Japan’s art evolution in the 1970s, a Mexican-born artist’s boyhood, two sculptors’ caustic views of a city, and an artist’s images of women and fashion.
After World War II, Japan began to rebuild its incinerated cities with steel and concrete. These stark materials are among the subjects — assuming they can be said to have subjects at all — of minimalist artworks in “Photographic Images and Matter: Japanese Prints of the 1970s.” Several exceptionally austere pictures are featured in this survey, which was organized by the Japan Society and is currently at the Japan Information and Culture Center.
Akira Matsumoto and Katsuro Yoshida enlarge halftone dots to make their presence obvious. Satoshi Saito photographs a set of mirrors placed in a streetscape to reflect part of the off-camera scene into the picture. Kosuke Kimura’s photo-collages incorporate lenticular printing to produce a 3D effect, and employ Day-Glo inks to yield the brightest hues in a show dominated by gray and brown.
If the artist’s approach is more mythological than anthropological, it also reflects the alienation that can result from contemporary technology. Ancient objects and images of religious rituals, including a Roman Catholic procession, are digitally modified so they appear unrooted. The geographic border Reyes crossed seems less important than the porous boundary between reality and simulation.Through June 22 at Hamiltonian Artists, 1353 U St. NW.
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