Greg Girard
Street below Yamanote Line, Shin-Ōkubo
1982

Greg Girard
Tokyo, Akasaka
1979
Courtesy of the Artist and Monte Clark Gallery

Greg Girard
Kabukicho, Shinjuku
1977

Greg Girard
Two Schoolgirls, Tokyo
1979

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Greg Girard
Street below Yamanote Line, Shin-Ōkubo
1982

Greg Girard
Tokyo, Akasaka
1979
Courtesy of the Artist and Monte Clark Gallery

Greg Girard
Kabukicho, Shinjuku
1977

Greg Girard
Two Schoolgirls, Tokyo
1979

Selected

Tokyo–Yokosuka 1976–1983

Gallery hours

Tu–Sa: 10 am–5:30 pm

To coincide with the publication and launch of his new book Tokyo–Yokosuka 1976–1983, Greg Girard presents an exhibition of selected photographs from the series.

Girard has spent much of his career in Asia, and his work examines the social and physical transformations taking place throughout the region. Delving into his extensive archive of photographs, the artist has gathered his best and most notable images of Tokyo and Yokosuka from 1976 to 1983.

The artist first arrived in Tokyo in 1976, intending to stay a day or two on his way to Southeast Asia. Arriving by train to the bright lights of Shinjuku, Girard wandered the streets all night, looking more than photographing—but by morning he had decided he was going to stay. These photographs are the result of that decision by a twenty-year-old photographer, and for the following years the momentum from that first impression turned the artist loose in two cities he has never tired of photographing. During this time, Girard also started photographing in Yokosuka, south of Tokyo, where the US Seventh Fleet is based.

The photographs in Tokyo–Yokosuka 1976–1983 are about the place the artist was living in at the time. Of course, almost nobody saw them during this period. It would be years later before Girard started making a living as a magazine photographer, and many years after that before he started to consider this early, mostly unpublished work from Japan worth revisiting. As a young photographer, Girard felt that photographs should be revealing to the people who live in the place being photographed as well as to any imagined audience “back home” or anywhere else. That point of view hasn’t really changed.

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My Itinerary

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