Contacts
Corporate gifts
Need help? Any questions? Our team will be happy to help you. Please contact collectors@taschen.com
Time to thank a valued client? Or to win over an entire board of trustees with illegal bribes? Whatever the occasion and whoever the recipient, our corporate gifts team can help you. Please contact
THE AMERICAS Erin Levy: +1 323-463-4441
corporategifts@taschen.com Olivia Byron: +39 02 84345013
“If you decide to invest, choose appreciating assets and global heritage value.”
“At a time when the book publishing what is faltering and the old powerhouses are going digital, Taschen is running in the opposite direction. The 35-year-old company is growing, and even accelerating the production of lush print volumes, many of them special additions that include original works of art. It has an old world feel, closer to an 18th-century bookmaking collective than a worldwide publishing empire.”
— Süddeutsche Zeitung, Munich on TASCHEN Collector’s Editions
EUROPE Aline Vandersanden: +49 221 20180-123 ASIA Prudence Tsui: +852 254 480-18
Amsterdam Beverly Hills Brussels Cologne Hamburg Hollywood London Miami Milan New York Paris
The Complete Collector’s Editions
You can find TASCHEN Stores in
“TASCHEN books are almost designed to be collectible. It’s very common for them to gain value almost instantly.”
The Complete Collector’s Editions
For notification of forthcoming collector’s editions, please register at collectors@taschen.com
—Abebooks, the world’s most popular platform for antiquarian books
1991– 2015
_ce cat UMSCHLAG_2015.indd 1
1991– 2015
15.10.15 15:56
Olafur Eliasson
Dennis Hopper
Pedro Almod贸var
Christo & Jeanne-Claude
Mick Rock
Neo Rauch
Jean Nouvel
Robert Crumb
Howard Bingham
Darren
Hugh Hefner
Annie Leibovitz
Valentino
Andy Summers
Richard Meier
Bettina Rheims
Christopher Wool
Mark Ryden
Bert Stern
Issey Miyake
Ralph Gibson
Bob Willoughby
David LaChapelle
David B
Albert Oehlen
Ralph Stea
Neil Leifer
Julius Shulman
Shigeru Ban
Kishin Shi
Alex Steinweiss
Larry Schiller
Pierre & Gilles
Hunter S. Th
Paul Smith
Bowie
LeRoy Grannis
Tadao Ando
The Rolling Stones
n Almond
Ai Weiwei
adman
Mario Testino
Naomi Campbell
Marc Newson
Vanessa del Rio
Harry Benson
Walton Ford
David Bailey
Gisele B端ndchen
Terry Richardson
hompson
Philippe Starck
William Claxton
Jeff Koons
inoyama
Sebasti達o Salgado
Ellen von Unwerth
Helmut Newton
Wolfgang Tillmans
Nobuyoshi Araki
Muhammad Ali
H.R. Giger
Peter Beard
Inez van Lamsweerde
Hundertwasser
Paul McCartney
Gay Talese
Vivienne Westwood
Zaha Hadid
The Complete Collector’s Editions
1991– 2015
“TASCHEN is trail-blazing. It has revolutionised the illustrated book market: in fact, I’d say it has changed the face of publishing.” — The Bookseller, London
SOLD OUT It is what it is, but we do on rare occasions have copies in mint condition returned, so do check with your nearest TASCHEN store just in case.
Few left Still available, but is most likely not in stock anymore in each TASCHEN store. We expect the title to be sold out in the near future. APs Artist’s proof copies are made for artists, friends, contributors and in-house TASCHEN use. They are generally not for sale but exceptions can be made for a variety of reasons. Prices All prices correct as of October 2015 and may change without prior notice. Please check taschen.com for the latest status. For sold out titles we list prices according to the last copy sold by TASCHEN, which might be less than current market value.
SUMO Size
The mighty giants of our program tower at 47 to 70 cm (18.5 to 27.6 in.).
XXL Not far behind their SUMO cousins, standing tall at a minimum of 40 cm (15.8 in.).
XL A little more compact, XL books are at least 35 cm (13.8 in.) high, with the exception of landscape format titles.
A few words of TASCHEN wisdom Please treat your book kindly. Avoid exposure to direct sunlight and humidity and do not display open books for an extended period of time. The condition of a book is integral to its value and prices for mint copies can far exceed those for copies in good or fair condition. Books with vintage TASCHEN casing can also achieve a significantly higher sum at resale, so do keep the original presentation packaging. Contacts Need help? Any questions? Our team will be happy to help you. Please contact collectors@taschen.com
Design by Andy Disl Text by Eliza Apperly Directed and produced by Benedikt Taschen © 2015 TASCHEN Printed in Italy
THE AMERICAS Erin Levy: +1 323-463-4441 EUROPE Aline Vandersanden: +49 221 20180-123 ASIA Prudence Tsui: +852 254 480-18
All Titles 1991–2015
Corporate gifts Time to thank a valued client? Or to win over an entire board of trustees with illegal bribes? Whatever the occasion and whoever the recipient, our corporate gifts team can help you. Please contact corporategifts@taschen.com Olivia Byron: +39 02 84345013
For notification of forthcoming collector’s editions, please register at collectors@taschen.com
1991, Georg Baselitz SOLD OUT
Edition of 50 + 5 APs
1991, Martin Kippenberger (Ashtray Baselitz) SOLD OUT
$ 2,000 | € 1,500 | £ 1,250
1991, Martin Kippenberger (Ashtray Kippenberger) FEW LEFT
Edition of 50
$ 10,000 | € 7,500 | £ 6,500
1995, Albert Oehlen. Gold Box sold out
Edition of 25
1995, Albert Oehlen FEW LEFT
Edition of 170
$ 700 | € 500 | £ 450 New price 2016: $ 1,000 | € 750 | £ 650
1996, Christo. Reichstag SOLD OUT
$ 18,000 | € 12,500 | £ 10,000
1996, Christo. Reichstag FEW LEFT
Edition of 5,000
$ 10,000 | € 7,500 | £ 6,500
Edition of 7
Edition of 100
$ 1,500 | € 1,000 | £ 900
1996, Will McBride. My Sixties SOLD OUT
$ 1,000 | € 750 | £ 650
Edition of 100
$ 1,000 | € 750 | £ 650
1996, Richard Meier SOLD OUT
1997, Frans Lanting. Eye to Eye
$ 1,800 | € 1,250 | £ 1,000
Edition of 100 1998, H.R. Giger. www HR Giger com FEW LEFT
Edition of 277
Edition of 23
$ 6,000 | € 4,000 | £ 3,500
1998, Christo and Jeanne-Claude Umbrellas Japan/USA 1984–1991 SOLD OUT
1998, Eric Kroll. Fetish Girls FEW LEFT
$ 1,800 | € 1,250 | £ 1,000
1999, Christo and Jeanne-Claude Wrapped Trees. Basel 1997–1998
Edition of 1,000 + 300 APs
$ 700 | € 500 | £ 450
1998, H.R. Giger. Hologramm SOLD OUT
$ 700 | € 500 | £ 450 New price 2016: $ 1,000 | € 750 | £ 650
Edition of 100
Edition of 1,500
Edition of 2,500 1999, Helmut Newton’s SUMO SOLD OUT
$ 700 | € 500 | £ 450
Edition of 10,000 + 200 APs
$ 200 | € 150 | £ 135
SUMO Size
$ 18,000 | € 12,500 | £ 10,000
1999, Julius Shulman ‘Koenig, Case Study House #22’ SOLD OUT
1999, Julius Shulman ‘Lautner, Arango House’
Edition of 60
Edition of 60
$ 15,000 | € 10,000 | £ 9,000
1999, Julius Shulman ‘Neutra, Von Sternberg House’
Edition of 60
1999, Julius Shulman ‘Neutra, Singleton House’
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Frey, Frey House, Palm Springs’
Edition of 60
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Buff, Straub, Hensman: Case Study House #20’
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Eames, Case Study House #8’
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Frey, Loewy House, Palm Springs’
$ 4,500 | € 3,000 | £ 2,500
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Lautner, Malin Residence (Chemosphere)’
1999, Julius Shulman ‘Neutra, Kaufman House’ FEW LEFT
Edition of 60
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
1999, Julius Shulman ‘Wright, Freeman House’
Edition of 60
1999, Julius Shulman ‘Skinner, Skinner House’
$ 4,500 | € 3,000 | £ 2,500
2000, Pierre & Gilles SOLD OUT
Edition of 110 2002, Araki
Edition of 2,500 + 200 APs
$ 4,500 | € 3,000 | £ 2,500
Edition of 60
$ 4,500 | € 3,000 | £ 2,500
2000, Friedensreich Hundertwasser SOLD OUT
$ 4,000 | € 2,500 | £ 2,250
SUMO Size
$ 4,000 | € 2,500 | £ 2,250
Edition of 10,000 + 400 APs 2002, Leni Riefenstahl. Africa
Edition of 2,500 + 200 APs
$ 1,000 | € 750 | £ 650
SUMO Size
$ 4,500 | € 3,000 | £ 2,500
2004, GOAT. Collector’s Edition A Tribute to Muhammad Ali With signed print ‘Radial Champs’ by Jeff Koons
Edition of 9,000 + 175 APs
SUMO Size
$ 6,000 | € 4,000 | £ 3,500
SUMO
2004, GOAT. Champ’s Edition With sculpture ‘Radial Champs’ by Jeff Koons Incl. 4 signed prints by Howard Bingham (see below)
Edition of 1,000 + 25 APs
Size
$ 15,000 | € 10,000 | £ 9,000
2004, GOAT. Champ’s Edition ‘Sitting on a Million Dollars’
2004, GOAT. Champ’s Edition ‘Muhammad Ali’
Signed by Howard Bingham and Muhammad Ali
Signed by Howard Bingham and Muhammad Ali
2004, GOAT. Champ’s Edition ‘Ali vs Liston II’
2004, GOAT. Champ’s Edition ‘Cassius Clay in Louisville’
Signed by Howard Bingham and Muhammad Ali
Signed by Howard Bingham and Muhammad Ali
2004, Terry Richardson. Terryworld. Art Edition ‘Vanessa’
2004, Terry Richardson. Terryworld. Art Edition ‘Panty’
Edition of 250 + 25 APs
Edition of 250 + 25 APs
$ 1,000 | € 750 | £ 650
$ 1,500 | € 1,000 | £ 900
2004, Terry Richardson. Terryworld. Art Edition ‘Batman’ SOLD OUT
2004, Terry Richardson. Terryworld. Art Edition ‘Asses’
Edition of 250 + 25 APs
Edition of 250 + 25 APs
$ 3,000 | € 2,000 | £ 1,750
$ 1,000 | € 750 | £ 650
2005, Hunter S. Thompson and Ralph Steadman. The Curse of Lono SOLD OUT
2005, Christo & Jeanne-Claude. The Gates
Edition of 1,000 + 200 APs
Edition of 5,000 + 800 APs
$ 2,000 | € 1,500 | £ 1,250
2006, LeRoy Grannis. Surf Photography SOLD OUT
2006, Peter Beard SOLD OUT
Edition of 1,000 + 200 APs
Edition of 2,250 + 200 APs
2006, Peter Beard. Art Edition ‘Fayel Tall’ SOLD OUT
Edition of 125 + 15 APs
$ 1,500 | € 1,000 | £ 900
SUMO Size
$ 20,000 | € 15,000 | £ 12,500
2006, Peter Beard. Art Edition ‘965 Elephants’ SOLD OUT
Edition of 125 + 15 APs
$ 500 | € 350 | £ 300
SUMO Size
$ 7,000 | € 5,000 | £ 4,500
SUMO Size
$ 20,000 | € 15,000 | £ 12,500
2006, William Claxton. Jazzlife. Art Edition Incl. 4 signed prints (see below)
Edition of 1,000 + 200 APs
2006, William Claxton. Jazzlife. Art Edition ‘Metropole Café on Broadway near Times Square’
$ 2,000 | € 1,500 | £ 1,250
2006, William Claxton. Jazzlife. Art Edition ‘Stan Getz by a stage door on Cosmo Alley’
2006, William Claxton. Jazzlife. Art Edition ‘Ray Charles with a Raylette’
2006, William Claxton. Jazzlife. Art Edition ‘The George Williams Brass Band’
2006, David LaChapelle. Artists & Prostitutes SOLD OUT
Edition of 2,500 + 200 APs
SUMO Size
$ 4,500 | € 3,000 | £ 2,500
2007, Mario Testino. Let me in! SOLD OUT
2007, Andy Summers. I’ll Be Watching You FEW LEFT
Edition of 1,000 + 200 APs
Edition of 1,500 + 200 APs
$ 1,000 | € 750 | £ 650
2007, Valentino. Una grande storia italiana FEW LEFT
2007, Valentino. Una grande storia italiana. Art Edition SOLD OUT
Edition of 2,000 + 225 APs
Edition of 100 + 25 APs
$ 2,000 | € 1,500 | £ 1,250
2007, Vanessa del Rio
2007, Vanessa del Rio. Crumb Edition FEW LEFT
Edition of 1,300 + 180 APs
$ 700 | € 500 | £ 450
2007, Robert Crumb’s Sex Obsessions
Edition of 1,000 + 200 APs 2007, Walton Ford. Pancha Tantra
Edition of 1,500 + 200 APs
$ 7,000 | € 5,000 | £ 4,500
Edition of 200 + 20 APs
$ 1,800 | € 1,250 | £ 1,000
2007, Neil Leifer. The Golden Age of Baseball SOLD OUT
$ 1,000 | € 750 | £ 650
SUMO Size
$ 2,000 | € 1,500 | £ 1,250
Edition of 1,000 + 200 APs
$ 1,000 | € 750 | £ 650
2007, Walton Ford. Pancha Tantra. Art Edition SOLD OUT
Edition of 100 + 20 APs
SUMO Size
$ 10,000 | € 7,500 | £ 6,000
2008, Jeff Koons SOLD OUT
Edition of 1,500 + 200 APs
