#taschen

[thefugitivesaint]

Jennie Harbour (1893-1959), 'The Little Mermaid', ''Taschen Magazine'', Winter 2013 Originally published in ''Hans Andersen's Stories'', 1932

[zegalba]

Issey Miyake: Retrospective (1995)

[tyger-land]

ᴄʜᴇᴛ ʙᴀᴋᴇʀ & ʜᴀʟᴇᴍᴀ ᴀʟʟɪ. 1955. From the book 𝙅𝙖𝙯𝙯 𝙎𝙚𝙚𝙣 by photographer William Claxton (Taschen, 1999).

[germanpostwarmodern]

This book is a sin of my youth: Philip Jodidio's "Piano. Renzo Piano Building Workshop 1966-2005", published in 2005 by Taschen. It is way too heavy and unwieldy to be consulted frequently, although the content and especially the photos are wonderful. Renzo Piano surely doesn't require many introductory words: he studied architecture at Milan Polytechnic University until 1964 and in 1971 won the competition for the Centre Georges Pompidou in Paris together with his collaborator Richard Rogers. Many, many projects followed, among them the high-profile extension of the Kimbell Art Museum or the Maison Hermès in Tokyo, and in 1998 he also received the Pritzker Prize. The book includes a brief introduction to the life and work of the architect but mainly focuses on his many major projects, each extensively documented in photos, plans and drawings. Of course the book as such provides a great and visually stunning overview of Renzo Piano's work but I highly recommend the much more handy later editions.

[archivist-dragonfly]

Book 512

Masterpieces of Illumination (Codices illustres): The world’s most famous illuminated manuscripts 400 to 1600

Ingo F. Walther and Norbert Wolf

Taschen 2005

This edition, part of Taschen’s 25th anniversary series of reissues, is a stunning overview of history’s most glorious illuminated manuscripts. While a downside of the book is that it is mostly concerned with Western manuscripts (there are some examples from the Middle East), the book provides examples from over 450 works. With book details, brief histories, and 2 to 4 high quality scans from each work, this is an excellent historical journey of some of the most beautiful books that have ever been made.

[uwmspeccoll]

It’s Feral Friday! 

This week we’re taking a look at Taschen: Oliver Payne & Nick Relph. This beautifully designed exhibition catalog was printed by Busch Druck Medien Verlag (Bielefeld, Deutschlan) and published by Kerber Verlag in New York in 2004. It accompanied the exhibition Oliver Payne & Nick Relph, which was presented by the National Museum of Art (Oslo) and the Musee d'Art Moderne (Paris) the same year. Designed by graphic designer and artist Halvor Bodin, the text was authored by Payne & Relph in collaboration with curator Hans Ulrich Obrist, Andrea Kroknes (Senior Curator of the National Museum), and Sune Nordgren (director of the National Museum at the time).  

Oliver Payne & Nick Relph are a British artist duo who internationally exhibited film, video, & installation works from 1999 until 2009. Their practice grappled with themes of cultural identity, subcultures (such as skater, gaming, and DIY cultures), and corporate imperialism. This publication is particularly interesting within the context of our collection because it juxtaposes the design language of Fine Press movement forerunners like the Kelmscott Press with the lo-fi aesthetics of early internet & DIY culture and advertising, bringing the principles of the Arts & Crafts movement into critical conversation with the aesthetic and cultural landscape of our time.

In their early video work Driftwood (a "psycho-geographical tour of London"), Payne & Relph call to 'smash the symbols of the Empire in the name of nothing but the heart's longing for grace.' They demonstrate this ethos by gaming information and cataloging systems through their choice of the title Taschen, the moniker of one of the most ubiquitous and celebrated publishers of art books, thereby hacking their way into in a realm where artists working in new media and experimental art were rarely represented.

--Ana, Special Collections Graduate Intern

View more Feral Friday posts.

View more Fine Press posts.

View more Book Arts posts.

[lockbuch]

Umstülpungsprozesse

Das Pergamynpapier als Annäherung an die Cellulose des Lunariablattes metamorphosiert sich im Laufe des Prozesses durch das vielfache Kneten und Umstülpen langsam in eine Annäherung an die Faszien im Inneren unseres Leibes. Erst jetzt - Wochen danach erkenne ich, dass der Rock eine Art Umstülpung des Leibes ist: inwendig sind wir voller Transparenz - auch die Farbigkeit ähnelt dem Leibinneren: die Venen, das Blut, das Fettgewerbe, alle umfasst von einem filigranen knittrigen Netz an transparenten Kollagenfasern. > * Der Rock blieb mir während des ganzen Prozesses immer fremd, genauso wie es mir immer noch schwer vorstellbar ist, dass unser Leibinneres so voller Licht, Transparenz und Farben ist. * Guimberteau, Armstrong, Faszien, 2016

ca 70 transparente Beutel aus geknülltem Pergamypapier, gefüllt mit grob eingefärbten Sketchpapier. Die Taschen können nach eigenen Farbwünschen befüllt werden.

