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From Wikipedia, the free encyclopedia
| The Thrilling Game Related to Photography | |
|---|---|
| Artist | Kansuke Yamamoto |
| Year | 1956 |
| Medium | Photograph, gelatin silver print on paper and glass on paper |
| Dimensions | 25.9 cm × 19.9 cm × 7.4 cm |
| Location | Nottingham |
| Owner | Jack Kirkland Collection |
The Thrilling Game Related to Photography is a 1956 mixed-media photographic work by the Japanese artist Kansuke Yamamoto. Combining {a photograph} with glass, it is without doubt one of the three-dimensional works Yamamoto started making within the mid-Fifties. The work was later exhibited at Tate Modern in Shape of Light: 100 Years of Photography and Abstract Art (2018).[1][2][3]
Tate’s large-print information for Shape of Light lists the work as a “Photograph, gelatin silver print on paper and glass on paper” and provides its dimensions as 25.9 × 19.9 × 7.4 cm.[1] A guidelines for Yamamoto’s 2017 exhibition at Taka Ishii Gallery Photography / Film likewise describes it as a 1956 work in gelatin silver print and glass.[4]
According to the Getty chronology for Yamamoto, he started making three-dimensional work in 1956 and held solo exhibitions that yr at Matsushima Gallery in Ginza and Maruzen Gallery in Nagoya.[5] The Thrilling Game Related to Photography was proven in Yamamoto’s 1956 solo exhibition, and a overview within the Asahi Shimbun described the exhibition as comprising greater than thirty color and black-and-white works. The newspaper singled out The Thrilling Game Related to Photography as an experimental work utilizing glass, curved surfaces, and pins, and noticed the exhibition as an entire as an try to interrupt with older conventions of pictures.[6]
The work was exhibited once more within the 2017 Taka Ishii Gallery Photography / Film exhibition Kansuke Yamamoto.[7][4] It was later included in Tate Modern’s 2018 exhibition Shape of Light: 100 Years of Photography and Abstract Art, which Tate introduced as a survey of the connection between pictures and summary artwork from the 1910s to the current.[2][1]
Reviewing the 2017 Taka Ishii exhibition, Kōtarō Iizawa grouped the work with Metamorphosis for example of Yamamoto’s mixture of pictures and objects, and mentioned it alongside serial works similar to It is Raining in Town My Room Is Full of Fragments and My Thin-Aired Room.[8]
In a 2018 overview of Shape of Light, Fred S. Fyles described the work as a small field containing {a photograph} of glass shards pierced with the shards themselves, and argued that it served as an emblem for the exhibition as an entire by collapsing distinctions between sculpture, artwork, and pictures whereas retaining a powerful sense of playfulness.[9]
- ^ a b c “100 Years of Photography & Abstract Art” (PDF). Tate. Tate. Retrieved 9 April 2026.
- ^ a b “Shape of Light”. Tate Modern. Tate. Retrieved 9 April 2026.
- ^ Judith Keller; Amanda Maddox, eds. (2013). Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto. J. Paul Getty Museum. p. 215.
- ^ a b “Kansuke Yamamoto” (PDF). Contemporary Art Library. Retrieved 9 April 2026.
- ^ Judith Keller; Amanda Maddox, eds. (2013). Japan’s Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto. J. Paul Getty Museum. p. 215.
- ^ “山本悍右写真展”. 朝日新聞 (in Japanese). 10 December 1956.
- ^ “Kansuke Yamamoto”. Taka Ishii Gallery. Retrieved 9 April 2026.
- ^ Iizawa, Kōtarō (21 January 2017). “Kansuke Yamamoto”. artscape (in Japanese). DNP Art Communications. Retrieved 9 April 2026.
- ^ Fyles, Fred S. “The photographer as painter, sculptor, artist”. Felix. Retrieved 9 April 2026.
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