2008, Jeff Koons. Art Edition SOLD OUT
$ 4,500 | € 3,000 | £ 2,500
Edition of 100 + 20 APs
$ 15,000 | € 10,000 | £ 9,000
2008, Josef H. Darchinger. Wirtschaftswunder FEW LEFT
2008, Naomi Harris. America Swings Slow sales
Edition of 1,000 + 200 APs
Edition of 1,000 + 200 APs
$ 1,000 | € 750 | £ 650
$ 700 | € 500 | £ 450
2008, Naomi Harris. America Swings. Art Edition ‘Viking’ SOLD OUT
2008, Naomi Harris. America Swings. Art Edition ‘Barbecue’
Edition of 50 + 10 APs
Edition of 50 + 10 APs
$ 1,500 | € 1,000 | £ 900
$ 1,500 | € 1,000 | £ 900
2008, Jean Nouvel. Complete Works 1970–2008 Few Left
2008, Neil Leifer. Guts & Glory The Golden Age of American Football
Edition of 1,000 + 300 APs
Edition of 1,500 + 200 APs
$ 1,500 | € 1,000 | £ 900
$ 700 | € 500 | £ 450
2008, Neil Leifer. Guts & Glory. Art Edition ‘Johnny Unitas’
2008, Neil Leifer. Guts & Glory. Art Edition ‘Alan Ameche’
Edition of 100 + 10 APs
Edition of 100 + 10 APs
$ 1,800 | € 1,250 | £ 1,000
2008, Bettina Rheims. The Book of Olga SOLD OUT
Edition of 1,000 + 200 APs
$ 3,000 | € 2,000 | £ 1,750
$ 1,800 | € 1,250 | £ 1,000
2008, Studio Olafur Eliasson. An Encyclopedia SOLD OUT
Edition of 200 + 50 APs
$ 4,000 | € 2,500 | £ 2,250
2008, Steve Schapiro. The Godfather SOLD OUT
2008, Steve Schapiro. The Godfather. Art Edition ‘Marlon Brando’ SOLD OUT
Edition of 1,000 + 100 APs
Edition of 100 + 10 APs
$ 3,000 | € 2,000 | £ 1,750
2008, Steve Schapiro. The Godfather. Art Edition ‘Al Pacino’ SOLD OUT
2008, Christopher Wool
Edition of 100 + 10 APs
Edition of 1,000 + 180 APs
$ 6,000 | € 4,000 | £ 3,500
$ 6,000 | € 4,000 | £ 3,500
$ 1,500 | € 1,000 | £ 900
2008, Christopher Wool. Art Edition SOLD OUT
Edition of 100 + 20 APs
2009, Hugh Hefner’s Playboy
$ 5,000 | € 3,500 | £ 3,000
2009, Stanley Kubrick’s Napoleon SOLD OUT
Edition of 1,000 + 100 APs
Edition of 1,500 + 100 APs
$ 1,300 | € 1,000 | £ 900 New price 2016: $ 1,500 | € 1,200 | £ 1,000
2009, Ralph Gibson. Nude
$ 3,000 | € 2,000 | £ 1,750
Edition of 1,000 + 200 APs
$ 1,000 | € 750 | £ 650
2009, Ralph Gibson. Nude. Art Edition ‘Chicago Nude’ SOLD OUT
2009, Ralph Gibson. Nude. Art Edition ‘Blinds’ SOLD OUT
Edition of 100 + 20 APs
Edition of 100 + 20 APs
$ 3,000 | € 2,000 | £ 1,750
$ 3,000 | € 2,000 | £ 1,750
2009, Dennis Hopper. Photographs 1961–1967 SOLD OUT
2009, Dennis Hopper. Photographs 1961–1967. Art Edition ‘Couple’ SOLD OUT
Edition of 1,500 + 225 APs
Edition of 100 + 25 APs
$ 2,000 | € 1,500 | £ 1,250
$ 14,000 | € 9,500 | £ 8,500
2009, Albert Oehlen
Edition of 1,000 + 80 APs
2009, Albert Oehlen. Art Edition
$ 1,500 | € 1,000 | £ 900
2009, Norman Mailer. MoonFire SOLD OUT
Edition of 1,957 + 200 APs
$ 5,000 | € 3,500 | £ 3,000
2009, Norman Mailer, Marc Newson No. 1,958: MoonFire Lunar Rock Edition SOLD
$ 1,800 | € 1,250 | £ 1,000
2009, Norman Mailer, Marc Newson No. 1,959: MoonFire Lunar Rock Edition SOLD
Unique
Unique
€ 60,000
2009, Norman Mailer, Marc Newson No. 1,960: MoonFire Lunar Rock Edition SOLD
€ 75,000
2009, Norman Mailer, Marc Newson No. 1,961: MoonFire Lunar Rock Edition SOLD
Unique
Edition of 100 + 20 APs
Unique
€ 75,000
2009, Norman Mailer, Marc Newson No. 1,962: MoonFire Lunar Rock Edition SOLD
€ 75,000
Unique
€ 75,000
2009, Norman Mailer, Marc Newson No. 1,963: MoonFire Lunar Rock Edition SOLD
Unique
2009, Norman Mailer, Marc Newson No. 1,964: MoonFire Lunar Rock Edition SOLD
€ 95,000
2009, Norman Mailer, Marc Newson No. 1,965: MoonFire Lunar Rock Edition SOLD
Unique
€ 125,000
Unique
€ 140,000
2009, Norman Mailer, Marc Newson No. 1,968: MoonFire Lunar Rock Edition
€ 185,000
2009, Norman Mailer, Marc Newson No. 1,969: MoonFire Lunar Rock Edition
Unique
€ 95,000
2009, Norman Mailer, Marc Newson No. 1,966: MoonFire Lunar Rock Edition
2009, Norman Mailer, Marc Newson No. 1967: MoonFire Lunar Rock Edition
Unique
Unique
Unique
€ 270,000
2009, Alex Steinweiss The Inventor of the Modern Album Cover Slow sales
€ 480,000
Edition of 1,500 + 200 APs
$ 1,000 | € 750 | £ 650
2009, Alex Steinweiss The Inventor of the Modern Album Cover. Art Edition
2009, Ellen von Unwerth. Fräulein FEW LEFT
Art Edition of 100 + 25 APs
Edition of 1,500 + 150 APs
$ 1,800 | € 1,250 | £ 1,000
$ 1,500 | € 1,000 | £ 900
2009, Ellen von Unwerth. Fräulein. Art Edition ‘Peaches’ SOLD OUT
2009, Ellen von Unwerth. Fräulein. Art Edition ‘Fräulein’ SOLD OUT
Edition of 100 + 10 APs
Edition of 100 + 10 APs
$ 4,000 | € 2,500 | £ 2,250
$ 3,000 | € 2,000 | £ 1,750
2010, Bettina Rheims/Serge Bramly Rose — c’est Paris
2010, Bettina Rheims/Serge Bramly. Rose – c’est Paris. Art Edition. ‘Rose’ FEW LEFT
Edition of 1,500 + 200 APs
Edition of 100 + 20 APs
$ 1,000 | € 750 | £ 650 New price 2016: $ 1,250 | € 1,000 | £ 900
2010, Bettina Rheims/Serge Bramly. Rose – c’est Paris. Art Edition. ‘Magic’ FEW LEFT
Edition of 100 + 20 APs
$ 2,000 | € 1,500 | £ 1,250 New price 2016: $ 2,500 | € 1,750 | £ 1,500
$ 2,000 | € 1,500 | £ 1,250 New price 2016: $ 2,500 | € 1,750 | £ 1,500
2010, Christo & Jeanne-Claude
Edition of 1,000 + 400 APs
$ 1,500 | € 1,000 | £ 900
2010, Christo & Jeanne-Claude No. 1, ‘Over the River’ SOLD
2010, Christo & Jeanne-Claude No. 2, ‘Over the River’ SOLD
Unique
$ 50,000
2010, Christo & Jeanne-Claude No. 3, ‘Over the River’ SOLD
Unique
$ 50,000
2010, Christo & Jeanne-Claude No. 4, ‘Over the River’ SOLD
Unique
$ 50,000
2010, Christo & Jeanne-Claude No. 5, ‘Over the River’ SOLD
Unique
$ 50,000
2010, Christo & Jeanne-Claude No. 6, ‘Over the River’ SOLD
Unique
$ 50,000
Unique
$ 50,000
2010, Christo & Jeanne-Claude. Art Edition ‘Project for Jewelry on Jeanne-Claude’s Hand’
2010, Shigeru Ban Complete Works 1985–2010. Art Edition FEW LEFT
Edition of 94 + 10 APs
Edition of 200 + 20 APs
$ 5,000 | € 3,500 | £ 3,000
$ 1,800 | € 1,250 | £ 1,000 New price 2016: $ 2,500 | € 1,750 | £ 1,500
2010, Bob Willoughby. Audrey Hepburn Photographs 1953–1966 SOLD OUT
2010, Tadao Ando. Art Edition SOLD OUT
Edition of 300 + 30 APs
$ 3,000 | € 2,000 | £ 1,750
2010, Kate Moss by Mario Testino SOLD OUT
Edition of 1,500 + 250 APs
$ 1,000 | € 750 | £ 650
2010, Emilio Pucci. Vintage Art Edition FEW LEFT
$ 2,000 | € 1,500 | £ 1,250
2010, Steve Schapiro. Taxi Driver Slow sales
Edition of 1,000 + 100 APs
Edition of 1,000 + 200 APs
Edition of 500 + 100 APs
$ 1,800 | € 1,250 | £ 1,000
2010, Steve Schapiro. Taxi Driver. Art Edition ‘Robert De Niro’ SOLD OUT
$ 1,500 | € 1,000 | £ 900
Edition of 100 + 20 APs
2010, Steve Schapiro. Taxi Driver. Art Edition ‘Jodie Foster’
2010, Neo Rauch FEW LEFT
Edition of 100 + 20 APs
Edition of 1,000 + 80 APs
$ 2,500 | € 1,750 | £ 1,500
$ 4,000 | € 2,500 | £ 2,250
$ 1,500 | € 1,000 | £ 900
2010, Zaha Hadid. Complete Works 1979–2009. Art Edition SOLD OUT
2010, Neo Rauch. Art Edition SOLD OUT
Edition of 100 + 20 APs
$ 10,000 | € 7,500 | £ 6,000
2011, Linda McCartney. Life in Photographs SOLD OUT
Edition of 750 + 160 APs
Edition of 200 + 20 APs
2011, Linda McCartney. Life in Photographs. Art Edition ‘Horse’ SOLD OUT
$ 4,000 | € 2,500 | £ 2,250
Edition of 125 + 20 APs
2011, Linda McCartney. Life in Photographs. Art Edition ‘Paul’ SOLD OUT
2011, Mark Ryden. Pinxit
Edition of 125 + 20 APs
Edition of 1,000 + 300 APs
$ 8,500 | € 6,250 | £ 5,200
2011, Mark Ryden. Pinxit, Art Edition SOLD OUT
Edition of 50 + 20 APs
$ 3,000 | € 2,000 | £ 1,750
SUMO Size
$ 8,000 | € 6,000 | £ 5,000
$ 6,000 | € 4,000 | £ 3,500
SUMO Size
$ 1,000 | € 750 | £ 650
2011, Norman Mailer/Bert Stern. Marilyn Monroe
Edition of 1,712 + 160 APs
$ 1,000 | € 750 | £ 650 New price 2016: $ 1,300 | € 1,000 | £ 900
2011, Norman Mailer/Bert Stern. Marilyn Monroe. Art Edition ‘Scarf’ SOLD OUT
2011, Norman Mailer/Bert Stern. Marilyn Monroe. Art Edition ‘Contacts’ SOLD OUT
Edition of 125 + 20 APs
Edition of 125 + 20 APs
$ 4,000 | € 2,500 | £ 2,250
2012, Fashion Designers A–Z Akris Edition FEW LEFT
Edition of 2,000
$ 350 | € 275 | £ 250 New price 2016: $ 500 | € 350 | £ 300
2012, Fashion Designers A–Z Etro Edition FEW LEFT
Edition of 2,000
$ 350 | € 275 | £ 250 New price 2016: $ 500 | € 350 | £ 300
2012, Fashion Designers A–Z Stella McCartney Edition FEW LEFT
Edition of 2,000
$ 350 | € 275 | £ 250 New price 2016: $ 500 | € 350 | £ 300
$ 4,000 | € 2,500 | £ 2,250
2012, Fashion Designers A–Z Missoni Edition FEW LEFT
Edition of 2,000
$ 350 | € 275 | £ 250 New price 2016: $ 500 | € 350 | £ 300
2012, Fashion Designers A–Z Prada Edition FEW LEFT
Edition of 2,000
$ 350 | € 275 | £ 250 New price 2016: $ 500 | € 350 | £ 300
2012, Fashion Designers A–Z Diane von Furstenberg Edition SOLD OUT
Edition of 1,000
$ 500 | € 350 | £ 300
2011, Inez van Lamsweerde/Vinoodh Matadin Pretty Much Everything FEW LEFT
2012, Inez van Lamsweerde/Vinoodh Matadin Pretty Much Everything. Art Edition. ‘McQueen & Kate’ SOLD OUT
Edition of 1,000 + 200 APs
Edition of 100 + 20 APs
$ 1,000 | € 750 | £ 650
$ 6,000 | € 4,000 | £ 3,500
2012, Inez van Lamsweerde/Vinoodh Matadin. Pretty Much Everything. Art Edition. ‘Kissing Vinoodh’ FEW LEFT
2011, The Pedro Almodóvar Archives. Art Edition
Edition of 100 + 20 APs
Edition of 500 + 50 APs
$ 4,500 | € 3,000 | £ 2,500
2012, Harry Benson. The Beatles
Edition of 1,764 + 200 APs
$ 1,000 | € 750 | £ 650
2012, Harry Benson. The Beatles. Art Edition ‘Pillow’ SOLD OUT
$ 1,000 | € 750 | £ 650
Edition of 100 + 20 APs
$ 4,000 | € 2,500 | £ 2,250
2012, Harry Benson. The Beatles. Art Edition ‘Cassius Clay’ SOLD OUT
2012, Lawrence Schiller. Marilyn & Me
Edition of 100 + 20 APs
Edition of 1,712 + 200 APs
$ 4,000 | € 2,500 | £ 2,250
$ 1,000 | € 750 | £ 650
2012, Lawrence Schiller. Marilyn & Me. Art Edition ‘Roll 11, Frame 12’ FEW LEFT
2012, Lawrence Schiller. Marilyn & Me. Art Edition ‘Color 3, Frame 18’ SOLD OUT
Edition of 125 + 20 APs
Edition of 125 + 20 APs
$ 2,000 | € 1,500 | £ 1,250 New price 2016: $ 2,500 | € 1,750 | £ 1,500
2012, Robert Crumb. Sketchbooks, Vol. 7–12, Page 83 with print “The little guy that lives inside my brain”
2012, Marc Newson. Works
Edition of 1,000 + 50 APs
Edition of 1,000 + 200 APs
$ 1,000 | € 750 | £ 650
2012, Marc Newson. Works. Art Edition
2012, Nobuyoshi Araki. Bondage
Edition of 100 + 20 APs
Edition of 845 + 150 APs
$ 6,000 | € 4,000 | £ 3,500
$ 3,000 | € 2,000 | £ 1,750
$ 1,000 | € 750 | £ 650
$ 1,000 | € 750 | £ 650
2012, Nobuyoshi Araki. Bondage. Art Edition ‘Untitled, 1990’ SOLD OUT
2012, Nobuyoshi Araki. Bondage. Art Edition ‘Untitled, 1992’
Edition of 50 + 10 APs
Edition of 50 + 10 APs
$ 6,000 | € 4,000 | £ 3,500
$ 4,000 | € 2,500 | £ 2,250
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2012, London. Portrait of a City. Paul Smith Edition Page 232 ‘Policeman’ by Elmar Ludwig
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Page 84
2013, Alfred Wertheimer. Elvis and the Birth of Rock and Roll
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2013, Alfred Wertheimer. Elvis. Art Edition ‘Knees’ SOLD OUT
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2012, Mario Testino. Private View
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Page 91
2013, Alfred Wertheimer. Elvis. Art Edition ‘Kiss’ SOLD OUT
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2013, Her Majesty. Vivienne Westwood Edition ‘Royal Departure’ by Harry Benson
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2014, Robert Crumb, Sketchbooks, Vol. 1–6 with signed print “Gurls! Sex!”
