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Seiichi Hayashi was a leading figure in the hotbed of avant-garde artistic production of 1960s and early 70s Tokyo. He is best known for his lyrical and experimental manga for Garo, the famous alternative comics magazine. This volume collects a selection of Hayashi’s most important manga from this period, including Red Dragonfly (1968), Yamauba’s Lullaby (1968) and Gold Pollen (1971). Published here in their original full color, these stories mix traditional Japanese aesthetics with Pop art sensibilities, and range in topic from the legacies of Japanese rightwing nationalism and World War II, to the pervasive influence of America over 1960s Japanese youth culture. This first color reprinting of Hayashi’s work captures the vivid experimentation of Japanese art at this time. In addition, Hayashi’s youth and beginnings as an artist are illuminated by an autobiographical essay from 1972, translated here for the first time into English. Art historian Ryan Holmberg discusses Hayashi’s place in postwar Japanese art and manga, as well as his wider contributions to the Tokyo avant-garde as a designer and experimental animator. This lavishly illustrated book is likely to have widespread crossover appeal for design and fashion aficionados, as well as for students of the manga genre.Seiichi Hayashi (born 1945) is best known for his lyrical and experimental manga for Garo, the famous alternative comics magazine. His animated films have been screened at The Museum of Modern Art, New York, among other institutions. Since the 1970s Hayashi has been a nationally revered illustrator, famous for his classically informed depictions of contemporary women and an important influence on acclaimed director Hayao Miyazaki, among others. Hayashi lives and works just outside of Tokyo.

Seiichi Furuya’s Dresden photographs from 1984/85 are a most unlikely document ― a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private ― a young family in an intimate setting, their deep-seated anxieties and moments of happiness ― and it is more in passing that he records everyday life and society. His view from the outside, a stranger’s way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.

Seiichi Hayashi was a leading figure in the hotbed of avant-garde artistic production of 1960s and early 70s Tokyo. He is best known for his lyrical and experimental manga for Garo, the famous alternative comics magazine. This volume collects a selection of Hayashi’s most important manga from this period, including Red Dragonfly (1968), Yamauba’s Lullaby (1968) and Gold Pollen (1971). Published here in their original full color, these stories mix traditional Japanese aesthetics with Pop art sensibilities, and range in topic from the legacies of Japanese rightwing nationalism and World War II, to the pervasive influence of America over 1960s Japanese youth culture. This first color reprinting of Hayashi’s work captures the vivid experimentation of Japanese art at this time. In addition, Hayashi’s youth and beginnings as an artist are illuminated by an autobiographical essay from 1972, translated here for the first time into English. Art historian Ryan Holmberg discusses Hayashi’s place in postwar Japanese art and manga, as well as his wider contributions to the Tokyo avant-garde as a designer and experimental animator. This lavishly illustrated book is likely to have widespread crossover appeal for design and fashion aficionados, as well as for students of the manga genre.Seiichi Hayashi (born 1945) is best known for his lyrical and experimental manga for Garo, the famous alternative comics magazine. His animated films have been screened at The Museum of Modern Art, New York, among other institutions. Since the 1970s Hayashi has been a nationally revered illustrator, famous for his classically informed depictions of contemporary women and an important influence on acclaimed director Hayao Miyazaki, among others. Hayashi lives and works just outside of Tokyo.

Z : 159 Seiten, zahlreiche ganzseitige farbige und s/w-Abbildungen, gebunden mit Schutzumschlag - Seiich Furuya leistet Gedächtnisarbeit mittels Fotografie. Private und öffentliche Vergangenheit.

Seiichi Furuya’s Dresden photographs from 1984/85 are a most unlikely document ― a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private ― a young family in an intimate setting, their deep-seated anxieties and moments of happiness ― and it is more in passing that he records everyday life and society. His view from the outside, a stranger’s way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.

The Boss by Seiichi Nakamura, is a live recording made by TBM Records as part of a special project "5 days in Jazz" recorded in March 23, 1974. Of the 5 Live Albums recorded during this special event "The Boss" was the only one never released due to an oversight by the Producer Takeshi "Tee" Fujii. As you listen, the quality and performance of the music they play is just extraordinary and unique. The playing technique on "The Boss" contains a rich sense of elegance and Japanese tradition that to

