:
35:
31:
27:
25:
24:daguerreotype
21:
602:. Retrieved
599:Suttonpr.com
598:
586:
572:
558:
544:
530:
516:
502:
488:
474:
460:
446:
432:
418:
404:
393:. Retrieved
383:
373:
362:. Retrieved
352:
341:. Retrieved
331:
320:. Retrieved
310:
299:. Retrieved
297:. Sfmoma.org
289:
278:. Retrieved
268:
254:
240:
226:
214:. Retrieved
200:
191:
184:. Retrieved
175:
141:
128:
120:
111:Musée Guimet
92:
73:
64:
60:
56:
45:
36:
32:
28:
20:Takashi Arai
19:
18:
625:1978 births
391:. Guimet.fr
619:Categories
604:2017-06-13
395:2017-06-10
364:2017-06-10
343:2017-06-10
322:2017-06-10
301:2017-06-10
280:2017-06-10
147:References
138:Other work
97:(SFMOMA),
82:(SFMOMA),
360:. Mfa.org
276:. Mfa.org
52:Fukushima
216:17 April
210:Archived
186:17 April
180:Archived
125:Awards
109:, and
86:, and
595:(PDF)
172:"Bio"
218:2023
188:2023
193:it.
621::
597:.
208:.
190:.
174:.
155:^
105:,
101:,
78:,
607:.
580:.
566:.
552:.
538:.
524:.
510:.
496:.
482:.
468:.
454:.
440:.
426:.
412:.
398:.
367:.
346:.
325:.
304:.
283:.
248:.
234:.
220:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.