Tom Haar (b. 1941, Tokyo) is renowned for his photographic portraits in his photo essay titled “Japanese Artists New York – 1971”, which features émigré Japanese artists based in New York. His father, Francis Haar (1908-1997), born Haár Ferenc in Csernatfalu, (south-east Hungary), also created many precious portraits of Japanese artists during his residence in Japan. Across two generations, Francis and Tom have been deeply connected with Japan, vividly documenting its culture and artists. Their works stand as invaluable records and works of art, continuing to convey the sense of connection to Japan that they encountered to the present day.

Francis Haar (1908-1997)

Francis studied at the National Academy of Industrial Arts (1924 – 1928) and  began to teach himself photography while working as a designer at the Gerloczy Architect office in Budapest. Later, he ran a photography studio in Budapest from 1934 to 1937, and in Paris from 1937 to 1939, where he mingled with Hungarian artists such as Victor Vasarely (1906-1997) and the photographer Brassaï  (1899-1984).

When Hitler invaded Poland on September 1, 1939, Francis tried to emigrate to America, but his uncle in Ohio never responded to his request. Fortunately, during his early days in Paris, he met Hiroshi Kawazoe (1913-1970), a cultural exchange producer.  Kawazoe was able to arrange for Francis and his wife Irene to emigrate to Japan through an invitation from the Kokusai Bunka Shinkokai (presently the Japan Foundation). They moved to Japan in early 1940, where Francis became active in photography, and later documentary film-making.

In the book “Francis Haar: A Lifetime of Images” (University of Hawaii Press, 2001, Japanese version with Benrido, 2021), Francis recalls: “It is interesting how fate governs our lives. If I hadn’t asked for the Paris address of my former classmate Gergely, who worked for Kawazoe, I would never have met Kawazoe, and I might never have moved to Japan. My life after that would have been completely different.”

Francis’ first solo photography exhibition, which sought to introduce Hungary, was held in 1940 at the Shirokiya department store gallery in Nihonbashi, Tokyo. That same year, his first photo book, “Way to the Orient”, documenting Hungary and Paris, was published and quickly sold out. From 1941 to 1943, he ran the Haar-Sato Studio in Tokyo with Hamajiro Sato, during which time he became increasingly interested in Kabuki and Bunraku.

Following the hardships of World War II, Francis’ talent truly blossomed. He documented traditional Japanese arts and artists, publishing numerous books such as “The Best of Old Japan” (1952) and “Japanese Theatre in Highlights” (1952). He also filmed documentaries, including “Arts of Japan: A Bridge of Beauty” (1953), produced by the American Embassy and the United States Information Service in Japan. Notable portraits by Haar included Shiko Munakata, Shoji Hamada, Akira Kurosawa, Toko Shinoda, Daisetsu Suzuki and Rosanjin. These portraits have become treasured historical records. 

In 1960, the Haar family moved to Hawaii. In 1963 Hiroshi Kawazoe invited Francis back to Japan to direct the film “Tenno: Symbol and Myth”, which was produced by Kawazoe’s Asuka Productions. Kawazoe, an idealist who deeply loved Japan, worked tirelessly to promote his country abroad, and this one-hour film was shown to visitors of the 1964 Tokyo Olympics, and broadcast on Fuji Television on the Emperor’s birthday, April 30, 1964.

Tom Haar (b. 1941, Tokyo)

After earning his MFA in design from the University of Hawaii, Tom Haar made his way to New York in 1968, where he began his career as a photographer. Tom initially set out to establish himself as a designer, but it was his photography that truly captured the attention of New York’s creative elites. Among those who noticed his talent was the legendary Alexei Brodovitch, the visionary art director of the Vogue magazine. Known for working with iconic photographers like Irving Penn and Richard Avedon, Brodovitch recognized something special in Tom’s work. It was during a review of Tom’s college book proposal, titled Reflections, created in 1966, that the director of the Brodovitch Design Laboratory saw his potential. Impressed by his fresh approach and artistic sensibility, this moment marked the beginning of Tom’s transition from a designer to a celebrated photographer, placing him on a path toward creative success in the vibrant New York art scene.

This recognition seemed almost destined, given his deep-rooted connection to the craft. Tom recalled during our phone interview, “My father had a darkroom at home long before photography was widely taught in colleges, and it was there, under his father’s guidance, that I absorbed the art and science of photography from an early age.” His skill, honed through the years of hands-on learning, made his rise in the photography world feel like a natural progression. 

It was at this moment in history that photography began to transcend its role as a mere documentation, evolving into a true art form. Notable figures, especially Cornell Capa, played a significant role in this transformation. In 1967, Capa curated The Concerned Photographer at the Riverside Museum in New York. This exhibition showcased the powerful works of Werner Bischof, Robert Capa, David Seymour (Chim), André Kertész, Leonard Freed, and Dan Weiner, highlighting photography’s potential to reflect the human condition.

Capa’s vision extended beyond the gallery walls. He organized a lecture series at New York University, which drew passionate audiences. Among them was Tom Haar, who attended talks by the legendary photographers, such as Ernst Haas, Diane Arbus, and W. Eugene Smith. These lectures were part of a broader movement spearheaded by Capa, one that emphasized the moral and ethical responsibility of photographers to document and expose the social injustices.

This vision culminated in the founding of the International Center of Photography (ICP) in 1974. Located at 1130 Fifth Avenue and East 94th Street, in Manhattan, the center was established in memory of Cornell’s brother, Robert Capa, honoring his legacy and the enduring impact of concerned photography.

