Original Publications
S.H.Contemporary publishes a wide range of original exhibition catalogues, experimental fiction and artist monographs. Using the highest quality materials available and printed in extremely limited editions, many of our publications have already become much sought after collector's items.
Currently, the following titles are all possibly in stock.
Currently, the following titles are all possibly in stock.
MONTANA
by Candi Braun (2011)
This hardcover edition was recently published to correspond with the artist's exhibition of the same title at Tokiori in Nagoya.
Limited to only 100 copies, this book features 33 hand-printed color images. Each was taken by the artist in September, when she embarked on a journey from Tokyo to Montana, stopping along the way in places such as East Sussex of England and San Francisco. Shot in her playful style, the pictures are guaranteed to elicit many 'WTF's from readers.
by Candi Braun (2011)
This hardcover edition was recently published to correspond with the artist's exhibition of the same title at Tokiori in Nagoya.
Limited to only 100 copies, this book features 33 hand-printed color images. Each was taken by the artist in September, when she embarked on a journey from Tokyo to Montana, stopping along the way in places such as East Sussex of England and San Francisco. Shot in her playful style, the pictures are guaranteed to elicit many 'WTF's from readers.
Europeans
by Emil Davits (2010)
Davits' whirlwind trip through Western Europe in 1998 resulted in this intriguing collection of black and white photographs.
by Emil Davits (2010)
Davits' whirlwind trip through Western Europe in 1998 resulted in this intriguing collection of black and white photographs.
Sound Makers
by Antoni Moxham (2010)
What people are saying about Antoni Moxham's Sound Makers
"Moxham is a kind of 'photo-situationist', he uses the stage as a studio, waiting for interesting situations and compositions to develop. Stage-lighting and a dark background almost always ensure that vague gestures, awkward movements, and moments of unbridled passion will be captured."
"Sound Makers includes images of independent rock and roll's most influential and idiosyncratic musicians from the past 15 years. As always, Moxham pays much attention to the body language of each subject. Though the poses and settings are more diverse than in his jazz work, the pictures share the same black backgrounds and poetic minimalism..."
"A guitarist gulping. A post concert hug outside of a family restaurant. A drummer laughing at a vocalist who forgets what song they are about to play. Pre-show calisthenics. These photographs differ greatly from the images of musicians that one will likely find in glossy magazines. These are not poses or image-defining moments - these are real people who decided not to keep their eccentricities in check."
by Antoni Moxham (2010)
What people are saying about Antoni Moxham's Sound Makers
"Moxham is a kind of 'photo-situationist', he uses the stage as a studio, waiting for interesting situations and compositions to develop. Stage-lighting and a dark background almost always ensure that vague gestures, awkward movements, and moments of unbridled passion will be captured."
- Edward Burgin New York Guardian
"Sound Makers includes images of independent rock and roll's most influential and idiosyncratic musicians from the past 15 years. As always, Moxham pays much attention to the body language of each subject. Though the poses and settings are more diverse than in his jazz work, the pictures share the same black backgrounds and poetic minimalism..."
- Timothy Shimabuku Tokyo English Times
"A guitarist gulping. A post concert hug outside of a family restaurant. A drummer laughing at a vocalist who forgets what song they are about to play. Pre-show calisthenics. These photographs differ greatly from the images of musicians that one will likely find in glossy magazines. These are not poses or image-defining moments - these are real people who decided not to keep their eccentricities in check."
- Janet Carson The Non-believer
Sunsets by Yoshi Jackson (2009)
Conceptual artist and notorious copywriter Yoshi Jackson collects 10 years of sunset imagery in a single volume. Even without his trademark text, these images have the same humor and visual impact that is found in his best work.
Conceptual artist and notorious copywriter Yoshi Jackson collects 10 years of sunset imagery in a single volume. Even without his trademark text, these images have the same humor and visual impact that is found in his best work.
