Eikoh Hosoe — Major Monograph, English Edition (MACK, 2021)
Published by MACK Books in September 2021 and edited by Yasufumi Nakamori, this 400-page volume is a comprehensive survey of Eikoh Hosoe's photographic work. At 25 × 32.5 cm in an embossed hardback format, it is designed as a sustained reference rather than a compact introduction — a book built for long-term use alongside primary research.
The editorial scope extends beyond Hosoe's major series to include lesser-known collaborative work with writers, critics, dancers, and artists. That breadth is deliberate. It situates Eikoh Hosoe photography within a wider field shaped by postwar Japanese literature, performance, film, and visual culture — among them figures such as Yukio Mishima, Yayoi Kusama, and Shuzo Takiguchi. The result is a volume that reads as much as cultural history as artist monograph.
Hosoe's significance is not limited to his images. He co-founded Vivo, later helped establish the Photography Workshop, and played a formative role in the development of postwar Japanese photography as an institution. His influence on subsequent generations — including Daido Moriyama — is part of what gives this book its depth. Nakamori's editorial framing reflects that complexity, drawing on both newly commissioned essays and key reprinted texts.
This title is held as part of the Photography & Photobooks catalogue at Lokator100.
Eikoh Hosoe
Eikoh Hosoe, born in 1933 in Yamagata, is one of the central figures in the history of Japanese photography. Since the mid-1950s, he has worked across image-making, curating, teaching, and institutional development. His practice helped move photography in Japan away from older documentary models and toward a more complex intersection of art, literature, performance, and film.
Hosoe was also deeply involved in the structures around photography. He co-founded Vivo, later helped establish the Photography Workshop, and influenced later generations of photographers, including Daido Moriyama. For that reason, this book is not only an artist monograph — it is also an entry point into the wider history of postwar Japanese photography.