Inversion processes

The glassine paper, as an approximation of the cellulose of the lunaria leaf, slowly metamorphoses into an approximation of the fascia inside our body during the process of repeated kneading and turning inside out. Only now - weeks later - do I realize that the skirt is a kind of inversion of the body: inside we are full of transparency - even the colourfulness resembles the inside of the body: the veins, the blood, the fatty tissue, all surrounded by a filigree crumpled net of transparent collagen fibres. > * The skirt always remained foreign to me during the whole process, just as it is still hard for me to imagine that the inside of our bodies is so full of light, transparency and color. * Guimberteau, Armstrong, Faszien, 2016

Approx. 70 transparent bags made of crumpled glassine paper, filled with roughly colored sketch paper. The bags can be filled according to your own color preferences.

[yiliy]

"Darth Vader is the bad father.

Ben Kenobi is the good father.

Star Wars came out of my desire to make a modern fairy tale. Fairy tales are how people learn about good and evil and how to conduct themselves in society."

- George Lucas

for The Star Wars Archives: 1977–1983 - Episodes IV-VI 40th Anniversary Edition by Paul Duncan for TASCHEN

[dykeofnorfolk]

A collection of photos taken from ‘1000 Nudes: A History of Erotic Photography from 1839-1939’ by Taschen

[itsallmadonnasfault]

[thefugitivesaint]

David LaChapelle, 'Self-Portrait as a House' (2013), ''Taschen Magazine'', 2017

[zegalba]

Issey Miyake: Retrospective (1995)

[tyger-land]

ᴀʟғʀᴇᴅ ʜɪᴛᴄʜᴄᴏᴄᴋ (front) in a 1925 publicity photo. At his side is Alma Reville; the two would be married just weeks later. From the book Alfred Hitchcock: Architect of Anxiety (Taschen, 2011).

[neverland-90]

Alchimia e Mistica, libro della Tashen, casa editrice inestimabile. Divide il processo alchemico per fasi, per ogni fase in ogni pagina un o'opera artistica, un dipinto, una litografia, una statua collegato a tale processo, con una breve descrizione. Di grande ispirazione per me, fonte inestimabile di esoterismo. Non mi considero una strega, ma una studiosa. Amo le fonti, amo andarle a cercare, amo l'alchimia come processo di evoluzione nel Solve et Coagula, ma per me è una filosofia, non una dottrina.

[tankgirlfan23]

[archivist-dragonfly]

Book 576

Pancha Tantra

Walton Ford

Taschen 2009

Walton Ford (b. 1960) is an American artist whose work mimics the style of naturalist illustrations, in particular those of the colonial era and often featuring extinct species. Highly symbolic and allegorical, offering clues, jokes, and references to relevant texts and other works, Ford’s paintings call out the horrors and hubris of colonialism, politics, natural history, industrialism, and humanity’s deleterious effect on the environment.

While not the first published collection of his work, Pancha Tantra is certainly the most impressive. Measuring 11.5” x 15”, 320 pages, and weighing around 8 lbs., the book offers a thrilling array of Ford’s work from the early 90s to the early aughts. While at first glance a Ford painting may appear to be a 19th century naturalist painting, there is something not quite right about it. In Diagnosis (1996), European starlings are practically being swallowed by Black-necked stork, whose namesake neck is bent back in an awkward and disturbing way. In Atma (1998), a reticulated python balances a caged lorikeet on its head. In Chingado (1998), a Brahmin bull is being suffocated by a jaguar, jaws clenched tight to the bull’s face and neck. The key to these works lies in the details: the notes scribbled in pencil along the margins, a brand on an animal’s hide, a piece of fruit from a specific part of the world is eaten by animal from another, a Latin inscription, a tiny creature being carelessly trampled underfoot by a much larger one.

Nature in Ford’s world is much more than simply “red in tooth and claw”, it is relentless and brutal, caused as much by need as by indifference and avarice, where species lost to consumption are not just cautionary tales, but premonitions.