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Page 76
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Page 34
2014, Ai Weiwei
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4 different covers 2014, Annie Leibovitz. Art Edition ‘Keith Haring’ fine-art print
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2014, Ai Weiwei. Art Edition SOLD OUT
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Page 44
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2014, Kishin Shinoyama. John Lennon & Yoko Ono Page 204 Double Fantasy
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2015, Mario Testino. Sir
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2015, Bettina Rheims
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2015, Bettina Rheims. Art Edition ‘Marthe, 1987’
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Page 210
2015, Gay Talese. Phil Stern. Frank Sinatra Has a Cold
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Page 126
Subscription price: $ 1,500 | € 1,250 | £ 1,000 Edition of New price 2016: $ 1,750 | € 1,500 | £ 1,250 1,000 + 200 APs 2015, Naomi Campbell. Art Edition ‘Paolo Roversi, 1996’
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“. . . you will own a piece of art history.” — Quintessentially, London, on SUMO by Helmut Newton
Ai Weiwei p.34 Darren Almond p.42 Mick Rock. The Rise of David Bowie, 1972–1973 p.46 Gisele Bündchen p.60 Robert Crumb. Sketchbooks, 1964–2011 p.74 Alfred Wertheimer. Elvis and the Birth of Rock and Roll p.84 The Making of Stanley Kubrick’s ‘2OO1: A Space Odyssey’ p. Annie Leibovitz p.104 Naomi Campbell p.126 National Geographic. Around the World in 125 Years p.140 Bettina Rheims p.162 The Rolling Stones p.172 Sebastião Salgado. GENESIS p.190 Kishin Shinoyama. John Lennon & Yoko Ono. Double Fantasy Gay Talese. Phil Stern. Frank Sinatra Has a Cold p.210 London. Portrait of a City. Paul Smith Edition p.230 Barbra Streisand. Steve Schapiro & Lawrence Schiller p.236 Mario Testino. SIR p.244 Her Majesty. Vivienne Westwood Edition p.254
p.204
New Titles 2013–2015
“For Ai, the most important attribute of the artist’s existence would be reason, which had failed to illuminate anything in the China of his youth.” —Uli Sigg
34
Ai Weiwei
living art on the edge The comprehensive story of Ai Weiwei’s life and work
“This luxurious, silk-wrapped tome takes the cake for summer’s most sumptuous book.” “Quote.”gift — The Huffington— ARTNews.com Post, New York
36
Ai Weiwei
A portrait of Ai Weiwei Excerpt by Uli Sigg
friend to the United States, a journey which the twenty-three-year-old embarked on as a self-declared “postimpressionist” painter: he had been profoundly impacted after chancing upon a Van Gogh monograph and a book about impressionism—while, by contrast, he had thrown out a monograph on the concoctions of Jasper Johns. Painting provided Ai with an escape from the Chinese variant of communism, which presented itself to him as a perennial disaster. It’s become less of a challenge to track down Ai Weiwei these days. He almost perpetually resides in his studio, ever since his passport was unlawfully confiscated after his release from custody in June 2011. A man known to jet around the world a few times a year, who was finally getting in overdose what he would have deserved long ago: worldwide acclaim, interviews, invitations to exhibit, to realize projects, to teach, to clutter China and other parts of the world with buildings, to spend time with established dignitaries and so on.
“ Painting provided an escape from the Chinese variant of communism, which presented itself to Ai as a disaster.” Now this world comes to his studio. Here he plans and curates his exhibitions, designs magazine covers, twitters, and holds court with as much presence in the global media as ever before. What kind of personality keeps all this running? Part of the answer can be extracted from the artist’s biography. In the 1950s the writings of his father, a famous poet, had landed the family in exile to China’s inhospitable Northwest. In 1975 they returned to Beijing, where the young Ai took up studies at the film academy, only to quit soon afterwards, frustrated by the quixotic ideals conveyed there. In 1981 he followed his girlPages 34-35: Pillar through Round Table, 2004–2005. Opposite: Dropping a Han Dynasty Urn, 1995. Top left and right: Urn, 2004 (production views). Right: Coca-Cola Vase, 2008.
“Celebrated as one of the world’s leading conceptual artists, this book unites unseen images, interviews and unique designs into one comprehensive tale.” — Arts & Collections, London
For incomprehensible reasons, his father had been labeled a dissident “rightist” and thus an enemy of the state. Like major and even very minor decisions in Chinese everyday life, the judgment defied any attempt at understanding based on reason or human sentiment.
Discovering Duchamp
A short stay in 1982 at the Parson’s School of Design in New York City gave Ai his first exposure to the concepts of Duchamp and Warhol, which he devoured in one sitting while observing his fellow American students as they painted away wildly, focused on the what and completely bypassing the why—the very central question that would accompany Ai from then on: why should one express oneself as an artist? He subsequently made up his mind to leave painting, or, in his words, a studio full of pictures nobody wanted, and to turn from the twodimensional, finite artwork toward the ever-expanding universe of conceptual art.
For Ai, the most important attribute of the artist’s existence would henceforth be reason, which had failed to illuminate anything in the cultural-revolutionary China of his youth. His discovery of Duchamp had buried the postimpressionist, and in Duchamp’s
“ American students painted away wildly, focused on the what and completely bypassing the why—the very central question that would accompany Ai from then on: why should one express oneself as an artist?” ideas about the artist’s existence as a mindset, as a lifestyle, Ai found his identity. He decided to return to China in 1993, prompted by his father’s serious illness. At first he lived in his father’s house, where he considered himself a mere guest, and not
a particularly respectable one at that, with not a thing to show for all the years spent in the US—no elegant diploma, not even a
“ In Duchamp’s ideas about the artist’s existence as a mindset, a lifestyle, Ai found his identity.” half-decent art career. So he kept a low profile, limiting his expression to the publishing of three books about Western and experimental Chinese art. His now famous Han Dynasty Urn with Coca-Cola Logo from 1994, the photo work Dropping a Han Dynasty Urn from 1995, even his first compositions made of deconstructed furniture from 1996 onward —he didn’t regard any of it as art. He considered them mere diversions. It wasn’t until 1999 that he again faced the challenge to produce art according to his own definition—after being nominated by Harald Szeemann to appear in the Venice Biennale of that year.
Cross-cultural ambiguity
Seen through Western eyes, the gestures of Ai’s work consistently produce ambiguity. The hardware bears mainly Chinese connotations, while we are left to somehow imagine the software. We sense a personality with a very clear idea of what art is and isn’t, and what is needed to grasp or compose a thing and then move it from one sphere into another. But what constitutes this very clear idea remains, elusive, when we lack the contextual knowledge of Chinese
Top: Surveillance Camera, 2010, marble. Left: Grapes, 2010, 40 wooden stools from the Qing dynasty.
38
Ai Weiwei
thoughts and things. Is a cubic meter of tea (A Ton of Tea, 2006) the same on both sides of the world? Of course not: “to drink a cup of tea” is a euphemism often used by the Chinese police when summoning people to preliminary interrogations. Another specific strength inherent in
“ His art must always also imply the possibility of a major mishap, or else Ai doesn’t feel sufficiently challenged.” Chinese culture, and essential to Ai’s art, is the capacity to fuse contradictions into one single proposition. To put it simply: while in a Western mind, according to our Cartesian binary logic, a thing is either this or that, in a Chinese mind that same thing may well be this and that at the same time. Take Whitewash (1995–2000) as an example: 132 Neolithic vases, each one a beautiful piece of art and a relic, but one fourth of them completely covered or destroyed by white industrial paint. The work fuses two contradictory paradigms of art creation: the Western paradigm of “avant-garde” art, which means a radical destruction of tradition, breaking with the past to create space for entirely new thinking; and the classic Chinese paradigm of respect for tradition and therefore of art creation as an evolving continuum drawing from the wealth of Chinese culture.
Implicit risk
Ai’s Documenta piece (Fairytale, 2007) also revealed an artistic strategy that was to shape his work increasingly. His own greatest strength, the artist says, is “to put himself in an awkward situation”—that’s how a contradiction can arise which then calls for resolution or at least control. But this process of gaining control mustn’t be easily managed. His art must always also imply the possibility of a major mishap, or else Ai doesn’t feel sufficiently challenged. Take Fairytale: how do you turn the idea of introducing 1,001 Chinese to a reality entirely different from their own into a work of art? The project posed innumerable logistical difficulties, such as selecting population samples, securing passports, visas, travel and housing arrangements, and so on. Fragments of this risk-inclined strategy are also recognizable in the intensive research actions surrounding the earthquake in Sichuan (among others, Remembrance, 2008–the present) and in the large-scale installation Sunflower Seeds at the Tate Modern. These works share the mobilization of massive personnel resources across the entire People’s Republic within the shortest of time frames, always ambitious, and utterly inconceivable without the Internet.
It will hardly be controversial to say that every other artist would have rejected the Tate Modern’s January 2010 request to stage a show in the giant Turbine Hall, not in 2012, as originally scheduled, but much earlier, in October of the same year. If Ai wanted to undertake the physical realization of one of the most prestigious and therefore riskiest engagements in the art world, then transport from China and installing the work would take three months. Which left Ai with six months, counting from January 2010, to develop an idea, draw up a concept, and produce the piece! So a thousand six hundred workers were hired to do the molding, painting, firing, and glazing of more than 100 million Sunflower Seeds.
A blackjack spirit
So where did Ai Weiwei get this outsize appetite for hazard and uncertainty which drives him to launch such major projects whose basic concept makes them virtually incalculable? It is an aspect of his inner gambler—a no less essential part of Ai’s personality than his rationalism—which also had made him leave for the US with thirty US dollars in his pocket. Back in the 1980s, a limousine sent from an Atlantic City casino drove up to the basement entrance of his and his colleagues’ shared abode every weekend. Ai had made a veritable name for himself there as a player of blackjack. The savvy gambler embraces certain routines: to enjoy getting himself into a process whose
“ Another specific strength inherent in Chinese culture, and essential to Ai’s art, is the capacity to fuse contradictions into one single proposition.” outcome is determined to be uncertain; to be dead serious about playing the game while knowing that it’s only a game; and to be always aware of himself so that he will never overplay his hand. To this day, nothing and no one has been able to break Ai’s cool.
Right: Circle of Animals, 2010, bronze, 12 pieces.
“A valuable source of informed perspectives on Ai as an artist, activist, and social media phenomenon.” — Blouinartinfo.com
The first comprehensive monograph on Ai Weiwei’s life and work – Conceived in close collaboration on site with Ai Weiwei and with access to the artist’s own archives. – Over 700 pages featuring a number of previously unseen images, from photos taken during Ai’s time in New York to production shots of large installations in the workshop and pictures from his studio. – Essays by Uli Sigg, Roger M. Buergel, Carlos Rojas, William A. Callahan, and James J. Lally, as well as numerous statements derived from interviews with Ai Weiwei, conducted especially for this publication. – Full-page laser-cut designs based on traditional paper cuts by the artist. – Each copy is wrapped in a silk cloth, which reproduces a detail from his work Straight, a reference to the Sichuan earthquake of 2008.
40
Ai Weiwei
Art Edition No. 1–100
Limited to 100 copies, all signed by Ai Weiwei with a specially designed sculpture, executed in the artist’s workshop: a marble book stand $ 15,000 | € 12,500 | £ 10,000
OUT d l o S
Collector’s Edition No. 101–1,100
Limited to 1,000 copies, all signed by Ai Weiwei $ 1,500 | € 1,000 | £ 900
“We sense a personality with a very clear idea of what art is and isn’t, and what is needed to grasp or compose a thing and then move it from one sphere into another.” — Uli Sigg
XXL Ai Weiwei Hans Werner Holzwarth (Ed.) Hardcover, 724 pp.
Above: Each chapter opener features a cut-out page by Ai Weiwei specially produced for this TASCHEN monograph.
“Be quick—this is a limited edition of 1000 copies.”
— Interviewmagazine.com
Flatford@Fullmoon, UK 2000.
42
Darren Almond. Fullmoon
Lunar lens Darren Almond’s nocturnal nature series
In Fullmoon, the conceptual meets the poetic: British artist Darren Almond catches natural archetypes and silent landscapes in night photographs made under a full moon, with the shutter kept open for over a quarter of an hour. The long exposure time illuminates the landscape almost like daybreak, but the atmosphere is different: a mild glow emanates even from the shadows, star-lines cross the sky, and water blankets the earth like a misty froth. The enhanced moonlight infuses the pictures with a haunted quality, casting the landscapes in an unease, a sense of the sublime, and in a contemplation of time. “Many of Almond’s cragged landscapes seem otherworldly enough to be shot on the moon… darkly beautiful, full of grace and mystery and danger.” — American Photo Magazine, New York
Left Few
Fullmoon@Horseshoe Bend, Arizona 2012.
Left w e F
“Darren Almond’s images will leave you wondering what words like landscape and nature can possibly mean in a world where environmental change is so rapid that both are fast disappearing into myth and memory.” —The Guardian
Fullmoon@Moonbow, Brazil 2011.
44
Darren Almond. Fullmoon
Darren Almond. Fullmoon Art Edition, SUMO-size Limited edition of 3 x 60 numbered copies only, each with a print signed by Darren Almond
UT O d l So
Hardcover, cloth-bound, in an embossed clamshell box, 48 x 48 cm (18.9 x 18.9 in.), 400 pp., signed by Darren Almond. Comes with an original signed C-print; 47 x 47 cm (18.5 x 18.5 in.) paper size. Fullmoon@Moonbow (2011), (p. 44, bottom) photographed from the Brazilian side of the Iguazu Fall during a full moon. Fullmoon@Porto Mosquito (2013), photographed amongst the black volcanic rocks on the coast of Cape Verde during a full moon.
