| Name | Araki 40 (Nobuyoshi Araki) (2020) | Araki By Araki (Nobuyoshi Araki) (2002) | |
| Credits (Main Page): | Text By : Akihito Yasumi | | |
| Credits (Main Page): | Text By : Akira Suei | | |
| Copied Wikipedia parts under license : | | | |
| Credits (Photographers, Artists, ...) : | | | |
| Credits (Main Page): | | Interview By : Jérôme Sans | |
| Image | | Araki Cover.jpg | |
| Originally released : | 1997 | 2002 | |
| ISBN: | | 978-3-8365-8252-0 | |
| Displayed (written) info : | | ARAKI
TASCHEN | |
| Description (by producer & GT in English only) : | It started in 1978 with an ordinary coffee shop near Kyoto. Word spread that the waitresses wore no panties under their miniskirts. Similar establishments popped up across the country. Men waited in line outside to pay three times the usual coffee price just to be served by a panty-free young woman.
Within a few years, a new craze took hold: the no-panties “massage” parlor. Increasingly bizarre services followed, from fondling clients through holes in coffins to commuter-train fetishists. One particularly popular destination was a Tokyo club called “Lucky Hole” where clients stood on one side of a plywood partition, a hostess on the other. In between them was a hole big enough for a certain part of the male anatomy.
Taking the Lucky Hole as his title, Nobuyoshi Araki captures Japan's sex industry in full flower, documenting in more than 800 photos the pleasure-seekers and providers of Tokyo’s Shinjuku neighborhood before the February 1985 New Amusement Business Control and Improvement Act put a stop to many of the country's sex locales. Through mirrored walls, bed sheets, the bondage and the orgies, this is the last word on an age of bacchanalia, infused with moments of humor, precise poetry, and questioning interjections. | Decades’ worth of images have been distilled down to 512 pages of photographs in this ultimate retrospective collection of Nobuyoshi Araki's work, selected by the artist himself.
First published as a Limited Edition the curation delves deep into Araki’s best-known imagery: Tokyo street scenes; faces and foods; colorful, sensual flowers; female genitalia; and the Japanese art of kinbaku, or bondage. As girls lay bound but defiant and glistening petals assume suggestive shapes, Araki plays constantly with patterns of subjugation and emancipation, death and desire and with the slippage between serene image and shock.
Describing his bondage photographs as “a collaboration between the subject and the photographer”, Araki seeks to come closer to his female subjects through photography, emphasizing the role of spoken conversation between himself and the model. In his native Japan, he has attained cult status for many women who feel liberated by his readiness to photograph the expression of their desire. | |
| Notes : | | In the interview the book is named "Araki By Araki" by the author, although many versions simply mention "Araki" on thge cover.
Editions with "25", "40" or "45" on the spine refer to the publisher's 40th anniversary. | |
| Source : | Taschen (www.taschen.com/pages/en/catalogue/sex/all/45453/facts.araki_tokyo_lucky_hole.htm) | https://en.artbooksonline.eu/art-35364 (en.artbooksonline.eu/art-35364) | |
| neww |
| ACCEPTED on 17/02/2026 by bob (10565) |
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