Art & the Printed Matter

Paul Kooiker
Yuki Onodera
Rosemarie Trockel
Thomas Struth
Coke Wisdom O'neil
Christian Patterson
Alex Majoli
Tacita Dean
Osamu Yokonami
Candida Höfer
Hans-Peter Feldmann
Christopher Bucklow
Nan Goldin
Awol Erizku
Batia Suter
Daniel Gordon
Walid Raad
Hassan Hajjaj
Willy Ronis
Shen Wei
Ari Marcopoulos
Jeff Wall
Luigi Ghirri
Paul Fusco
Stephen Shore
Lee Friedlander
Xavier Veilhan
Bas Princen
Laurie Simmons
Doug Rickard
Nadav Kander
György Kepes
Hans-Christian Schink
Alice Quaresma
Stanley Wolukau-Wanambwa
Juergen Teller
Iñaki Bonillas
Anne Collier
Clifford Prince King
Danny Lyon
Marina Gadonneix
Geert Goiris
Sam Falls
Pierre et Gilles
Andy Warhol
Lars Tunbjörk
Nobuyoshi Araki
Christopher Wool
Bertien Van Manen
Bill Brandt
Henri Cartier-Bresson
Sébastien Girard
Jörg Sasse
Rineke Dijkstra
Vasantha Yogananthan
Omar Victor Diop
Robert Adams
Alex Katz
Lin Zhipeng aka 223
Walter Pfeiffer
John Gossage
Mayumi Hosokura
Bruce Gilden
Motoyuki Daifu
Eugene Atget
Damien Hirst
Gerlach en Koop
JH Engström
Brian Ulrich
Larry Sultan
Keld Helmer-Petersen
Helen Levitt
Tim Hetherington
Jem Southam
Tadao Ando
Ryan McGinley
James Casebere
Dan Holdsworth
Eamonn Doyle
Dirk Braeckman
Valérie Belin
Marilyn Minter
Vincent Delbrouck
Roni Horn
Stephan Keppel
Lee Baldwin
Pierre Le Hors
Jan Koster
Thomas Sauvin
Bill Henson
Wade Guyton
Trent Parke

To Plants (1976) by Gasho Yamamura is a rare self-published Japanese photobook that radically subverts traditional botanical photography.

Yamamura photographed his subjects during the daytime using a powerful strobe flash. This method artificially plunged the backgrounds into complete darkness, violently isolating the plants against stark, black voids. Stripped of their natural context, the flora takes on a raw, grotesque, and almost alien vitality. Rather than appearing as delicate objects of beauty, the plants seem to possess their own autonomous, aggressive wills, captured in high-contrast monochrome.

The book utilized a newly developed and highly specialized printing technique known as "Fineness Printing" (ファイネス印刷) to achieve extraordinarily deep, rich blacks, which amplifies the dramatic contrast and imposing presence of the subjects.

Foster street (Manhattan), 3pm October 15, 1972 by Masao Gozu is a classic example of the Japanese-American photographer’s meticulous and structured documentation of 1970s New York.

After moving to New York from Japan in 1971, Gozu began a rigorous, decade-long project photographing the city's street-level windows and the people gazing out of them. This image is a hallmark of that typological approach.

By shooting squarely and directly at the facade, Gozu uses the architectural elements (the bricks, the sill, and the window frame itself) as a physical border. This framing device highlights the threshold between the private, domestic sphere inside and the gritty, public reality of 1970s New York outside.

Gozu's"Windows" series will be the focus of his first major US museum exhibition, "Masao Gozu: Windows and Bars," opening at MoMA PS1 onNovember 5, 2026.

Bushwick Sur Seine is a private archive based in Brooklyn, dedicated to fine art photography, rare photobooks, and printed matter. Grounded in a rigorous formalist approach, the collection explores the intersection of visual art and physical publishing, treating the printed image as a definitive sculptural object.

As a constantly evolving archive, we always have books and prints for sale. Feel free to visit our Private Sales Section to explore currently available works.

If you are an artist or a publisher, please contact us for inquiries or collaborations.

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