Takashi Homma: Portrait of J
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"Portrait of J" joins the rich tradition of socially engaged portraiture, echoing seminal works such as August Sander’s "Face of Our Time," Irving Penn’s "Small Trades," and, Wolfgang Tillmans’s "Portraits." What distinguishes "Portrait of J" is its intentional focus on ordinary individuals photographed with the same care and reverence often reserved for cultural icons.(...)
Takashi Homma: Portrait of J
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$105.00
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"Portrait of J" joins the rich tradition of socially engaged portraiture, echoing seminal works such as August Sander’s "Face of Our Time," Irving Penn’s "Small Trades," and, Wolfgang Tillmans’s "Portraits." What distinguishes "Portrait of J" is its intentional focus on ordinary individuals photographed with the same care and reverence often reserved for cultural icons. Shot across a variety of familiar, recognizable locations, mainly in urban environments, Homma’s portraits have an illuminating quality that reveal a psychological depth in their subjects. His portraits are guided by empathy and a desire to observe people as they are—free from manipulation or staging. The result is a more inclusive, nuanced visual representation of Japanese identity—expanding the lens through which Japanese people are seen both within Japan and internationally.
Monographies photo
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With the publication of his serialized photo-essay Hikari to Kage (Light and Shadow) in the first issues of the magazine, Shashin Jidai, Daido Moriyama announced his return to photography after nearly a decade. Moriyama had been mired in an acute creative slump from his mid thirties, since the publication of his seminal book, Shashin yo Sayonara (Farewell Photography) in(...)
Daido Moriyama Shashin Jidai 1981-1988
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With the publication of his serialized photo-essay Hikari to Kage (Light and Shadow) in the first issues of the magazine, Shashin Jidai, Daido Moriyama announced his return to photography after nearly a decade. Moriyama had been mired in an acute creative slump from his mid thirties, since the publication of his seminal book, Shashin yo Sayonara (Farewell Photography) in 1972. Unable to take nearly any photos for a prolonged period, he turned to illicit drugs, ultimately wasting away to little more than 40 kgs before he hit physical and emotional rock bottom. Lured back by Akira Hasegawa, Shashin Jidai’s editor, he was invited to contribute photographs for each issue. This began a long relationship between Moriyama and Shashin Jidai. He would ultimately make a total of six serialized essays that appeared through sixty-three issues (in every issue but one) until its’ demise in April 1988. During this period Moriyama worked almost exclusively for Shasin Jidai and was given a free hand to explore and experiment and in the process evolved a new aesthetic that still informs his photography today. Tragically, more than eighty percent of his negatives were lost from this pivotal body of work. In Daido Moriyama Shashin Jidai 1981–1988 the complete run of essays or chapters that appeared concurrently in Shashin Jidai are brought together for the first time, representing the only way to appreciate them without acquiring the original magazines themselves.
Monographies photo
Geomancy
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The photographs in Geomancy were taken from October 2007 to November 2008, using an Olympus Stylus with color film. I had left New York for Beijing, where I lived on Xindong Lu, sometimes tutored English, and occasionally wrote a column called "Raw China" for Vice. The city embodied an almost too good to be true clichéd "otherness" with an overabundance of literally(...)
Monographies photo
novembre 2025
Geomancy
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$42.00
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The photographs in Geomancy were taken from October 2007 to November 2008, using an Olympus Stylus with color film. I had left New York for Beijing, where I lived on Xindong Lu, sometimes tutored English, and occasionally wrote a column called "Raw China" for Vice. The city embodied an almost too good to be true clichéd "otherness" with an overabundance of literally foreign colors, textures, shapes, and structures. Put another way, China, and Beijing in particular, is extremely photogenic. The title comes from a reference to the Forbidden City in the accompanying story "The First Bus of Beijing" about riding the No. 1 bus. It couldn’t be more appropriate, as Geomancy is a concept taken very seriously in China that means "the art of placing or arranging buildings or other sites auspiciously."
Monographies photo
Tamiko Nishimura: Journeys
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Tamiko Nishimura (Born in Tokyo, 1948) graduated from Tokyo College of Photography (now Tokyo Visual Arts) in 1969. She emerged as part of the vibrant Japanese avant-garde scene in the early 1970s. Over the years, her work—largely based on her own journeys and experiences in Japan and abroad—conveys both a personal and beautifully theatrical perspective on the world.(...)
Monographies photo
novembre 2025
Tamiko Nishimura: Journeys
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Tamiko Nishimura (Born in Tokyo, 1948) graduated from Tokyo College of Photography (now Tokyo Visual Arts) in 1969. She emerged as part of the vibrant Japanese avant-garde scene in the early 1970s. Over the years, her work—largely based on her own journeys and experiences in Japan and abroad—conveys both a personal and beautifully theatrical perspective on the world. Nishimura photographs in an instinctive and spontaneous way. Her visual language is poetic, spiritual, and deeply personal. While her stylistic approach to image-making, in contrasted black and white, often blurred, or grainy, is close to some of the artists associated with Provoke, her work is imbued with an introspective and haunting quality that evokes a unique and profound emotional dimension. Throughout her long and ongoing career, Nishimura has photographed women with a distinct attentiveness. The closeup of a woman’s face, her hair brushed by the wind; a woman energetically walking down the street with her grocery basket, her head turned away from the camera; the back of two women walking down a street; a girl reading on a sofa with a magazine resting on her knees; or the intimate portraits of her childhood friend. These photographs depicting women in their everyday lives are filled with a knowing and empathetic quality that stands out in the history of Japanese photography.