Fullmoon@Porto Mosquito, Cape Verde 2013.
Fullmoon@Horseshoe Bend (2012), photographed from the banks of the Colorado River in Arizona during a full moon. $ 2,000 | € 1,500 | £ 1,250 each New price 2016: $ 2,500 | € 1,750 | £ 1,500 each
“An extraordinary hymn to the beauty and preciousness of the natural world.”
SUMO Size
— How to Spend It, London
rebel rebel The eye of the Bowie storm
46 Mick
Rock. The Rise of David Bowie, 1972–1973
“For the love of Ziggy Stardust, these vintage photos of Bowie are just sublime.” — The Huffington Post, New York
“That image really sums up Britain in the early glam-rock era: even Ziggy Stardust has to eat a British Rail lunch!” — Barney Hoskyns
48 Mick
Rock. The Rise of David Bowie, 1972–1973
David Bowie and Mick Ronson on the train from London to Aberdeen, Scotland, May 15, 1973.
“I’m an instant star. Just add water and stir.” — David Bowie
50 Mick
Rock. The Rise of David Bowie, 1972–1973
Shooting for Stardust Barney Hoskyns interviews Mick Rock, David Bowie’s official photographer from 1972 to 1973
You couldn’t make the name up: as the man himself says in the interview that follows, “Mick Rock” sounds like a cartoon character, a distillation of ’70s pop culture in two onomatopoeic syllables. But Mick Rock is the real name of the photographer whose images captured and defined glam rock in the first half of that decade: the real name of the Cambridge graduate who, in the spring of 1972, documented the rise and rise of David Bowie in his brilliant incarnation as Ziggy Stardust. He had made his cartoonish name with a striking album cover for former Pink Floyd frontman Syd Barrett – a personal hero of Bowie’s – and Rock couldn’t have been in a better place or time than the eye of the glam storm that swirled about Bowie in ’72. The thrilling, outlandish, and remarkably candid images in this book attest to the unparalleled access Rock had to the star who became, and
days with Bowie in the peak years of glam rock’s teenage revolution. BH: What brought you and David Bowie together for the first time in early 1972? MR: I was working in a darkroom at the offices of Oz magazine, and there was a pile of promo records with holes in the corners. Felix Dennis, who managed the magazine,
said to me, “Help yourself.” And there was Hunky Dory, so I took it home and played the life out of it – especially “Life On Mars?”. At the time I was writing short pieces for Rolling Stone and illustrating them with photos. I’d been to Cambridge and could cobble together a few words. I had done a piece on Syd Barrett of Pink Floyd. I’d also done one on Rory Gallagher, whose first
“David was fed up with all the boring scruffy denim stuff. He was off to the future and he wasn’t looking back…” — Mick Rock
remains, his friend. This kind of access and trust between photographer and star hails from another, more innocent era in rock music, when art was deemed far more important than commerce. Could a photographer have been gifted with a more charismatic and iconic subject? Rock is self-effacing enough to admit the good fortune of the Glam zeitgeist in which he found himself. But it was his images of Bowie – onstage, backstage, in the studio, off-duty at home or in transit – that fixed Ziggy Stardust at the epicentre of ’70s pop. Here, then, is Rock talking about his heady Opposite: Backstage UK summer tour, 1973. Right: Mick Rock on the set for the promo for “The Jean Genie”, San Francisco, October 1972.
“The vulnerability of the pictures shed a new light on music’s greatest chameleon, a man for whom iconic images are the norm.” — Vogue.com
A still from the promotional film for the single “The Jean Genie” directed by Mick Rock, San Francisco, October 1972.
52 Mick
Rock. The Rise of David Bowie, 1972–1973
“I was fascinated by his aura. I felt hypnotized by all the mutating and shifting around.” — Mick Rock
“I approached David about the book. He said he liked TASCHEN books, he thought about it, and he said, ‘Let’s do it, Mick.’” — Mick Rock
three album covers I shot. When David said hypnotized by all the mutating and shifting “I go both ways”, it got people’s attention. So around. In truth the persona interested me I talked to Andrew Bailey – the London edi- more than the personality, coupled with the tor of Rolling Stone naked ambition. It’s all there in the – and said, “What Ziggy lyrics. He wasn’t thinking “He wasn’t about Bowie?” He about money, he was thinking about said, “Yeah, okay. stardom. You’ve got to remember thinking about He’s been saying a how young we all money, he few interesting were. I first met things lately.” At the was thinking David forty-two same time a friend ago, when about stardom.” years of mine, the art the world was a — Mick Rock director of Club very different International, said place. he wanted a music section at the front Psychologically it was a before you got to the boobies and bottoms – very impressionable time. something a little provocative, I suppose. So What everyone now that was commissioned too. accepts as modern pop culAnya Wilson, David’s publicist, met me at ture was brand-new. Liverpool Street station and took me up to a gig in Birmingham. She brought me backBH: Did Bowie critique stage to introduce me to David, and he let me your images of him? Did take the first pictures I ever shot of him. And he have strong ideas then I took some performance shots during about how he wanted to be the show. A day or two later I went out to his photographed? house in Beckenham and interviewed him. He seemed to like the photos I did from BH: What appealed to you about Bowie? early on. He responded really well to the MR: Initially I was inspired by his music, session I did at his home in Beckenham, the and then I was fascinated by his aura. I felt one that produced the now-iconic mirror shot. Every frame had a certain magic. He told his manager on reviewing them that Top: With Iggy Pop and Lou Reed, Dorchester “Mick sees me the way I see myself”. Which Hotel, London, 16 July 1972. Below: On tour in I was delighted to hear, because it was the UK, summer of 1973.
important to me that he really liked them. I learned a lot just watching and listening to him. BH: Should we think of Bowie as more of an avant-garde artist than a pop star? MR: David used to talk of himself as a
Xerox machine, picking up impressions all over the place. He brought in a lot of elements: the Warhol thing, the Velvet Underground, Jacques Brel, Kabuki, the Living Theatre, A Clockwork Orange. And of course the futuristic space thing, which Roxy Music got into as well. David absorbed things so fast. He made the concoction so rich and thick.
“It was épater la bourgeoisie. It felt revolutionary. The more you disapproved, the more we loved it…” — Mick Rock
54 Mick
Rock. The Rise of David Bowie, 1972–1973
Aboard the luxury cruise ship QE2, Southampton, UK, January, 1973.
“David Bowie’s Ziggy Stardust heyday in all its glittered glory. Mick Rock’s intimate images from 1972 and ’73 reinstate the icon as the original boundary-bending performer…” — Bloomberg.com
Limited to a total number of 1,972 copies,
all signed by David Bowie & Mick Rock Collector’s Edition No. 201–1,972 Limited edition of 1,772 copies, each signed by David Bowie and photographer Mick Rock, with 3 fold-outs, 31,5 x 44,0 cm (12,4 x 17,3 in.) , 310 pp. $ 700 | € 500 | £ 450 New price 2016: $ 1,000 | € 750 | £ 650
“Hats off to Mick for dutifully capturing and archiving all of this weird, kaleidoscopic glory. This is the documentation of a legend by a fellow legend, and is definitely not to be missed.” — AnOther, London
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Mick Rock. The Rise of David Bowie, 1972–1973
“David Bowie fans, form an orderly queue.” — Financial Times, London
XXL
“…a gorgeous limited edition collection.” — Billboard.com
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Mick Rock. The Rise of David Bowie, 1972–1973
Art Edition No. 1–100 “David absorbed Summer Tour, 1973 (opposite) things so fast. He made UK Pigment print on Platine Archival the concoction so rich Fibre Rag paper, signed by Mick Rock, 31.5 x 44 cm (12.4 x 17.3 in.) paper size. and thick.” — Mick Rock $ 2,500 | € 1,750 | £ 1,500
UT O D L SO
Art Edition No. 101–200
Scotland, May 1973 (below) Pigment print on Platine Archival Fibre Rag paper, signed by Mick Rock, 31.5 x 44 cm (12.4 x 17.3 in.) paper size, frame not included. $ 1,800 | € 1,250 | £ 1,000 New price 2016: $ 2,500 | € 1,750 | £ 1,500
Left w e F
“The original glam rocker, flamboyant and fabulous. Channel your inner rebel with this retrospective tome.” — ES Magazine, London
Š Rankin/Trunk Archive
Rankin, Big Magazine (unpublished shot), 1998.
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Gisele BĂźndchen
Heavenly body
The astronomical beauty of Ms Gisele Bündchen
“As fearless and fragile as the early-morning dewdrop on the finest gossamer cobweb. A wisdom and magnetic pull, to rival the wonder of the northern lights. To be near her is to be.” — John Galliano
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Gisele B端ndchen
© Inez & Vinoodh/Trunk Archive
Opposite: Paulo Vainer, Vogue, Brasil, 2015. Below: Inez & Vinoodh, V, 2004.
“Gisele is Gisele. In the history of fashion, few women have combined beauty and sex appeal like her, always maintaining her elegance and femininity. I adore her.” — Valentino
Š Mario Testino/Art Partner licensing
Above: Mario Testino, Mario de Janeiro Testino, 2001. Opposite: Mario Testino, Vanity Fair, 2009.
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Gisele BĂźndchen
© Mario Testino/Art Partner licensing
“I am hugely inspired by Gisele. She is a generous, supportive, hardworking, loyal friend and close family member. I have seen her grow and stay the same: real.” — Mario Testino
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Gisele B端ndchen
© Mert Alas & Marcus Piggott/Art Partner licensing
Opposite: Henrique Gendre, Vogue, Brasil, 2015. Above: Mert Alas & Marcus Piggott, Pirelli Calendar, 2006.
“It’s not so often that you get to photograph or be friends with a goddess. She is an inspiration. Her energy and beauty light up the pages.” — Mert Alas & Marcus Piggott
Opposite: Juergen Teller, W, 2005. Left: Zee Nunes, Vogue, Brasil, 2015 Below: Mert Alas & Marcus Piggott, W, 2008.
“Over the past 20 years, I have had the privilege of working with some of the most talented artists and photographers in the world. All of my proceeds will be donated to a charity close to my heart.”
© Mert Alas & Marcus Piggott/Art Partner licensing
—Gisele Bündchen
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Gisele Bündchen
“I like Gisele. I like her quite a lot. It’s always nice to see her and she’s so good at what she does —she’s a perfect professional. I think we work together very well.” — Juergen Teller
Limited to a total of 1,000 copies, each signed by Gisele Bündchen With more than 300 photographs, this large-scale Collector’s Edition is curated and art directed by Giovanni Bianco. From Gisele’s legendary nude portrait by Irving Penn, chosen as the book’s cover, to iconic shots from such industry luminaries as Steven Meisel, Mario Testino, Peter Lindbergh, David LaChapelle, Juergen Teller, Inez & Vinoodh, Mert Alas & Marcus Piggott and Corinne Day, it is a unique artistic presentation of the most famous Brazilian export together with Pelé and Senna and the highestearning model in the world. The breathtaking image collection is accompanied by an introduction by Steven Meisel and tributes from Gisele’s closest friends, family, and fashion leaders, who shed light on how and why she has become one of the greatest models of all time, hailed as “The Body” (Alexander McQueen) and featured on more than 1,000 covers and in approximately 450 fashion shows around the globe.
Art Edition No. 1–100
OUT D L O S
Limited edition of 100 numbered copies, each with the Epson Giclee print Gisele Bündchen, W, 2005 (page 69) on Canson Baryta photographic paper 310gsm, signed by Juergen Teller, 31 x 41.5 cm (12.2 x 16.3 in.) paper size. $ 2,000 | € 1,500 | £ 1,250
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Gisele Bündchen
Collector’s Edition No. 101–1,000
Limited edition of 900 copies, each signed by Gisele Bündchen. Hardcover with Swiss binding, in acrylic slipcase, 28,1 x 39 cm (11 x 15.4 in.), 536 pp. $ 700 | € 500 | £ 450 New price 2016: $ 1,000 | € 750 | £ 650
XL Below: Gisele Bündchen autographing the 1,000 signing sheets, New York, 2015 (© Brett Doonan).
Left Few
“... and God created Gisele…”
— Didier Malige
The Collector’s Edition is limited to 900 signed and numbered copies.
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Gisele BĂźndchen
The Art Edition is limited to just 100 signed and numbered copies, each with a signed print by Juergen Teller. “She’s the One: the most captivating are the images in which she is that towering blonde with a paradoxical mix of guilelessness and attitude we’ve come to know.” — Vogue, New York
“When the Life magazine editors saw the film and saw examples of his work they found that Robert’s art was somewhat avant-garde at the time and decided not to run the story.” —Harry Benson
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Robert Crumb. The Sketchbooks 1964–2011
Underground treasures “One of the most impressive sketchbook collections you are likely to ever see.”
— Complex.com
Set Vol. 1–6 includes the signed print “Gurls! Sex!” in portfolio.
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Robert Crumb. The Sketchbooks 1964–2011
Crumb talks
The famously elusive cartoonist opens up to us about life at 69 and why there will be no more sketchbooks
The sketchbook series really starts with the first drawings with rapidograph pens, 1964. I was working at the greeting card company and I met this young girl artist, Liz Johnston, and she told me to start drawing with pens, forget about the pencil. She showed me how you can go around with your sketchbook and draw from real life. I wasn’t attracted to her, and that’s part of the reason we got along so well. We went around drawing together while she talked about Buzzy Linhart. She was involved with this folk musician, a Cleveland hero, and she was always heartbroken because he was running around with other girls. We’d be drawing, and she’d be talking about Buzzy. I’d carry (the sketchbook) everywhere. From 18, I guess. I was also writing -- I kept diaries also on and off during that period -so I lived on paper. I lived through the book, and behind it. I couldn’t talk, so I just drew. It was not about attracting people. It was about hiding behind it. Before I was well known, I was such a geek, such a goofball that people were indifferent to what I was doing. Once in a while people would say, “Oh, let’s see what you’re drawing. Oh, that’s good. Hey, these drawings look good.” But I got embarrassed if people noticed and drew attention to the fact that I was drawing. Now I can’t do it at all anymore because I’m too famous. People say, “Oh, look, the great R. Crumb is drawing.” They always want to see what I’m drawing. They ask me for the drawings and then big discussions always start about how much my drawings are worth. I just feel like tearing it up.