Tom also mentioned that in 1969, Lee Witkin opened his gallery, which is believed to be one of the first to showcase photography as a fine art form.

Hailing from Tokyo, it was almost inevitable that Haar would find a connection with the lively community of Japanese artists thriving in downtown New York. During that time, Japanese artists were highly regarded and widely celebrated. As Tom noted, “At least one Japanese artist was always included in group shows in New York during the 1960s.” –  SD, Space Design magazine, May, 1972, Japan.

Haar photographed about 40 Japanese artists in 1971 including Yayoi Kusama, Shigeko Kubota (with Nam June Paik), Yoko Ono (with John Lennon), Ushio Shinohara, Gen’ichiro Inokuma, Minoru Kawabata, Takeshi Kawashima,Tadashi Asoma, Aijiro Wakita, Risaburo Kimura, Mashiko Kimura, Tatsuo Kondo, Naoto Nakagawa, Norio Azuma, Nobu Fukui, Yuji Tomono, Minoru Yoshida, Masaaki Sato, Kunio Iizuka, Natsuki Takama, Hirotsugu Aoki, Tomio Miki, Tadaaki Kuwayama, Tadasky Kuwayama, Masami Kodama, Shoichi Shiraki, Fumio Yoshimura, Toshio Odate, Seiji Saito, Yutaka Ohashi, Yukihisa Isobe, Shunji Sakuyama, Takeshi Matsui, Minoru Niizuma, and Hiromitsu Morimoto. 

During the early 1970’s, SoHo in New York transformed from a light industrial district into a vibrant hub for experimental art. The neighborhood’s large, open loft spaces provided ideal settings for artists to both live and work, enabling them to explore, scale and create site-specific installations. The area’s affordability at the time attracted a wave of artists, sculptors, and painters.

Notable figures such as Donald Judd, Sol LeWitt,Chuck Close, and Robert Rauschenberg were central to SoHo’s art scene. Minimalism, conceptual art, and performance art flourished, with SoHo becoming a creative nexus for innovation. Galleries like Leo Castelli Gallery, Paula Cooper Gallery, and The Kitchen thrived, presenting avant-garde, boundary-pushing work that defined the era.

A strong sense of community permeated SoHo, where artists frequently collaborated and visited one another’s studios. The neighborhood’s galleries fostered a culture of dialogue, critique, and experimentation that helped launch many New York-based artists into international recognition. Among these artists were Ushio Shinohara, Naoto Nakagawa. 

Tom Haar wrote about Ushio Shinohara with a keen eye for his unconventional lifestyle: “Shinohara arrived in New York with a JDR III Rockefeller Foundation grant. Today, he resides in a loft on Howard Street, just steps from Chinatown. Though Shinohara has a wife and son, their way of life feels more like a communal existence. He rents out bunk beds to young students and artists visiting from Japan for just one dollar a day, creating a space of shared energy and creative exchange. Shinohara lives by the principle of spontaneity—he avoids making plans, often spending entire nights working alongside fellow artists, only to sleep until the afternoon the following day.”— Geijutsu Seikatsu magazine, April, 1972, Japan. 

Hiromitsu Morimoto was Tom’s closest friend. The bond began through a mutual connection from Japan and Hawaii. This friend had just graduated from Long Beach State College and was attending the Art Students League in Midtown Manhattan. At the time, Morimoto was working as a printer at Shorewood Atelier, where he produced lithographs for Masuo Ikeda, who resided in Long Island. It was at Shorewood that Morimoto also formed a  friendship with Risaburo Kimura, who was creating a series of silkscreen prints based on the theme “Great Cities of the World.” Shorewood Atelier, just a block away from what would later become Westbeth, became a central point in their lives. When Westbeth opened in 1970, Morimoto became one of its first residents, where he continues to live to this day. 

Westbeth, located in the West Village, played a pivotal role in New York’s 1970s art scene. Established in 1970 as one of the first live-work spaces for artists, it transformed the old Bell Laboratories building into affordable housing for creatives of all disciplines. This development became a cultural epicenter for painters, writers, musicians, dancers, and filmmakers, offering stability and a sense of community to artists often grappling with the high cost of living in New York City.

Westbeth was home to influential figures like Merce Cunningham, the pioneering choreographer, and Diane Arbus, the renowned photographer. Besides Risaburo Kimura and Hiromitsu Morimoto, Minoru Kawabata, Aijiro Wakita, and Masaaki Sato also lived there, and Tom Haar, himself, moved there in September 1973. The building hosted performances, exhibitions, and various artistic projects, significantly contributing to the city’s cultural landscape. Many residents formed collectives and initiated workshops, expanding the reach of art beyond traditional galleries. 

As Tom Haar described in Geijutsu Seikatsu magazine (April, 1972, Japan): “In the well-known lower Manhattan area of the East Village, Yayoi Kusama resides. In recent years, she has become famous for publicly screening her own nude happenings. Currently, she is producing an underground film, dealing with a futuristic story related to her own affairs. However, she is also making films that tackle unique aspects of New York, such as various demonstrations and the police’s major defeats.”

Indeed, Kusama’s “Grand Orgy in the Garden” at the Museum of Modern Art (MoMA) in 1969 remains one of her defining performances, cementing her place in the avant-garde art scene.

From April 12 to May 11, 2025, “Father and Son” dual exhibitions will be held in Kyoto, Japan. Vintage photographs from Francis Haar’s “Japanese Artists in the Mid-1950s” will be presented at the Benrido Gallery, while 15 of  Tom Haar’s photographs from “Japanese Artists in New York – 1971” will be showcased at LOAF (Laboratory of Art & Form).