Stan Douglas: Ghostlight
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Since the 1980s, Canadian artist Stan Douglas (born 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however(...)
Stan Douglas: Ghostlight
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Since the 1980s, Canadian artist Stan Douglas (born 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however imperceptible, on the present. His work operates within the genres of cinema, photography and theater to present a point of view that is always staged. Douglas' rigorous explorations of these charged histories show us how to "think historically in the present" and frame contemporary crises in a longer timeline. ''Stan Douglas: Ghostlight'' accompanies the artist’s first survey in the United States in more than twenty years, charting his global influence and innovation across forty works from the 1990s to the present.
Monographies photo
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Over the last decade, Adam Lampton has photographed the former Portuguese colony of Macau (now a Special Administrative Region of the People’s Republic of China) and witnessed its transformation from a small enclave into an international gambling Mecca and leisure destination. As of 2007, Macau had surpassed Las Vegas in revenue to become the world’s most valuable(...)
Adam Lampton: Nothing serious can happen here: Photographs from Macau
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Over the last decade, Adam Lampton has photographed the former Portuguese colony of Macau (now a Special Administrative Region of the People’s Republic of China) and witnessed its transformation from a small enclave into an international gambling Mecca and leisure destination. As of 2007, Macau had surpassed Las Vegas in revenue to become the world’s most valuable gambling market. The colonial legacy, the communist experiment in capitalism, and the Chinese traditions continually collide and remake Macau through the filter of each other’s histories.This complexity is reflected in the large-format photos, which oscillate between past and present, expression and observation. In addition to exhibiting internationally, Lampton’s work has been featured in Art in America, The Boston Globe, and Camera Austria.
Monographies photo
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Abordant les thèmes de la ville, de l’architecture, de l’aliénation et de la nature, Métamorphose est le fruit d’un questionnement commun de Serge Clément et d’Alexis Desgagnés sur le rapport entre le texte et l’image, ainsi que sur la mise en forme du livre en tant que moyen de création et qu’œuvre d’art. Le livre s’articule en trois parties qui, bien que pouvant être(...)
Serge Clément et Alexis Desgagnés : Métamorphose
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Abordant les thèmes de la ville, de l’architecture, de l’aliénation et de la nature, Métamorphose est le fruit d’un questionnement commun de Serge Clément et d’Alexis Desgagnés sur le rapport entre le texte et l’image, ainsi que sur la mise en forme du livre en tant que moyen de création et qu’œuvre d’art. Le livre s’articule en trois parties qui, bien que pouvant être appréciées de manière autonome, sont parcourues par des liens subtils. Les deux parties initiales de Métamorphose ont été disposées tête-bêche, ce qui fait en sorte que le livre peut être consulté soit en commençant par la série de photographies Forêts, secrets & paradoxes de Clément, soit à partir d’Ornithologie de Desgagnés, qui rassemble poèmes en prose, photos et dessins à l’encre. Au centre, une troisième partie intitulée Gamble représente un espace mitoyen, interstitiel, qui permet la rencontre et la fusion des univers propres à chaque artiste. Pour produire le contenu de cette nouvelle partie, les artistes ont travaillé ensemble en effectuant plusieurs séances de prise de vues réalisées à Montréal.
Monographies photo
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Michel Campeau est un de ces photographes qui, outre leur propre création d’images, ont toujours été passionnés par une photographie dite « vernaculaire », anonyme ou de famille. Il fait partie de cette génération de photographes qui pourrait réunir Martin Parr, Erik Kessel, Joachim Schmidt et d’autres, qui ont créé par leur attention sur ces images délaissées avant eux,(...)
Michel Campeau: Gestes et rituels de la chambre noire
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Michel Campeau est un de ces photographes qui, outre leur propre création d’images, ont toujours été passionnés par une photographie dite « vernaculaire », anonyme ou de famille. Il fait partie de cette génération de photographes qui pourrait réunir Martin Parr, Erik Kessel, Joachim Schmidt et d’autres, qui ont créé par leur attention sur ces images délaissées avant eux, un genre à part entière… Depuis de nombreuses années, Michel Campeau traque dans l’immensité d’une production d’images mondialisée, les tirages photographiques amateurs ou de professionnels qui vont nourrir les différentes collections qu’il a établies. Ainsi les chambres noires, que l’on pourrait considérer comme une sorte de caverne originelle de la photographie, ont toujours été, pour lui, l’un des plus importants objets de collection, certainement parce qu’elles contribuent à lui renvoyer sa propre image, l’autoportrait d’un créateur dont le regard a été forgé par cette photographie argentique qui apparaissait dans la nuit de la chambre, pleine de magie et de matière, que le passage à la photographie numérique a chassé.
Monographies photo
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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"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.
Monographies photo
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.
Monographies photo
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.