Tokyo Parks by Nobu Ueno (2008)
From June of 2006 to May of 2007, Nobu Ueno photographed 554 parks and gardens located in Tokyo's central 23 wards. This publication includes 230 images that represent the artist's unique vision and style. Though starting as a conceptual work, 'Tokyo Parks' becomes a stunning visual and aesthetic statement. Your coffee table aches for the weight of this limited edition volume.
From June of 2006 to May of 2007, Nobu Ueno photographed 554 parks and gardens located in Tokyo's central 23 wards. This publication includes 230 images that represent the artist's unique vision and style. Though starting as a conceptual work, 'Tokyo Parks' becomes a stunning visual and aesthetic statement. Your coffee table aches for the weight of this limited edition volume.
Custom Pad by Rainier Kentwood (2003)
On each page of the Muji-produced notepad, Kentwood has hand drawn a single vertical or horizontal line at some place on the paper. This exercise in 'rote minimalism' is representative of the artist's body of work since the mid 1980s. Kentwood describes the project, "Each page brings with it a new surprise or perhaps just an annoying obstruction. I promise that no two pages are exactly alike." (edition of 5)
On each page of the Muji-produced notepad, Kentwood has hand drawn a single vertical or horizontal line at some place on the paper. This exercise in 'rote minimalism' is representative of the artist's body of work since the mid 1980s. Kentwood describes the project, "Each page brings with it a new surprise or perhaps just an annoying obstruction. I promise that no two pages are exactly alike." (edition of 5)
Future Cars by Stephan McBroome (2002)
In this handmade exhibition catalogue, McBroome explores the nifty automobiles of the future. Despite the gasoline crunch, the artist indicates that happy motoring is here to stay.
In this handmade exhibition catalogue, McBroome explores the nifty automobiles of the future. Despite the gasoline crunch, the artist indicates that happy motoring is here to stay.
Consecutive losses string together and become a perverse sort of victory.
by Pat Williamson (2001)
This miniature staple-bound volume is Williamson's meditation on lust and unfulfilled desire. In addition to Williamson's original writing, text is lifted from Stendal and Baudelaire. The images are straight out of the light porn that Williamson photographs for a living.
South King County
by Colvin Jansen (1999)
Using a palm-sized Kodak Instamatic Camera, Jansen creates suburban landscapes that are intimate and familiar yet strangely dark and foreboding.
Influenced by the work of Sally Mann, Jansen only photographs highly personal subject matter - friends, family members and the places he has lived. Like his mentor, he believes photographers should not mask the photographic process through technical means. For this reason, he uses cameras with plastic lenses and subjects his prints to 'imperfect' development.
Each copy of South King County comes with an original signed 4x5 inch print.
by Colvin Jansen (1999)
Using a palm-sized Kodak Instamatic Camera, Jansen creates suburban landscapes that are intimate and familiar yet strangely dark and foreboding.
Influenced by the work of Sally Mann, Jansen only photographs highly personal subject matter - friends, family members and the places he has lived. Like his mentor, he believes photographers should not mask the photographic process through technical means. For this reason, he uses cameras with plastic lenses and subjects his prints to 'imperfect' development.
Each copy of South King County comes with an original signed 4x5 inch print.
Man Scolding Elephant
by Woody Germano (1999)
Printed on thick rice paper, this handsome volume has become a sort of cult classic. Like all of Germano's work, Man Scolding Elephant is a mysterious adventure in postcards. All bought from the same elderly couple, the images create a narrative that touches on history, personal relationships and travel. In addition to the words and images, Germano highlights cuts, tears, glue marks and postal stamps, giving the cards an intimate physicality.
