Shown originally as a 30-minute slideshow of over 600 images as part of Nagashima’s survey exhibition And a Pinch of Irony with a Hint of Love at Tokyo Photographic Art Museum in 2017, Self-Portraits by Yurie Nagashima charts the evolution of this major female artist over a period of 24 years from 1992-2016.
Second tabloid style catalogue by Osamu Kanemura after My Name is Shockhammer. The photographs were taken on the occasion of his first visit to Germany in 2004. Kanemura captured the cityscapes in Berlin, Frankfurt, and Cologne.
Republished by Session Press in a newly edited and expanded edition, We Have No Place to Be (originally published by Soshisha in 1982) veritably launched Joji Hashiguchi’s illustrious 40-year career, and remains widely regarded as one of the photographer’s seminal early works alongside his first photobook Shisen ( The Look).
L’histoire de 78 est celle d’une promesse continuée et tenue après le décès du photographe Issei Suda, de publier un ouvrage fort d’une approche originale et renouvelée des photographies du maître japonais. Si le projet prend ses racines en janvier 2019, 78 est le résultat d’un travail de sélection d’images inédites dans les archives de Suda, réalisé en...
There was certainly love. Mao Ishikawa’s legendary debut series is now being shown again after having been kept under wraps for 30 years. It was right after Okinawa reverted to Japan in 1975, when, at the age of 22, Ishikawa took the plunge and moved to Okinawa to work in a bar that catered for foreigners.
The third and final installment in Koji Onaka's Slow Boat series. Koji Onaka’s hides an entire feeling in single photographs and draws a full story with the click of his shutter button – a talent he proves once more in “Faraway Boat”, which comprises photographs taken all over Japan between the 1980s and 2000s.