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Lawrence Fafard : Au revoir
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Constitué de photographies et de fragments poétiques, ce magnifique livre d’art explore la manière dont l’image peut brouiller les frontières entre le tangible et la projection. Dans un monde où l’image circule et se dissout dans l’immatériel, Au revoir est un geste de résistance, réaffirmant l’importance de la matérialité de l’image. L’artiste adopte des formes de(...)
Lawrence Fafard : Au revoir
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Constitué de photographies et de fragments poétiques, ce magnifique livre d’art explore la manière dont l’image peut brouiller les frontières entre le tangible et la projection. Dans un monde où l’image circule et se dissout dans l’immatériel, Au revoir est un geste de résistance, réaffirmant l’importance de la matérialité de l’image. L’artiste adopte des formes de création hybrides et des procédés de réimpression, de superposition et de collage.
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Zoe Welch : Under One Sun
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''Under One Sun'' is a photobook that chronicles some of the hand-painted sign art on Miami’s local businesses. Made across more than six years, inadvertently the collection also documents the loss of local businesses and their distinct signage — some buildings razed altogether — often the fallout of Miami's real estate development churning inland. Along with that(...)
Zoe Welch : Under One Sun
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''Under One Sun'' is a photobook that chronicles some of the hand-painted sign art on Miami’s local businesses. Made across more than six years, inadvertently the collection also documents the loss of local businesses and their distinct signage — some buildings razed altogether — often the fallout of Miami's real estate development churning inland. Along with that loss, so goes some of Miami’s unique history. Today, ''Under One Sun'' is a memory box for Miami’s locals, and a memento for its visitors.
100 Sculptural Circumstances
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A sequence of 103 images of found sculptural circumstances shot in Montreal by photographer Dean Garlick : ''Sculptural circumstances evoke the long tradition of art history through their accidental form, structure, and material confluences. It's my hope that the continuous flow of aesthetic accidents in this book will evoke a sense of awe in the everyday world(...)
100 Sculptural Circumstances
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A sequence of 103 images of found sculptural circumstances shot in Montreal by photographer Dean Garlick : ''Sculptural circumstances evoke the long tradition of art history through their accidental form, structure, and material confluences. It's my hope that the continuous flow of aesthetic accidents in this book will evoke a sense of awe in the everyday world similar to what I experience while I'm out photographing in the streets and alleys of Montreal, '100 sculptural circumstances' is a call to action that challenges the viewer to be fascinated by the world, and invites them into the embrace of the alchemy of the mundane, which is so very central to my photographic aesthetic.''
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Beyond time, out of time, stuck in time. The places Isabelle Tortola chooses to capture in her photographs tell the story of a bucolic, warm, and often introspective Italy. From north to south, with stops in between, Tortola captures rural landscapes with natural ones – suburbs and hidden corners, towering trees and seas that turn amber under the daylight against the(...)
Isabella Tortola: Oltre il tempo
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Beyond time, out of time, stuck in time. The places Isabelle Tortola chooses to capture in her photographs tell the story of a bucolic, warm, and often introspective Italy. From north to south, with stops in between, Tortola captures rural landscapes with natural ones – suburbs and hidden corners, towering trees and seas that turn amber under the daylight against the backdrop of deep blue. A suspended time that does not, however, escape a sharp undercurrent of tension. Anything could happen at any moment – and everything could change.
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"Un Fantastico Altrove" is a photography book and, at the same time, a visual diary – both intimate and political – that tells the story of a queer relationship shaped by time, distance, returns and transformations. Through a flow of images and words, the bond between Silvia Clo Di Gregorio and Samuele Galli takes shape: a story that is both biography and utopia. Their(...)
Silvia Clo Di Gregorio: Un Fantastico Altrove
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"Un Fantastico Altrove" is a photography book and, at the same time, a visual diary – both intimate and political – that tells the story of a queer relationship shaped by time, distance, returns and transformations. Through a flow of images and words, the bond between Silvia Clo Di Gregorio and Samuele Galli takes shape: a story that is both biography and utopia. Their emotional archive moves between personal experience and collective imagination, mapping a geography made of closeness, care and desire. Here, queer love becomes a celebration of the possibility to inhabit the world otherwise – together, beyond normative frameworks, yet deeply rooted in everyday life as both a political gesture and euphoric feeling.
Afshar Hoda:The fold
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"The fold" is a critical visual and psychological investigation into the enduring legacy of Orientalist and colonialist photographic practices, and the ways in which these gazes continue to shape how bodies—particularly veiled Islamic bodies—are seen, archived, and consumed. This new body of work by Iranian artist Hoda Afshar takes as its starting point the vast archive(...)
Afshar Hoda:The fold
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"The fold" is a critical visual and psychological investigation into the enduring legacy of Orientalist and colonialist photographic practices, and the ways in which these gazes continue to shape how bodies—particularly veiled Islamic bodies—are seen, archived, and consumed. This new body of work by Iranian artist Hoda Afshar takes as its starting point the vast archive of Gaëtan Gatian de Clérambault (1872–1934), a French psychiatrist and photographer who, in the early 20th century, produced thousands of images of veiled women—and sometimes men—in Morocco. Encountered by Afshar during her research at the musée du quai Branly – Jacques Chirac in Paris, these photographs were originally used by de Clérambault to support psychoanalytic theories around fantasy, covering, and desire, all filtered through a deeply colonial lens.
Monographies photo