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LEADAPRON • 554 HUNTLEY DRIVE LOS ANGELES CA 90048 • 310 360 0554 • LEADAPRON.NET • BY APPOINTMENT ONLY<br />
Ikko Kagari Document Tsuken Densha<br />
(Document Exp<strong>res</strong>s Train)<br />
Hama Shobo, Tokyo, 1982. First Edition. Quarto. Softcover with<br />
stiff printed wrappers in illustrated dust jacket and exceedingly<br />
rare printed obi. Dust jacket is Near Fine, showing only <strong>the</strong><br />
slighest edge wear along <strong>the</strong> top and bottom; Obi shows some<br />
rubbing on each face, but is Near Fine overall; Book is in Fine<br />
condition.<br />
Keizo Kitajima A.D. 1991<br />
“Chikan” is a Japanese vernacular term for men who grope<br />
women in crowded public places. The practice reached epidemic<br />
proportions in <strong>the</strong> early 2000s causing rail officials to have separate<br />
women only train cars during <strong>the</strong> rush hour. In Document<br />
Exp<strong>res</strong>s Train Kagari uses infrared film and surveillance techniques<br />
to catch <strong>the</strong> Chikan in action. It is unclear whe<strong>the</strong>r <strong>the</strong><br />
photographer is documenting a social trend or is simply a voyeur<br />
attempting to satisfy his own sexual frustration.<br />
1500<br />
Kawade Shobo Shinsha, Tokyo, 1991. First Edition. Quarto.<br />
Hardbound in white paper covered boards with printed dust jacket<br />
and obi. Very light shelf wear to bottom edges, else a Fine<br />
copy.<br />
“Kitajima alights on two facets of <strong>the</strong> modern city- <strong>the</strong> anonymous<br />
International Style architecture of <strong>the</strong> city’s commercial<br />
quarter and <strong>the</strong> distracted exp<strong>res</strong>sions of its citizens as <strong>the</strong>y<br />
travel <strong>the</strong> hectic, crowded streets. By cutting between long views<br />
of <strong>the</strong> urban topography, taken when devoid of people and traffic,<br />
and close-ups of individuals during busy workdays, he draws a<br />
comparison between <strong>the</strong> stern, calm anonymity of <strong>the</strong> corporate<br />
architecture and <strong>the</strong> anxious denizens scurrying in <strong>the</strong> shadow of<br />
<strong>the</strong> buildings. Kitajima may make an obvious point, but he makes<br />
it with verve and elegance, in <strong>the</strong> manner of a contemporary Yasuhiro<br />
Ishimoto.” Parr & Badger, The Photobook: A History vol.<br />
I, pg. 301.<br />
3500