I was nuts Of course, I hoped (drawing) would get me female attention, but it didn’t work at all in that regard. Women were not attracted to guys who drew comics. It was basically the last thing on Earth that had any glamour attached to it. And disclosing your sex fantasies to the world? Women immediately had nothing but negative reactions to that. It shocked me how negative the reactions were from the hippie chicks. When I first drew those sex fantasies, I didn’t show them to anyone. I tore them up and flushed them down the toilet. And then, after I started drawing ZAP comics, and was being recognized among the hippies, I saw S. Clay
Wilson’s work that was totally outrageous. He just didn’t hold back anything, and, I thought to myself, well, why hold back? I didn’t even think about what the audience reaction would be. I just felt that somehow I was crazy, I was nuts. Maybe I was a bit of an exhibitionist. Like, a guy who exposes himself by opening his overcoat. I showed a young hippie girl Snatch Comics when it was first published around 1969. Without saying anything, she handed it back to me very gingerly like it was a turd or something. Then I got famous. I remember Art
Spiegelman introducing this beautiful 17-year-old girl. She had no idea about my work, but Spiegelman said, “Oh yeah, Crumbie’s a big famous hippie artist.” That was all it took. All my characters were developed in the sketchbooks. Mr. Natural, that first appears in a sketchbook, back in the ‘60s, so that’ll be in the next set, Volumes 1 to 6. In 1966 I was at my friend Marty Paul’s house, he had this black radio station on in Chicago. Some jive instrumental plays and the announcer says, “That was Mr. Natural.” Based on the
“This limited edition accompanied by a signed print is closer to a work of art (investment) than to an art-book.” — Marevueweb.com
“ (Crumb is) the Brueghel of the second half of the 20th century.” — Robert Hughes, essayist and art critic
of whence I’m about, for better or worse. We moved to France before the movie Crumb came out. We had no idea what a big impact it would be for me, how much attention it would get. It basically brought on more media pestilence and more Crumbsploitation. Everybody wanted to
The sexual perversity
natural hairdo, the African natural. I wrote Mr. Natural in my sketchbook and I sponta-
Frenzy of crumbsploitation neously started drawing this little tiny comic strip about this bearded sage. There’s a holy man character in these volumes I never actually drew for comic books. He only appears in the sketchbooks (Volume 9). Sophie was a little kid at the time and she called him Roamin’ Dodo. I had the drawing of him holding up a kitty
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cat and Sophie said, “Doesn’t he like the kitty?” So I wrote that in the sketchbook. Sophie was a big influence when she was a little kid with my sketchbooks, and you’ll see a lot of her. When I look at the sketchbooks now and I read through them, I get a very self-satisfied feeling of the richness of it. But, you know, it’s like somebody else did it. I barely can associate myself, as I know myself, in this moment, with the panorama of what’s in those sketchbooks. When you go through hundreds of pages of it, yeah, eventually you’re going to see just about every corner
Robert Crumb. The Sketchbooks 1964–2011
put out a book of my work. It was a feeding frenzy of Crumbsploitation. I think it made my name more of a household word without people actually seeing my work or knowing what my actual work is. My notoriety is now far above and beyond my work. It didn’t bring more women to me or anything. I think women found me repellant in that movie. I remember once watching it in the audience of some college. It was a very excruciating experience. There’s a part where Kathy Goodell kicks me in the shins. There was cheering from the female members of the audience. [laughs] It was not made to attract women to me. The most surprising and ironic affect of that movie is that it gave me much more panache and esteem in the fine art world, enough to kind of embrace me into their museums and galleries and stuff. There’s this perverse, sad thing that part of my fame is a morbid attraction to the things in my work that are bad and forbidden. Some of these gallery guys like Paul Morris, and all the fine art guys, they call those the “tough” drawings. People line up to see it. There’s something that jazzes them about that. And that’s what sells best: the ones that show the perversity, the sexual perversity. We did this book called The Sweeter Side of R. Crumb. Aline had this idea to do this book with non-threatening drawings. And, guess what? It was a total flop. Dead in the water. It’s possible that those tough drawings represent some universal part of the id or something that the super ego’s always suppressing, and that people are ashamed of, and embarrassed about. And here I just have it out there in my work, for them to enjoy vicariously. On the other hand, women are horrified by it. You get the Trina Robbins reaction, “This is terrible.” Trina accused me of poisoning all the younger male cartoonists who think they can draw terrible violence against women. Besides a
“ The Brueghel of the second half
of this month, more like.” — Robert Crumb
handful of blatant imitators that came out in the ‘70s, I never saw evidence of that. I think very few male cartoonists that I ever saw could actually get that personal with their secret sexual fantasies in their work. I’ve given up drawing in sketchbooks almost entirely. I keep thinking I should, it’s really a helpful thing to do to keep your hand in there and draw spontaneously and have lots of ideas come up that way. But the fame thing has really killed it for me. I’ve just become too acutely self-conscious and the business aspect of being an artist killed the creative, playful side for me. As my fame grows and I become like some kind of fuck-
ing, you know, grand old man of graphic storytelling, or whatever, it gets worse and worse. There’s no slack. Drawing came out of a spontaneous, experimental, dreamy area of the mind. That’s just not there anymore. It’s been a gradual process for decades, really, this slowing down of that compulsion
Double in value to draw. When I was in my late teens, early 20s, was probably the peak. I just drew all the time. Sublimation of sexual energy or something, trying to prove yourself and try-
ing to be loved, desperate to be loved. Then when the fame started: OK, now I’m loved. Now they’re loving me to death over here. They’re killing me. Every drawing I do now has some grave consequence. As the sketchbook thing slowed down, and I had to go out to dinners all the time with people in restaurants, I started drawing on placemats. Lots of paper placemats in France. It was a way to draw spontaneously, sitting in restaurants waiting for food. Then the restaurateurs started taking the drawings, and pretty soon people were fighting over these drawings: “Oh, I thought I could have…” “No, I want this one!” And people would be sitting there joking about how valuable the drawings were, how much they were worth and everything. And, then the drawings started being published. So, I can’t draw on placemats anymore either. It just killed it. It’s sucking my blood. The vultures have been circling for a long time. The minute that I die, every drawing I ever did will double in value, at least. I remember once I called Federal Express and I told them I wanted to send something to America and I told them it was some artwork. And they said, “Is this original art?” I said, “Yeah.” And they said, “Is the artist living or dead?” I said, “He’s living.” And they said, “Oh, OK then, it’ll be a lot cheaper.” [laughs] When I was working on Genesis Aline found this hidden away place in the mountains for me to work. I can’t tell you how much I enjoyed that, being by myself for a week at a time where nobody knew where I was. Aline was the only person who knew where I was and she was the only one that called me. I loved that. And, then, I started drawing again. I started getting back into drawing. When I was young I was an observer of life, as an invisible, ghost-like figure. I observed the world as if detached from it. And then, I became the observed. It drives me insane being the observed. I like being invisible. Originally, it felt painful being invisible, unloved and all that, but now I realize that that was a gift I can never get back. But Aline says it’s very unattractive to complain, to whine about such things. You know, everybody should have such troubles as this. I really can’t complain. I got it pretty good.
“Crumb’s X-rated œuvre has been catalogued before, but never by his own hand… fans of caustic humor, alienation, and luxurious pubic hair rejoice.” — V Magazine, New York
Robert Crumb. Sketchbooks, Volumes 1–6, 1964–1982 Limited and numbered edition of 1,000 copies. Hardcover in slipcase with signed print “Gurls! Sex!” in portfolio (see page 76), 20,5 x 27,0 cm (8,1 x 10,6 in.), 1,344 pp. $ 1,000 | € 750 | £ 650
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Robert Crumb. The Sketchbooks 1964–2011
Robert Crumb. Sketchbooks, Volumes 7–12, 1982–2011 Limited, signed and numbered edition of 1,000 copies. Hardcover in slipcase with print “The little guy that lives inside my brain” in portfolio (see page 83), 20,5 x 27,0 cm (8,1 x 10,6 in.), 1,344 pp. $ 1,000 | € 750 | £ 650
“You’ll find everything from unseen doodles depicting punters at cafes to sprawling cartoons strips and uncharacteristically orthodox still–life drawings.” —Shortlist, London
Each book in the set contains 224 pages, for a total of 1,344 pages of prime Crumb from the artist’s early period (vol. 1–6) till 2011 (vol. 7–12). Each set includes a handwritten introduction, many pages of original color works, and 50 redrawn images distinctly different from the original works. Each set in this 1,000-copy limited edition also includes a signed, authenticated color art print.
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Robert Crumb. The Sketchbooks 1964–2011
Set Vol. 7–12 includes the print “The little guy that lives inside my brain” in portfolio.
“The underground comic and gifted dirty old man handpicks his finest unsavory doodles.”
— The Huffington Post, New York
“Elvis who?”
Elvis Presley prepares to wow the audience during a dress rehearsal for the Dorsey Brothers’ Stage Show at CBS Studio 50 in 1956.
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Alfred Wertheimer. Elvis and the Birth of Rock and Roll
... was photographer Alfred Wertheimer’s response when, in early 1956, an RCA Victor publicist asked him to shoot an up-and-coming crooner from Memphis. Little did Wertheimer know that this would be the job of his life: just 21 years old, Elvis Presley was—as we now know— about to become a legend. Extraordinary in its intimacy and unparalleled in its scope, Wertheimer’s Elvis project—nearly 3,000 photographs—immortalized a young man in the very process of making history.
„Wertheimer accompanied Elvis Presley and captured fascinating snapshots of the birth of a legend.“ — Vogue, Munich
The making of Elvis, behind the scenes Recollections by Alfred Wertheimer
The year was 1956, and I was working as a freelance photographer in New York City when RCA Victor publicist Anne Fulchino hired me to shoot a newly signed singer by the name of Elvis Presley. I remarked, “Elvis who?” That was one of the last times anyone had to ask that question again. The 21-year-old singer shot to stardom shortly after I photographed him that Saturday night, March 17, on Stage Show hosted by Tommy and Jimmy Dorsey. Once I stumbled into that assignment and met Elvis, I felt that this guy had something that was unique, and had an interesting story that had to be told. So I followed him on the road and everywhere else for two weeks, taking nearly 3,000 photographs of the singer who would later be known to the world as the King of Rock and Roll. Most of the time, Elvis never even knew I was taking his picture. He was laser-focused on whatever he did, so I would wait until he was engaged—and he was always immersed in being Elvis—whether rehearsing, flirting with women, combing his hair, or buying a ring. . . .
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Elvis gave me complete access to his life—I would even follow him into the bathroom. My feeling was that the closer I could come to being a fly on the wall and still produce high-quality work, I didn’t necessarily have to worry about what photographer Henri Cartier-Bresson called the “decisive moment.” I wanted to be an unobtrusive observer—like a good psychiatrist with a camera.... You will find that when people are intensely involved in something that’s important to them, they’re pretty much oblivious of the camera. That’s when you get your best pictures, because your subjects are not hamming it up. If you can get in close and frame it properly with the available light and operate at slow shutter speeds—and manage not to trip over your own feet—you will get, what I find to be, very interesting photographs. Here I was with somebody who I didn’t know was going to become famous. But I did know two things: I knew that he was not shy—I
mean, Elvis was shy in the sense that he was introverted, but he was not shy of the camera. He permitted closeness. And when you get close there is a whole different dynamic to a picture. As I remember Robert Capa saying, “If your pictures are boring, it means you’re not close enough.” Closeness allows you to capture a certain texture, which creates a presence and makes a photograph interesting. The other thing I knew that Elvis had in his favor was that he made the girls cry. This was the young Elvis, who might have said to himself, “Well look, how is anybody ever going to know what I am all about if there is no record of me except my music? We’re living in photographic times, so why not cooperate? After all I don’t even know when this guy is taking pictures.” I believe the uniqueness of my photographs of Elvis lies in the fact that I accepted he was the director of his own life. Below: Elvis tending to his pompadour in the men’s room of the Mosque Theater.
Alfred Wertheimer. Elvis and the Birth of Rock and Roll
This iconic shot of Elvis kneeling at the Mosque in Richmond, Virginia (June 30, 1956), is one of two prints available with an art edition of the book.
“Tracks the making of an American icon through photographer Alfred Wertheimer’s intimate, and, in many cases, unpublished imagery. …will have music fans all shook up.” — Elite Traveler, New York
“I wanted to be an unobtrusive observer — like a good psychiatrist with a camera...”
An exquisitely disheveled and laid-back Elvis listens to an acetate disc from his RCA recording of Hound Dog and Don’t Be Cruel at the Presley family home in Memphis with friend Barbara Hearn.
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Alfred Wertheimer. Elvis and the Birth of Rock and Roll
“Wertheimer does something that has been eradicated in our selfie-saturated world—he pulls back, tries to be invisible, and captures not just Elvis but the atmosphere around Elvis.” — Acculturated.com
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Alfred Wertheimer. Elvis and the Birth of Rock and Roll
“ Alfred Wertheimer got great pictures. Like Elvis, by embracing spontaneity, by prizing feeling over mere technique . . . the result is work that can stand gloriously on its own, unaffected by the eddying tides of fashion or the shifting sands of time.” — Peter Guralnick
Above: Elvis in full cowboy regalia working on his trademark sneer during a performance on The Steve Allen Show in New York City. Left: Wertheimer captured this very heated kiss backstage at the Mosque Theater. The identity of the woman, Barbara Gray, remained unknown until she came forward in 2011, 55 years after the photo was taken. This image is one of two prints available with an art edition of this book. Opposite: Elvis on his Harley outside the family home, Independence Day, 1956.
“An extraordinary archive of a time, a place and the single person who defined it.” — The Observer, London
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Alfred Wertheimer. Elvis and the Birth of Rock and Roll
“Before Elvis there was nothing”
... said John Lennon. My God, yes! What was it like before there was Elvis? It was as dull as a church service on the radio. — Franz Josef Wagner, chief columnist of the German tabloid BILD
Opposite: The deep eyes and luscious lips that millions of women screamed for. Below: “May I take your order?” Elvis prepares to turn on the charm with an unsuspecting waitress at the Hotel Jefferson in Richmond, Virginia.
“There’s a whole market for these books now… and two or three years later they’re worth about double.” — Anthony Mason on CBS This Morning
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Alfred Wertheimer. Elvis and the Birth of Rock and Roll
This edition brings together Alfred Wertheimer’s most remarkable Elvis shots from 1956, along with a selection from his historic pictures of the star in 1958 as he was being shipped off to an army base in Germany. For this collector’s edition, TASCHEN could think of no better collaborator to join us in celebrating Mr. Wertheimer’s photographs than Hatch Show Print, which created many of Elvis’s early show posters in the 1950s. Printed on cloth, the cover of this XL edition features a photograph from Elvis’s legendary RCA Victor Studio 1 recording session. The book comes in a clamshell box covered in a monoprint designed by Jim Sherraden of Hatch, which also created original poster art used throughout the book.