Book by Seiichi Makino, Yukiko Abe Hatasa, Kazumi Hatasa

Seiichi Furuya's photographs relentlessly highlight the cruel aspect of "shooting" a photograph. It is a materialistic act of severing the familiar relationship between the subject and the object, as well as the viewer and the object. Furuya is a photographer who totally excludes any lyrical vagueness from his images, even when his most intimate moments or his late wife are the subject. His work deploys a sharp tension that can seem like a cutting knife. Thus it seems no coincidence that he has taken up the theme of severance in his Border series, in which he shot the border zone between Austria, where he lived, and the Eastern European nations, and Wall, where he shot the Berlin Wall from the Eastern side before its collapse. In these works, the importance lies not in the old-fashioned melodramatic tragedy of crossing a boundary, but in the fact that the place in question is the remnant of an historical severance. This volume catalogues work Furuya has created over the past 25 years, in Europe, Japan, and the United States, including his latest series, which concentrates on his own neighborhood of Graz, transforming in into images of intense color and magical beauty. Essay by Moika Faber. Hardcover, 9.5 x 12.5 in./176 pgs / 90 color and 30 duotone

Les ténèbres d'une forêt plongée dans la nuit. Sous une pluie battante, un homme déterminé traque une victime terrifiée. La décision de Seiichi Kirishima est prise: ce soir, il va tuer sa femme. Pourtant, un an plus tôt, c'était un homme heureux. Écrivain à succès, mari comblé et papa d'un jeune garçon... à l'époque, tout semble lui réussir. Mais ce bonheur sans faille n'est pas éternel. Le jour où son éditeur met fin à leur collaboration, les ténèbres s'immiscent dans la vie du jeune écrivain, vite criblé de dettes. Une terrifiante descente aux enfers commence, au fil des pages de ce qui pourrait bien être son dernier roman...

Adios to Tears is the very personal story of Seiichi Higashide (1909–97), whose life in three countries was shaped by a bizarre and little-known episode in the history of World War II. Born in Hokkaido, Higashide emigrated to Peru in 1931. By the late 1930s he was a shopkeeper and community leader in the provincial town of Ica, but following the outbreak of World War II, he―along with other Latin American Japanese―was seized by police and forcibly deported to the United States. He was interned behind barbed wire at the Immigration and Naturalization Service facility in Crystal City, Texas, for more than two years.After his release, Higashide elected to stay in the U.S. and eventually became a citizen. For years, he was a leader in the effort to obtain redress from the American government for the violation of the human rights of the Peruvian Japanese internees.Higashide’s moving memoir was translated from Japanese into English and Spanish through the efforts of his eight children, and was first published in 1993. This second edition includes a new Foreword by C. Harvey Gardiner, professor emeritus of history at Southern Illinois University and author of Pawns in a Triangle of Hate: The Peruvian Japanese and the United States; a new Epilogue by Julie Small, cochair of Campaign for Justice–Redress Now for Japanese Latin Americans; and a new Preface by Elsa H. Kudo, eldest daughter of Seiichi Higashide.

Seiichi Furuya's photographs relentlessly highlight the cruel aspect of "shooting" a photograph. It is a materialistic act of severing the familiar relationship between the subject and the object, as well as the viewer and the object. Furuya is a photographer who totally excludes any lyrical vagueness from his images, even when his most intimate moments or his late wife are the subject. His work deploys a sharp tension that can seem like a cutting knife. Thus it seems no coincidence that he has taken up the theme of severance in his Border series, in which he shot the border zone between Austria, where he lived, and the Eastern European nations, and Wall, where he shot the Berlin Wall from the Eastern side before its collapse. In these works, the importance lies not in the old-fashioned melodramatic tragedy of crossing a boundary, but in the fact that the place in question is the remnant of an historical severance. This volume catalogues work Furuya has created over the past 25 years, in Europe, Japan, and the United States, including his latest series, which concentrates on his own neighborhood of Graz, transforming in into images of intense color and magical beauty. Essay by Moika Faber. Hardcover, 9.5 x 12.5 in./176 pgs / 90 color and 30 duotone

Seiichi, the old neighborhood bully, has moved back to town, and his sudden arrival is causing all sorts of trouble. His parents, Mr. and Mrs. Kimura, are torn by anger at how their wayward son left and the love they bear for him. The local merchants are up in arms, ready for a preemptive strike against Seiichi's vandalism--even if he has no intention of causing trouble! But for Takuya, the real effect of Seiichi's visit is what he has to say about Takuya's own past...

An extended portrait of the photographer's wife, who committed suicide in 1985. Photographs by Seiichi Furuya; text by Monika Faber. 128 pages; color and b&w photographs throughout; 8.25 x 9.75 inches. Text in German and English.

The Boss by Seiichi Nakamura, is a live recording made by TBM Records as part of a special project "5 days in Jazz" recorded in March 23, 1974. Of the 5 Live Albums recorded during this special event "The Boss" was the only one never released due to an oversight by the Producer Takeshi "Tee" Fujii. As you listen, the quality and performance of the music they play is just extraordinary and unique. The playing technique on "The Boss" contains a rich sense of elegance and Japanese tradition that to