Taizō Inagaki

Taizō Inagaki
稲垣泰三
OccupationPhotographer
Known for
Movement

Taizō Inagaki (稲垣泰三, Inagaki Taizō) was a Japanese photographer associated with avant-garde photography in Nagoya.[1] He was among the photographers active in the Nagoya avant-garde milieu during the 1930s and was later counted among the members of Nagoya Photo Avant-Garde.[1][2]

Early activity

MEM's overview of Nagoya avant-garde photography identifies Inagaki as one of the photographers who, together with figures such as Minoru Sakata and Tsugio Tajima, helped form the Nagoya Photo Gruppe by 1934.[1] This places him within the same prewar regional milieu from which later Nagoya avant-garde photography emerged.[1]

Nagoya Photo Avant-Garde

In 1939, Inagaki was among the photographers associated with Nagoya Photo Avant-Garde, the photographic offshoot that continued avant-garde activity in Nagoya under increasing wartime pressure.[3] In Surrealism Beyond Borders, he is identified together with Kansuke Yamamoto and Tsugio Tajima as part of the group around 1939–40.[3]

Tokyo Photographic Art Museum's overview of avant-garde photography in Nagoya places the group within a milieu in which Nagoya photographers developed and debated their theories in magazines such as Camera Art and Photo Times, while roundtable discussions on avant-garde photography were organized through the locally published coterie magazine Cameraman.[4][5][6][7]

Mesemu zoku

Inagaki's work was included in Mesemu zoku: Chōgenjitsushugi shashin-shū / Mesemb, 20 photographies surréalistes (1940), a collaborative photobook associated with Nagoya Photo Avant-Garde.[2] Surrealism Beyond Borders, the catalogue published by the Metropolitan Museum of Art and Tate Modern, notes that the volume, edited by Yoshio Shimozato, included works by Shimozato, Sakata, Tajima, and Inagaki, and was produced collaboratively with specialist collectors of Mesembryanthemaceae cacti.[2] Jelena Stojković likewise describes the project as one in which Shimozato mobilized the other photographers of the club, including Inagaki and Tajima, for a Surrealist photobook developed in the immediate aftermath of the Nagoya meeting of late 1938.[8]

Position in Nagoya photography

Inagaki is relevant to the history of Photography in Nagoya as one of the photographers who helped shape the city's prewar avant-garde network and its wartime Surrealist-inflected offshoots.[1][2] His career is also relevant to accounts of avant-garde photography in Japan, especially through the activities of Nagoya Photo Avant-Garde and related photographers such as Kansuke Yamamoto.[2][8]

See also

References

  1. ^ a b c d e "The Legacy of Avant-garde Photography in Nagoya, 1930s-50s". MEM. 2025-01-10. Retrieved 2026-03-13.
  2. ^ a b c d e D'Alessandro, Stephanie; Gale, Matthew, eds. (2021). Surrealism Beyond Borders. The Metropolitan Museum of Art; Tate Modern. pp. 82–83. ISBN 9781588397270.
  3. ^ a b D'Alessandro, Stephanie; Gale, Matthew, eds. (2021). Surrealism Beyond Borders. The Metropolitan Museum of Art; Tate Modern. pp. 82–83. ISBN 9781588397270.
  4. ^ "Avant-Garde Rising: The Photographic Vanguard in Modern Japan". Tokyo Photographic Art Museum. Retrieved 2026-03-13.
  5. ^ "アヴァンガルド勃興　近代日本の前衛写真" [Avant-Garde Rising: The Photographic Vanguard in Modern Japan]. 東京都写真美術館 (in Japanese). Retrieved 2026-03-17.
  6. ^ 名古屋市美術館年報 令和2年度 [Nagoya City Art Museum Annual Report 2020] (PDF) (Report) (in Japanese). 名古屋市美術館. p. 14. Retrieved 2026-03-17.
  7. ^ Soeda, Kazuho (2019). "多肉植物と写真--下郷羊雄の可食的オブジェについて" [Succulents and Photography: On Yoshio Shimozato's Edible Objects] (PDF). 愛知県美術館研究紀要 (in Japanese). 25: 34. Retrieved 2026-03-17. 下郷羊雄、山中散生、坂田稔「前衛写真再検討座談会」『カメラマン』29号、1939年2月、22頁。
  8. ^ a b Stojković, Jelena (2020). Surrealism and Photography in 1930s Japan: The Impossible Avant-Garde. Bloomsbury Visual Arts. pp. 108–110.

Further reading

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