Photo courtesy Hatch Show Print/ The Country Music Hall of Fame and Museum
Inside Hatch Show Print, which created many wof Elvis’s early show posters in the 1950s.
XXL
Art Editions, No. 1–250
–– Limited to two editions of 125 numbered copies, each with an archival blackand-white fiber-based silver gelatin print, signed by Alfred Wertheimer –– No. 1–125, Kneeling at the Mosque, 1956 Print size: 31.2 x 44 cm (12.3 x 17.3 in.)
out –– No. 126–250, The soldKiss, 1956
Print size: 44 x 31.2 cm (17.3 x 12.3 in.)
$ 2,500 | € 1,750 | £ 1,500 each
Collector’s Edition, No. 251–1,956
–– Edition of 1,706 numbered copies, signed by Alfred Wertheimer –– Hardcover in clamshell box –– 31.2 x 44.0 cm (12.3 x 17.3 in.), 418 pp., including six fold-outs $ 700 | € 500 | £ 450 New Price 2016: $ 1,000 | € 750 | £ 650
“An absolutely gorgeous, extra large mega photo book . . . truly a breathtaking production and fitting tribute.” — Elvis Australia, Sydney
The making of magic
How Stanley Kubrick revolutionized science fiction and the art of cinema
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The Making of Stanley Kubrick’s 2OO1: A Space Odyssey
Shooting the final scenes of 2OO1 in the faux-luxurious bedroom.
The underfloor lighting made the room uncomfortably hot. Critics and audiences alike argue about the meaning of this room. Is it a comfortable cage constructed by the aliens, and based on their observations of Earth, or does the decor spring from Bowman’s hallucinatory ideas of what an expensive hotel room should look like?
“…meets the high standards of the previous Kubrick Archives and Napoleon books. An essential purchase if you love cinema. TASCHEN have done Stanley Kubrick proud, again.” — Film Chronicles, London
Fifty years of deep space exploration A cinematic odyssey into the future of man, unequaled in effort and execution
In the spring of 1964 Stanley Kubrick set out to make what he called “the proverbial good science-fiction movie.” The Making of Stanley Kubrick’s ‘2OO1: A Space Odyssey’ marks the 50th anniversary of the moment when Stanley and his co-screen writer, noted futurist Arthur C. Clarke, first sat down to brainstorm one of the greatest landmarks in the history of cinema. Created with the collaboration of the Kubrick family and Warner Bros., this book includes unique concept artworks and behind-the-scene photographs, many of them never previously published. The extensive text draws, also, from direct interviews with Arthur Clarke, and the principal actors, senior production designers, and key special effects experts who
helped to realize Kubrick’s futuristic vision. Stanley’s brother-in-law Jan Harlan explains the genesis of the Kubrick family’s latest collaboration with TASCHEN. “Piers Bizony had published an essay on 2OO1 some years ago—a simple paperback—but it demonstrated that he is genuinely knowledgeable about this film and the thinking behind its creation. Other partners in the project were, of course, essential. From the start, in proposing this new book, and indeed, throughout the writing and production process, we worked very closely with Warner Bros.” Of course the Kubrick family has worked with TASCHEN before, as Jan explains.
“The Stanley Kubrick Archives project led directly to the next book, about Stanley’s great, unrealized project. Taschen called it Stanley Kubrick’s Napoleon: The Greatest Movie Never Made and I don’t think they exaggerated. Napoleon is not just a historical figure. His genius and folly, his charisma and poor judgment, his brilliance hampered by vanity and ego, are elements relevant for our leadership today around the globe.” In 2OO1 Kubrick suggests that intelligent machines might also become capable of expressing such Napoleonic qualities as brilliance, ego and vanity. There is very little dialogue in this epic space film. Kubrick’s ambitious philosophical speculations are conveyed by his unforgettable imagery. The destinies of prehistoric manapes are intertwined across millions of years with those of computers, humans and alien entities whose nature and intentions are thrillingly ambiguous. So many space fiction films become dated almost as soon as they are made. In contrast, 2OO1 is just as compelling as when it was first screened, especially given the fact that NASA space probes have discovered countless new planets in our galaxy. The search for extraterrestrial intelligence is a very real and active science today. 2OO1’s visual effects established groundbreaking standards of excellence. Kubrick and his crew built, from scratch, special projectors, automatic animation systems and motorized camera rigs controlled by banks of electronic switches and timers. But some of the grandest effects were also the simplest. Christiane remembers workAbove: New American Library’s first hardback edition of Clarke’s novel, based on the screenplay co-written with Kubrick, was published in June 1968, two months after the film’s initial release. Left: The Honeywell company designed a briefcase for Heywood Floyd. It contains all the components of a modern laptop computer: a keyboard, a camera, an electronic stylus pen, a modem, a digital file storage module, and a display screen.
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“If intelligence and education sufficed, we would be in great shape. Unfortunately it is our emotion and egocentricity that governs final decisions.” — Stanley Kubrick
Clarke and Kubrick pose for publicity photographs inside the
passenger deck set of the Aries lunar ferry. Clarke’s suit is crisply pressed for the occasion, while Kubrick’s clothes, as usual, are worn carelessly.
“Packed with previously unseen photos, documents, and production art taken from Kubrick’s archives… Mad is actually a good adjective here. So is magnificent.” — Vanity Fair, New York
An experimental photo of Dullea in his space suit, contrasted with the unsuccessful makeup test for a primordial human. Kubrick’s 2OO1 is a story of evolution from a “primitive” to an “advanced” species. In shedding our fearful and uncertain animal origins, and adopting a cool, organized technological culture, do we lose as much as we gain?
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ing alongside her husband on early experiments back in 1964. “Stanley was messing around with paints suspended in chemi-
“In shedding our fearful and uncertain animal origins, and adopting a cool, organized technological culture, do we lose as much as we gain?” — Piers Bizony
cals—and I was involved in the art department, too—sometimes it was very smelly, very uncomfortable, and your eyes would run because of the fumes. And people would say, ‘This is crazy!’ But inside these little glass containers, the laws of nature applied to the liquids just as they apply to the universe as a whole. Stanley saw this, and some of the results from those first experiments are actually included, vastly magnified by the camera, as the exploding galaxies and swirls of cosmic dust in the final version of 2OO1.” Kubrick was renowned as an obsessive and relentlessly hard-working director. His legendary attention to detail certainly helps explain why 2OO1 still looks so crisp and
believable today. But the typical outsider’s image of her husband as a workaholic is not one that Christiane understands. “To Stanley, and I suppose to any artist, working is more like playing, because what you do is also what you enjoy. Always there is enthusiasm, an open mind to limitless possibilities, and then you narrow it down to what will actually work.” Jan says, “This of course is what Stanley’s film is all about—limitless possibilities.” Jan and Christiane are delighted to share the story of how 2OO1: A Space Odyssey was created, both from a technical standpoint and in terms of the early scripting process. The deeper meaning of the film, however, is something that Kubrick always wanted to let his audiences explore without the guidance of mere words. As he explained in 1968, when the film was first released, 2OO1 was “essentially a nonverbal experience” designed “to communicate more to the subconscious than to the intellect.” This book describes, in compelling detail, how he set out to achieve this. The rest is up to you, the audience.
Above: One of several Mitchell cameras adapted to handle two reels of film simultaneously in order to accomplish matte work.
2OO1: A Space Odyssey TM & © Turner Entertainment Co. (s14)
Oliver Rennert’s artwork shows the general layout of the front
projection system. From the camera’s point of view, the man-ape actor precisely masks his own shadow on the screen behind him.
“Cinephiles and Kubrick fans alike are sure to have a field day.”
— Acquiremag.com
Kubrick gives instructions
through a hatch at the “bottom” of the centrifuge, as Dullea and Lockwood prepare for a scene.
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“Hard work shouldn’t feel like hard work. To Stanley, and I suppose to any artist, it’s more like playing, because what they do is also what they enjoy.” — Christiane Kubrick
The Making of Stanley Kubrick’s 2OO1: A Space Odyssey
eft l w Fe
The Making of Stanley Kubrick’s 2OO1: A Space Odyssey Four volumes contained in a monolith-shaped metal case, designed by M/M Paris: Volume 1: Film stills Volume 2: Behind the scenes (including new interviews with lead actors, senior production designers, and key special-effects experts) Volume 3: Facsimile of original screenplay Volume 4: Facsimile of original 1965 production notes Plus a small comic surprise
Art Edition No. 1–500
Limited to 250 copies each, all signed by Christiane Kubrick and with a signed print by Brian Sanders, delivered in a ready-to-frame passepartout, 60 x 60 cm (23.6 x 23.6 in.). Art Ed. A “Exploration team moving down moon pit ramp” (top left)
$ 1,500 | € 1,000 | £ 900 New price 2016: $ 1,800 | € 1,250 | £ 1,000 Art Ed. B “Revolving camera and control panel” (left)
$ 1,500 | € 1,000 | £ 900
Collector’s Edition No. 501–1,500
UT O d l So
Limited to 1,000 copies, all signed by Christiane Kubrick
$ 1,250 | € 1,000 | £ 900
XXL The Making of Stanley Kubrick’s 2OO1: A Space Odyssey Piers Bizony Hardcover, 4 vols. in monolith shaped metallic box, 21.6 x 45 x 6.8 cm (8.5 x 17.7 x 2.7 in.), 1,386 pp.
“It really is an achingly handsome collection of work, exquisitely designed, bound and printed… it’s a timely reminder of how captivating a piece of print can be.” — Den of Geek, London
The power and the glory By the early 1980s, Steve Martin was probably the most celebrated
stand-up comic in America. He was well known for his appearances on television, particularly on Saturday Night Live, and his stage performances took place in arenas filled with thousands of fans. He was a selfdescribed “wild and crazy guy� who would become an award-winning writer, actor, and musician. In 1981, he had just completed his first dramatic film role in the musical Pennies from Heaven. Martin had learned to tap dance for the film and Leibovitz decided to photograph him in a tuxedo for the cover of Rolling Stone. Martin was an avid art collector and had just acquired a black-and-white Franz Kline painting that he showed her. She had him painted in brushstrokes to match. Steve Martin, Beverly Hills, California, 1981
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“… this great book of photography reviewing the career of the incomparable Annie Leibovitz is a genuine work of art.” — Vogue, Madrid
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George Clooney is a movie star,
film director, producer, screenwriter, and human-rights activist. In 2005, he wrote, directed, and performed in Good Night, and Good Luck, a film about the broadcast journalist Edward R. Murrow’s public stand against the red-baiting tactics of Senator Joseph McCarthy in the 1950s. He also starred in Syriana, a film about a CIA agent in the Middle East. Clooney received Academy Award nominations for Best Director and Best Original Screenplay for Good Night, and Good Luck. He won the Academy Award for Best Supporting Actor for Syriana. Also in 2005, Clooney was ranked number one on TV Guide’s list of the 50 Sexiest Stars of All Time. George Clooney, Universal City, California, 2005
“This isn’t one for the shelf—left open at any page, it becomes a work of art in the room.” — Elle UK, London
Michael Jordan is pretty much unanimously acknowledged
to be the greatest basketball player of all time. Beyond that, a poll of sports writers and athletes lists him as the greatest athlete in any sport in the 20th century, at least in North America. He is ranked ahead of Babe Ruth and Muhammad Ali. Jordan was drafted by the Chicago Bulls in 1984 and given jersey number 23. Almost immediately, he dazzled fans with his speed, artistry, and phenomenal skill. His gravity-defying leaps and grace under pressure made him a folk hero. Michael Jordan, New York City, 1991
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Lady Gaga, formerly Stefani Germanotta
from the Upper West Side of Manhattan, had become the world’s biggest pop star by 2011, when she recorded a jazz version of “The Lady Is a Tramp” with Tony Bennett. In the music video for the song, she gives a playful, witty performance that evokes classical female jazz singers. Lady Gaga, New York City, 2011
“Intimate and sublime.” — Madame Figaro, Paris
In the late spring of 1991, Demi Moore and Bruce Willis Dan Aykroyd and John Belushi began performing informally
as the Blues Brothers when they were in the cast of the television comedy show Saturday Night Live. They debuted in character on the show in 1978, soon formed an actual band, began performing live, and recorded an album, Briefcase Full of Blues. In 1980, The Blues Brothers film was released. The film and the accompanying soundtrack album were hits and spawned sequels even after Belushi’s death of a drug overdose in 1982. The Blues Brothers, Hollywood, California, 1979
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were expecting their second child. Moore had a movie coming out soon and Leibovitz photographed her for the cover of Vanity Fair. She was seven months pregnant by the time of the shoot. Leibovitz made some close-ups and several full-length portraits with a green satin robe that had been chosen to camouflage the pregnancy. She had made private photographs of Moore’s first pregnancy for her and Willis in 1988, and at the end of the Vanity Fair session she shot some fully nude pictures that were intended for them. When Leibovitz got back to New York and looked at the proofs, she realized that the nude photograph was the best cover. Moore agreed. Demi Moore, Culver City, California, 1991
“A design statement in your living room.”