Each image brings you closer to a secret. Eventually, Germano's album gets the viewer to consider how their own life might someday look as a fragmented postcard album." - Yuri MacSweeney
by Woody Germano (1999)
Printed on thick rice paper, this handsome volume has become a sort of cult classic. Like all of Germano's work, Man Scolding Elephant is a mysterious adventure in postcards. All bought from the same elderly couple, the images create a narrative that touches on history, personal relationships and travel. In addition to the words and images, Germano highlights cuts, tears, glue marks and postal stamps, giving the cards an intimate physicality.
Each image brings you closer to a secret. Eventually, Germano's album gets the viewer to consider how their own life might someday look as a fragmented postcard album." - Yuri MacSweeney
Mysterious Sado Island
by Thomas Fischer (1998)
Fischer's last series before his untimely and tragic passing, Mysterious Sado Island saw the artist attacking a stack of Japanese postcards with acrylic white paint. The images become even more ghostly knowing that the artist died less than a week after making them.
by Thomas Fischer (1998)
Fischer's last series before his untimely and tragic passing, Mysterious Sado Island saw the artist attacking a stack of Japanese postcards with acrylic white paint. The images become even more ghostly knowing that the artist died less than a week after making them.
Black Picasso / Red Osaka
by Thomas Fischer (1997)
"If you really want to show somebody something, don't show them anything." - Thomas Fischer
Fischer (kinda) sticks a fork in the rear end of the 20th century. Black Picasso is a (kinda) semi-creative attack on semi-creativity, a small man in a big El Dorado, a few pictures and gobs of acrylic. Red Osaka is (kinda) just that - in the same way that a box is (kinda) just a box. The smartass says aloud, "One man had too many handy red markers at hand." Nonetheless, this is a must have publication to share with friends and lovers. Luckily, this edition is extremely unlimited.
by Thomas Fischer (1997)
"If you really want to show somebody something, don't show them anything." - Thomas Fischer
Fischer (kinda) sticks a fork in the rear end of the 20th century. Black Picasso is a (kinda) semi-creative attack on semi-creativity, a small man in a big El Dorado, a few pictures and gobs of acrylic. Red Osaka is (kinda) just that - in the same way that a box is (kinda) just a box. The smartass says aloud, "One man had too many handy red markers at hand." Nonetheless, this is a must have publication to share with friends and lovers. Luckily, this edition is extremely unlimited.
Contax G1 Fuckups
by Mick Robinson (1997)
Unplanned accidents have always been a part of the artistic process. Though these accidents have nearly always been considered valid, few artists have presented them as transparently as Mick Robinson. In Contax G1 Fuckups, each featured image has literally been rendered out of focus due to a failure on the part of the automatic lens.
This work references the popular 'blurred' aesthetic of photographers who purposefully take out-of-focus images, such as Uta Barth, Hiroshi Sugimoto and Wolfgang Tilmans. Simultaneously, 'G1 Fuckups' challenges the viewer to search within each image for the artist's intended 'shot'.
Another post-modern layer to this body of work is offered in the form of the text on the front and back covers, which refers to the artist's friend 'Mike', who warns Robinson about the focusing mechanism of the Contax G1 at the time he purchases the camera. Thus, G1 Fuckups also becomes part of a personal dialogue and admission of fault.
by Mick Robinson (1997)
Unplanned accidents have always been a part of the artistic process. Though these accidents have nearly always been considered valid, few artists have presented them as transparently as Mick Robinson. In Contax G1 Fuckups, each featured image has literally been rendered out of focus due to a failure on the part of the automatic lens.
This work references the popular 'blurred' aesthetic of photographers who purposefully take out-of-focus images, such as Uta Barth, Hiroshi Sugimoto and Wolfgang Tilmans. Simultaneously, 'G1 Fuckups' challenges the viewer to search within each image for the artist's intended 'shot'.
Another post-modern layer to this body of work is offered in the form of the text on the front and back covers, which refers to the artist's friend 'Mike', who warns Robinson about the focusing mechanism of the Contax G1 at the time he purchases the camera. Thus, G1 Fuckups also becomes part of a personal dialogue and admission of fault.
