Art & the Printed Matter

Stephan Keppel
Stanley Wolukau-Wanambwa
Trine Søndergaard
Josiah McElheny
Diane Arbus
Mikiko Hara
Linder Sterling
Eiji Ohashi
Arielle Bobb-Willis
Florian Krewer
Brian Ulrich
Nicolai Howalt
Daniel Gordon
Misha de Ridder
Boris Mikhailov
Walter Niedermayr
Rineke Dijkstra
Jochen Lempert
Daniel Arsham
Stéphane Couturier
Dirk Braeckman
Gregory Halpern
Penelope Umbrico
Matthias Hoch
Issei Suda
Mark Borthwick
Osamu Yokonami
Samuel Fosso
Sébastien Girard
Kourtney Roy
Ricardo Cases
Harry Callahan
Keisha Scarville
Rosemarie Trockel
Eirik Johnson
Daisuke Yokota
Darren Almond
Dan Holdsworth
Miklos Gaal
Damien Hirst
Gerlach en Koop
John Edmonds
Elliott Erwitt
Adam Broomberg
Sunil Gupta
Jean-Vincent Simonet
David Benjamin Sherry
Walter Pfeiffer
Robert Heinecken
Gregory Crewdson
James Casebere
Jamel Shabazz
Farhad Moshiri
Hans-Christian Schink
Rachel Whiteread
Lawrence Weiner
Masao Gozu
Lewis Baltz
Jacques-Henri Lartigue
Bertien Van Manen
Gordon Matta-Clark
Pacifico Silano
Peter Funch
Robert Adams
Daniel Buren
Walid Raad
Keld Helmer-Petersen
Katrien de Blauwer
Iñaki Bonillas
Marleen Sleeuwits
Thomas Demand
Dan Graham
Sarah Lucas
Andreas Gefeller
Lin Zhipeng aka 223
Lee Baldwin
John Baldessari
Alex Prager
William Eggleston
Yusuke Yamatani
Ron Jude
Meryl Meisler
Taryn Simon
Paul-Mpagi Sepuya
Chad Moore
Gasho Yamamura
Idris Khan
Christian Patterson
Sophie Calle
Eugene Atget

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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