—The Daily Telegraph, London
For most of his life, Dennis Hopper represented the drug-fueled countercultural ethos of the 1960s. His public character, which didn’t appear to be much different from the private one at times, was established in Easy Rider (1969), the motorcycle road movie that Hopper directed and starred in with Peter Fonda. Christopher Walken has also specialized in unstable characters. He won the Academy Award for Best Supporting Actor in 1979 for his performance in Michael Cimino’s The Deer Hunter. He and Hopper play a scene written by Quentin Tarantino in True Romance (1993) that has become a cult favorite for connoisseurs of twisted, over-the-top characterization. Dennis Hopper and Christopher Walken, Chateau Marmont, Los Angeles, 1995
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“Precise composition, perfect framing, subtle colors and celebrated actors… A meticulously assembled volume.” — Efe Agency, Madrid
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“It looks like my healthier brother. It was her idea to take a Rodin sculpture pose but make it contemporary.” — Sylvester Stallone
Sylvester Stallone is the quintessential action hero, most notably During the 1980s, Michael Jackson became the most famous entertainer in the world. In 1982 he released his sixth solo album, Thriller, which is still the world’s all-time bestselling record. The video made for the title track is widely considered to be the most influential pop-music video ever made. Michael Jackson, Los Angeles, 1989
in his portrayals of the inspirational boxer Rocky Balboa and the lionhearted rogue soldier John Rambo. Stallone created the Rocky character for a screenplay he wrote when he was a struggling writer/actor in Hollywood, insisting, against great odds, that he play the lead himself. Rocky was nominated for ten Academy Awards in 1977. It won Best Picture and Best Director and Stallone became an immediate star. He is an art collector with a special interest in Rodin. Sylvester Stallone, Los Angeles, 1993
“I guarantee that it will sell out quickly from New York’s Upper East Side to Beverly Hills to Chicago, Dallas, and San Francisco… The pictures are sumptuous, iconic, and historic.” — showbiz411.com
New dimensions
An interview with Annie Leibovitz on the publication of her SUMO
Did reproducing your pictures in such large sizes present any problems for you? I was used to seeing the pictures in intimate formats—8 x 10 inches or 11 x 14 inches— but I had made large prints before. The first time I did really big prints—which was only possible because we worked digitally—was for my “Women” show at the Corcoran Gallery in Washington, D.C., in 1999. I had seen Chuck Close’s very large prints—selfportraits—the year before at the Museum of Modern Art. He put four Iris prints together. Close’s printer was David Adamson, in Washington, and I went to David and asked him to create prints for me. For the Corcoran show, we blew up a
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photograph of my mother, and Patti Smith. These simple portraits became sort of visual guideposts for the show. When Benedikt Taschen wrote me a letter about doing a SUMO book, it seemed like a natural progression. Were there any curatorial surprises when you started working on the book? Not when I started, but what happened was that the process ended up taking place over a fairly long period of time. When I realized that we weren’t going to make the first deadline for getting the book out, I let it sit for awhile and when I looked at it again, I realized that it needed more work. I had
thought initially that I just had to imagine what photographs looked good big. It was more complicated than that. The first ideas I had were put aside, although there are remnants of them. My books are usually arranged chronologically. There is more early work in the beginning of this book than later, but I tried to throw off the idea of chronology. I didn’t want anyone to look at the book and call it a retrospective. That was important to me. When you put so many of my pictures together, you can’t help but say, Oh, is that her greatest work? But this is not a retrospective. It is a kind of potpourri. A roller coaster. As you go through it, you forget
what you saw in the beginning. You’re in another place toward the end. I had thought that I would put a lot of photographs in this book that might not otherwise be used in a book. As it evolved, I found myself going back to some more popular photographs that seemed to be nice to have as state-
“ The book is very personal, but the narrative is told through popular culture. There are no pictures of family or friends.” ments. The book is very personal, but the narrative is told through popular culture. There are no pictures of family or friends. The nature of my work changes constantly. I was finishing up a project called “Pilgrimage,” a book and exhibition which include still lifes. I found myself putting in some of these still lifes, which in my mind are portraits of people who are gone. I put in a photograph of the TV that Elvis took a shot at in his house in Palm Springs and a page from Emily Dickinson’s herbarium. It’s not really a book. It sits on a stand. You can find a photograph that you care about and leave the book open to that and sort of dwell on it. There was a lot of discussion with Frank Goerhardt, the production manager, about paper. He would say, oh, when it sits there, you don’t get the glare with this or that paper. I didn’t realize at first why that was important. It’s hard to design a book that is not really a book. Everyone who worked on this built it as a book while trying to understand it as an installation. I’m not sure we succeeded completely, but we tried. This is not a book that you’re going to put in your lap. Your going to look at it from a distance. One picture it at a time. It’s nice to go through it in sequence, turning the pages, but I don’t know how many times anyone will do that. The supplement book that comes with the big book is essential. It allows you to quickly see what the pictures are and then you can turn to what you want.
You’ve said that you thought that one of the major themes of the book is “performance.” Having your photograph taken involves a performance, portraits particularly. The photographer provides the subjects with a stage—but then they have to project. You are taking a real picture in real time no matter how conceptual it is. There is a reality in the performance. My background as a photographer is as an observer. I’m a terrible director. The performers I have the most rapport with are comedians, who make up a very special group. They’re sort of like manic depressives. I sympathize with them. They are usually also very intelligent. For me, the classic photograph of a comedian is Charlie Chaplin just leaning. That is such an extraordinarily funny picture. It’s as perfect a photograph as you could ever have of a comedian. Chaplin came from silent films. The challenge for a photographer is to create a visually funny picture without it being stupid. It’s difficult to take a funny picture. You are known, particularly by magazine editors, as a master of the group photo-
the “real” photograph was made. I was in a state about not wanting to take group pictures anymore because I thought they were anti-portrait or anti-photograph. When I got back to the studio and started looking at the pictures, I saw that the pictures that were taken before we actually started to take the picture were the pictures. People were chatting with one another or talking on their cell phones, one person was taking a picture of someone else, other people were smoking and staring into space or trying to figure out what I was doing. That became the picture.
“ It’s hard to design a book that is not really a book. Everyone who worked on this built it as a book while trying to understand it as an installation. ” graph. What special challenges come with a group? Group photographs make great images historically when they make sense, but sometimes the groups are put together for no particularly good reason. The photograph of the American patrons of the Tate museum was a challenge. It runs over several pages in this book. There are over seventy people from the art world in the picture, sitting on bleachers set up outside, before a benefit dinner. The photograph that was finally published was taken before
Opposite: Annie Leibovitz checking the first bound copy in her studio with TASCHEN’s production director Frank Goerhardt, January 2014. Below left: Gallery art prints are being used to match the printed sheets. Below right: Stacks of printed pages at Passavia Printers, Passau, Germany
“When Benedikt asked me to do this book, it was like getting a TASCHEN Oscar.” — Annie Leibovitz
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“There is just one word that describes Annie Leibovitz… WOW!”
“A fantastic portrait of our time.”
— Süddeutsche Zeitung, Munich
Take your pick! Choose from four iconic cover images
SUMO Size
Patti Smith Whoopi Goldberg
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Limited to a total of 10,000 signed and numbered copies, this book is available as a Collector’s Edition and also as an Art Edition with a fine art print signed by Annie Leibovitz, and the full set of all four dust jackets. Both editions come with a tripod book stand designed by Marc Newson.
– Size 50 x 69 cm (19.7 x 27.2 in.) – 476 pp., including eight fold-outs, plus a supplement book – Essays by Steve Martin, Graydon Carter, Annie Leibovitz, Hans Ulrich Obrist, Paul Roth – Short texts by Sharon DeLano describing the subject of each photograph
Collector’s Edition No. 1,001–10,000
– Available in one of four different covers: Whoopi Goldberg, Patti Smith, David Byrne, Keith Haring $ 2,500 | € 2,000 | £ 1,750
“Reproduced with breathtaking clarity, texture, and vividness, the colors and subjects practically leap off the page.”
David Byrne Keith Haring
“It’s the closest thing to seeing the world through Annie’s extraordinary eyes.” — Image, Dublin
Both editions come with a tripod book stand designed by Marc Newson.
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The Art Edition is leather bound and limited to 1,000 copies and come with the fine art print Keith Haring, signed by Annie Leibovitz.
Art Edition No. 1–1,000
– Leather-bound – With the signed fine art print Keith Haring (contact sheet), New York City, 1986, size: 51 x 51 cm (20 x 20 in.). Frame not included – With the full set of all four dust jackets
SUMO Size
$ 5,000 | € 4,000 | £ 3,500
“It is a kind of potpourri. A roller coaster. As you go through it, you forget what you saw in the beginning. You’re in another place toward the end.” — Annie Leibovitz
Big Bang at the Chateau Annie’s gang comes out to celebrate at the legendary hotel which was the setting of many of her portraits
1. David Hockney, Udo Kier 2. Dian Hanson, Matt Groening 3. Benedikt Taschen and Annie Leibovitz 4. Kelly Lynch, AndrĂŠ Balazs and Mario Testino 5. Melanie Griffith 6. Quincy Jones and Annie Leibovitz 7. Leon Max and Edward Menicheschi 8. Annie Leibovitz and Graydon Carter 9. Terry Richardson 10. Lawrence Schiller 11. Michael Richards 12. Mario Testino and Annie Leibovitz 13. Sylvester Stallone and Annie Leibovitz 14. Annie Leibovitz and Lauren Taschen 15. Linda Perry and Sara Gilbert 16. Charlotte, Benedikt and Lauren Taschen with Annie Leibovitz 1
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“It’s fitting that Hollywood’s Chateau Marmont played host to the book launch; it’s a star-studded spectacle worthy of all the fawning it’s sure to get.” — Advocate.com
Role model An homage to the iconic and groundbreaking Naomi Campbell
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© Jean-Paul Goude
“ We have never seen anything like it. It is one thing to see a picture of Naomi. Another thing is to see her in motion, which is just jaw-dropping.” — Vivienne Westwood
Jean-Paul Goude
Naomi photographed in Knysna, South Africa, for Harper’s Bazaar, USA, September 2009. Art Edition copies no. 1-100.
“The book is a timeline of my career, and has allowed me to remember and give credit to all the wonderful people I’ve had the pleasure of working with over the years.” — Naomi Campbell
Ellen von Unwerth Vogue, Italy, April 1990.
Sebastian Faena
V Magazine, Spain, Fall 2011.
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“I saw Naomi for the first time as a young girl walking in the Rifat Ozbek show. I was fascinated by the real grace and elegance of this beautiful creature. Many years have passed and I still admire her beauty and how professional she has been in her career. She is definitely one of the world’s most influential models. In my eyes she will always be the most delightful girl with the most perfect body.” — Manolo Blahnik
“Naomi is the quintessential free spirit. I get exhausted just thinking about keeping up with her!” — Christy Turlington
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Nobuyoshi Araki
Vogue, Japan, September 2014.
“What strikes me about Naomi’s beauty is that she is the only model that makes us contemplate the ‘art of beauty’: seductive, strong, metaphysical, elegant and incomparable.” — Stefano Pilati
“Not only do people of all kinds gravitate to Naomi—the landscape gravitates to her, trees gravitate to her—when she walks into a room, it becomes much smaller for her grand presence.” —Isaac Mizrahi
“ Naomi is like a silent-movie star in an age of noise. She is unique.” — Bono
Ellen von Unwerth
American Vogue, March 1998.
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© Ellen von Unwerth
“I always felt there was something very special and particular about her. She’s like a racehorse. Very elite.” — Azzedine Alaïa
“I did not attempt to illustrate Naomi, but to encapsulate her.”
Paolo Roversi
Vogue, Italy, September 1996. Art Edition copies no. 101-200.
An interview with Allen Jones
Can you tell us a bit more about the concept and creation of the Naomi Campbell Collector’s Edition piece? AJ: Benedikt had a clear idea of what he wanted from me when asked if I would design a box for Naomi’s book. He had seen an acrylic multiple of a stylized woman’s chest that I had made in Zurich during the seventies and thought it an appropriate idea for his project. A box that did not attempt to illustrate Naomi, but to encapsulate her.
“ Naomi has the uncanny ability to transform herself before our eyes into her ‘ideal self’, as seen through the eye of the lens.” What was the material and technical process involved? AJ: A red clay model was made under my instruction from which a latex rubber mould was taken, backed with Plaster of Paris. From this the Master was cast in a mixture of resin and plaster. This was used to make vacuum forms in clear PETG. As well as this piece for Naomi Campbell’s Collector’s Edition, you have also worked with Kate Moss, later poster girl for your Royal Academy show last year. How do you see the supermodel within your broader oeuvre of female figuration? AJ: The supermodel exists essentially as a virtual figure in the media. In the studio, a woman of flesh and blood, like Naomi or Kate, has the uncanny ability to transform themselves before our eyes into their ‘ideal selves’, as seen through the eye of the lens. In a portrait commission the artist is expected to give themself to the sitter. Where as for the purpose of art, the sitter gives themself to the artist. For that reason I have great anxiety when asked to do a commission. On the one hand I do not want to take liberties with the sitter and cause
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offence nor do I wish to compromise my art. You’ve spent most of your life in the U.K and are among the luminaries of first generation British Pop Art, but you also have experience of the U.S. What distinctions would you draw between British and American Pop Art? AJ: I lived in the U.S for around 5 years at different times, between 1964 and 78. Abstract expressionism had already challenged the tradition of representational art and its use of illusionistic space. In the sixties pictorial space was uniformly flat, from Ellsworth Kelly to Roy Lichtenstein where as in the UK, I cannot think of any pop artist who did not employ some sort of illusionism. Before going to New York I thought this was a collective failure of nerve, subsequently I realized it was simply a cultural difference.
“ I wanted to make sculpture that confronted the viewer directly without the props of the past. I was preoccupied with what sculpture could be.” Your work caused a particular stir in 1970 when you first exhibited Hatstand, Table and Chair and since then has shown an enduring ability to seduce and shock. Did you ever envisage such tenacious controversy around your art? AJ: In the sixties the thrust of Avant-garde sculpture was towards minimalism. Artists like Donald Judd, Dan Flavin and Walter de Marie for example. These were some notable figurative exceptions; Ed Kienholz, George Segal, Marisol and Robert Graham come to mind. These artists however placed themselves firmly in the fine art tradition using the familiar materials of plaster, bronze, wood and collage, signaling to the
viewer that whatever else was going on, this was Fine Art. In this climate I wanted to make sculpture that confronted the viewer directly without the props of the past. I was
“I am compulsively drawn to the female figure and when I am drawing it feels as though I am tracing a contour on my own body.” preoccupied with what sculpture could be not what people might think of it in the future. You’ve spoken about your art as a personification of the human condition. While some of your work involves male figures or, in pieces such as Man Woman, SinDerella, and First Step, fluid gender identities, much of your work involves the female form. What does the female particularly express about our human condition? AJ: Matisse said that in a sense, all of an artists work can be seen as a self portrait. Freud and Surrealism showed that our interior world is as legitimate a subject for art as the visible world around us. I am compulsively drawn to the female figure and when I am drawing it feels as though I am tracing a contour on my own body. I am drawn to smooth surfaces that invoke a sense of touch. For me Ingres is more real than Degas. What role does the art book play for you? AJ: For me, an art book, as opposed to a book on art, is where the artist has been materially involved with the fact of making the book. In this category I made 3 books during the 1970’s. Allen Jones Figures, Allen Jones Projects and Waitress. I had collaboration with the photographer, Tim Street-Porter, on “Waitress”. I like the printed page and am usually actively involved with the design of my exhibition catalogues.
© Paolo Roversi / Art + Commerce
“I never planned on being a model; it wasn’t something I ever thought about. As a teenager I wanted to dance.” — Naomi Campbell
Within a multiple artwork by Pop Art legend Allen Jones…
“I am drawn to smooth surfaces that invoke a sense of touch. For me Ingres is more real than Degas.” — Allen Jones
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“I have filmed her, photographed her and made sculptures of her, and in each of these mediums her incredible beauty and strength has enabled me to create important images.” — Nick Knight
Limited to a total number of 1,000 copies, all signed by Naomi Campbell This signed, limited, two-volume edition celebrates Campbell’s remarkable career amidst the greatest legends of fashion and photography. The photographic volume showcases the very best of Campbell’s portfolio, with pictures from the likes of Mert Alas and Marcus Piggott, Nobuyoshi Araki, Richard Avedon, Anton Corbijn, Patrick Demarchelier, Helmut Newton, Bettina Rheims, Herb Ritts, Mario Testino, Ellen von Unwerth, and Bruce Weber. The companion volume features Naomi’s extensive autobiographical text, illustrated by magazine covers, ads, never-before-seen personal snapshots, video stills, and more. Naomi recalls her childhood; the beginning of her modelling career; her work with fashion’s greatest designers, including Azzedine Alaïa, John Galliano, Marc Jacobs, Karl Lagerfeld, Gianni Versace; and experiencing the meteoric rise to superstardom. Photographer biographies and an illustrated appendix are also included.
Art Edition No. 1–100
Harper’s Bazaar, USA, September 2009. (page 126–127) Pigment print, signed by Jean-Paul Goude, 30 x 40 cm (11.8 x 15.7 in.) paper size.
Art Edition No. 101–200
Vogue, Italy, September 1996 (page 135) Pigment print, signed by Paolo Roversi, 40 x 30 cm (15.7 x 11.8 in.) paper size.
Subscription price: $ 3,000 | € 2,500 | £ 2,000 each New price 2016: $ 3,500 | € 3,000 | £ 2,500 each
“The book is a culmination of my life’s work.”
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Collector’s Edition No. 201–1,200
Hardcover with 4 fold-outs, signed by Naomi Campbell, 500 pp., 35 x 49 cm (13.8 x 19.3 in.), plus companion volume, 368 pp., within a multiple artwork by Allen Jones. Subscription price: $ 1,500 | € 1,250 | £ 1,000 New price 2016: $ 1,750 | € 1,500 | £ 1,250
SUMO Size
Size
Companion volume with Naomi’s illustrated autobiographical text.
“I love to take pictures of women with personality, character, and style. This is for me the real beauty. Naomi is one.” — Peter Lindbergh
Cover: © Mert Alas and Marcus Piggott
SUMO
Photo © National Geographic Creative
Hailed by a welcoming flotilla, the Mayflower II, a scale replica of the famous original, enters New York Harbor with all sails set to a spanking breeze Although she had crossed the Atlantic Ocean entirely under canvas, as her forerunner did, a passing helicopter will soon backwind her, and she’ll have to be towed the final few yards to her berth. Photo by B. Anthony Stewart, New York, 1957.
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National Geographic. Around the World in 125 Years
The Big Picture How National Geographic revolutionized photography and the art of storytelling
“Easily one of the most inspiring books I’ve bought in years… reminds me of the power of a simple, straightforward image.” —thesartorialist.com
The Taj Mahal shimmering in the distance
Photo Š National Geographic Society Image Collection and Archives
might have been a workaday sight for railroad workers easing trains into Agra Fort Station. But it was never so to its builder, Shah Jahan, fifth Mughal Emperor of India, who raised the marble mausoleum to honor a late, lamented wife. It was said that he gazed upon it every day when later imprisoned by a usurper in the Agra Fort. Photo by Steve McCurry, India, 1983.
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National Geographic. Around the World in 125 Years
Photo © National Geographic Creative
“¡Viva Zapata!” had once been their shout
Forests of oil derricks once dominated the skylines
of such California towns as Long Beach and Huntington Beach. “In boom towns derricks often crowd almost into family kitchens,” wrote Frederick Simpich in June 1941 in “Today’s World Turns on Oil.” Photo by B. Anthony Stewart, California, 1940.
Photo © National Geographic Creative
and the cry still echoed in their aging ears whenever these veterans of the Mexican Revolution (1910–1920) recalled their leader, Emiliano Zapata. Champion of the downtrodden, Zapata is still revered by the peons of southern Mexico—and by anyone else who would agree with him that it is “better to die on your feet than to live on your knees.” Photo by Thomas Nebbia, Mexico, 1977.
“A vivid and transformative story about what the planet looked like and what it has become.” —Douglas Brinkley
Photo © Corbis
Hundreds of young Japanese men celebrate the 1946 Lunar New Year by a heedless plunge in total darkness
The only light being the cameraman’s flash, they are hoping to retrieve camphor-scented batons tossed into their midst by a temple priest. The photographer, Horace Bristol Jr., wrote of this famous Hadaka Matsuri (“naked festival”) held annually at the Saidaiji Temple in Okayama: “It is obvious that the participants in the ceremony must all be young, athletic, and in the pink of condition, for the melee is exceedingly fierce.” Photo by Horace Bristol Jr., Japan, 1946.
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National Geographic. Around the World in 125 Years
“If a picture is indeed worth a thousand words, then prepare yourself for a novel of epic proportions.” —EDGAR Magazine, Dubai
Photo Š National Geographic Creative
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National Geographic. Around the World in 125 Years
Emerging from the darkness of the Wawona Tunnel, tourists always scramble out of their cars to take in that first stupendous view of the Yosemite Valley El Capitan soars in granite majesty to the left, distant Half Dome peeks over the shoulder of a rounded ridge, and to the right Bridalveil Fall tumbles in spray for 620 feet beneath Cathedral Rocks. Photo by B. Anthony Stewart, California, 1965.
“A dream come true. TASCHEN’s attention to detail and level of perfection pay homage to each photographer’s vision, unlike any other book we have ever done!” —Chris Johns, Editor-in-Chief of National Geographic
Framed by the work of both man and nature
Photo Š National Geographic Society Image Collection and Archives
A stoic monk stands in the doorway of Ta Prohm, one of the many ruined temples found in Cambodia’s sprawling Angkor complex. Photo by Robert Clark, Cambodia, 2009.
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National Geographic. Around the World in 125 Years
Photo © National Geographic Creative
Making the most of their brief summer, passengers on a Sunday excursion up Siberia’s Lena River frolic ashore by tossing a beach ball
He epitomizes the contrasts often encountered in mid-20th-century Beirut, as he wears Arab garb but also a Western-style jacket. Part Muslim and part Christian, part East and part West, Lebanon’s capital was the “Paris of the Middle East,” as famous for its glittering cafés as for its banks, bazaars, and trading houses. Photo by Thomas J. Abercrombie, Lebanon, 1957.
Photo © National Geographic Creative
“Settlers from more southern latitudes find it difficult to get used to these nightless summers and dayless winters,” photographer Dean Conger noted in the March 1967 issue. Siberians practically hibernate in winter, he observed, “and live fully, almost without sleep, during the summer nights.” Photo by Dean Conger, Soviet Union, 1966.
A shepherd leading his charges down a busy Rue Georges Picot in Beirut
“The pictures aren’t picked for journalistic reasons but strictly for the beauty and the power of the image. So many of these photos have never been seen before and are a complete surprise.” —Jodi Cobb
Only Hawaii can provide the thrill of skiing down the tallest mountain in the world
Mount Everest may tower some 29,035 feet above Earth’s surface, but the ice-sheathed slopes of Mauna Kea, a volcano quiescent for some 3,600 years, rise some 32,696 feet above their base deep in the Pacific Ocean—making it in matter of true rise the tallest peak on the planet, though two-thirds of it lies beneath the sea. Photo by Robert W. Madden, Hawaii, 1974.
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National Geographic. Around the World in 125 Years
Photo © National Geographic Creative
“A natural marriage between two publishers who have quite a lot in common; they both give you the big picture; pictures that tell fascinating stories, all by themselves. …simply timeless!” —Force One, Monaco
Photo © National Geographic Creative
A strange sight to encounter in a Mexican dugout canoe
Two captive jaguars sprawled out amidships, greeting the photographer with a growl, or is it a yawn? Photo by Steve Winter, Mexico, 2000.
A walking stick on one shoulder, a hunting bow slung over the other
A masked Chokwe tribesman poses before a fetish tree adorned with skulls, horns, and animal bones Once among Angola’s most powerful tribes, the Chokwe crafted some of the finest ritual masks in Africa. Carved from wood or made from bark stretched over a wicker framework, the masks, which are charged with sacred power, are used in initiation ceremonies and sometimes donned for dramatic entertainment. Photo by Volkmar K. Wentzel, Angola, 1960.
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Photo © National Geographic Creative
A Bushman watches relatives stride across the dunes near the boundary of Kalahari Gemsbok National Park. Although their ancestors have hunted in these deserts for thousands of years, the Bushmen, or San, have had to fight for con tinued access to this sanctuary—established in 1931 to protect migrating gemsbok and other herbivores—and to the contiguous Gemsbok National Park in Botswana as well. Photo by Chris Johns, South Africa, 1995.
Photo © National Geographic Creative
“Not only a giant treasure trove of beautiful images but also a striking attempt to capture the world on the printed page.” —Jocks & Nerds, London
A six-inch weedy sea dragon might appear formidable, at least to a tiny crustacean
But evolution has played a trick upon him: the wily female of the species has deposited her 100–250 eggs beneath his tail, then fled into the seaweed, leaving him not only to fertilize them but also to spend the next three to five weeks protecting the pink mass until the eggs hatch. Photo by Paul A. Zahl, Australia, 1977.
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Photo © National Geographic Creative
“I thought I knew the National Geographic archives well, but TASCHEN uncovered scores of unknown masterpieces. Kudos and compliments!” —Frans Lanting
Photo Š National Geographic Creative
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National Geographic. Around the World in 125 Years
Photo © National Geographic Creative
Life teems on a Hong Kong staircase
When seen from the harbor, the city rose so steeply to cloud-capped Victoria Peak that buildings seemed to stand atop one another. While the British colony’s main avenues ran horizontally, the numerous cross streets resembled ladders, and some were so precipitous that they turned into stone steps, traversable only by foot or sedan chair. Photo by W. Robert Moore, Hong Kong, 1931.
Gazing tragically through her veil
Italian actress Benedetta Buccellato prepares to take a Sicilian stage for her role in Aeschylus’s Prometheus Bound. Photo by William Albert Allard, Italy, 1995.
“The history and sheer beauty in these pages is overwhelming.” —Fastcompany.com
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Spawned in the vast deserts to the north, periodic irruptions of locusts brought millions of insects descending upon everything in sight, devouring crops, destroying grasslands and forests, even covering roads so thickly that cars skidded out of control. One 1954 locust plague blanketed more than 77 square miles of Kenyan countryside with an estimated 50 billion individual insects. Photo by Gervais Huxley, Kenya, 1940s.
Photo © National Geographic Creative
Kenyans trudging along a road battle clouds of flying locusts
A comely goatherd pipes a tune in the wastes of the Sinai Desert
Wild and rugged, this no-man’s-land—occupied by Israel at this time as a result of the 1967 Six-Day War—had been claimed by Egypt for thousands of years, but was really home only to wandering Bedouin tribes. Photo by David Doubilet, Egypt, 1981.
An eternal flame blazing at its heart
Opposite: Photo © National Geographic Society Image Collection and Archives
Photo © National Geographic Society Image Collection and Archives
Baghdad’s split-domed al-Shaheed Monument, or Martyr’s Memorial, ostensibly commemorates the Arab victory over the Persians at al-Qādisiy yah in A.D. 637. That was the battle Saddam Hussein invoked in 1980 before invading the modern Persia, Iran. Eight years later, when with help from the West, the Arab Gulf States, and the liberal use of chemical weapons he ended the Iran–Iraq War (1980–88), the monument also came to honor the nearly half million Iraqis killed in that conflict (a million Iranian dead did not count)—all in vain, as not an inch of territory ultimately changed hands. Photo by Steve McCurry, Iraq, 1984.
“A plethora of equally awe-inspiring images all of which will make those city skyline snaps you took on your phone seem a little lame by comparison.” —Esquire, London
National Geographic: Around the World in 125 Years This world-class set is a cultural investment to be cherished, shared, and passed down to future generations.
For five generations, National Geographic magazine has dazzled and educated with its incredible photographs, illustrations, and gripping stories from the four corners of the earth. Combining travel, science, history, culture, wildlife, and conservation, the National Geographic Society’s pioneering magazine has inspired millions to explore and take an interest in the planet. Now, in celebration of its 125th anniversary, National Geographic has given TASCHEN complete access to its
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archives to distill the journey of a lifetime into three sumptuous volumes. Our trans-continental trip starts in the Americas and Antarctica (Volume 1); crosses the Atlantic to Europe and Africa (Volume 2); and finally sails the Indian Ocean to Asia and Oceania (Volume 3). From early black-and-white to the golden age of Kodachromes and recent digital photography, the collection showcases National Geographic’s invention of the photo essay aesthetic, with masters such as Frans Lanting and
National Geographic. Around the World in 125 Years
“This set is the definitive collection of both the classic, well-known photographs and the many I never knew existed.” —Steve McCurry
Steve McCurry constantly pushing the medium’s boundaries. Readers will discover how the magazine evolved from an idyllic view of the world, with posed and smiling subjects, to edgier stories reflecting political turmoil, social issues, and environmental threats. This world-class set is a cultural investment to be cherished, shared, and passed down to future generations.
Full-leather edition limited to overall 1,000 copies
XL National Geographic: Around the World in 125 Years limited to 1,000 numbered copies, edited by Reuel Golden, 28 x 39 cm (11.0 x 15.4 in.), 1,404 pp. over 3 volumes, $ 1,250 | € 1,000 | £ 900 available in English, German, Spanish, and French
“TASCHEN has taken these photos out of our archives and elevated them into the realm of fine art.” —Declan Moore (Executive VP, National Geographic Society)
Unclassifiable Rheims Between icons and imperfections, 35 years of daring, defiant photography
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Bettina Rheims
Madonna Blue, smiling in shiny blue underpants, September 1994, New York.
“Bettina Rheims is a Renaissance painter who undresses her models with a bread knife.”— Patrick Besson
Above: William, July 1990, Paris. Opposite: Lara, January 2008, Paris.
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Bettina Rheims
“Her character is one of courage, tenacity, and nonconformism.”— François Pinault
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Bettina Rheims
Opposite: Charlotte Gainsbourg, December 2007, Paris. Above: Nu de dos attaché à mon lit, February 1981, Paris. Below left: 20 février I, February 1991, Paris. Below right: 20 février III, February 1991, Paris.
“Bettina exalts her models. Her art of presenting somebody is also a way to sublimate reality.” — Monica Bellucci
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Bettina Rheims
Above: Sibyl rouge avec un chandail vert, January 1996, Paris. Opposite: Close-up of Karolína Kurková, the most beautiful girl in town, December 2001, Paris.
“The paradoxical art of Bettina Rheims brings us close to the most exultant excesses, those of color, exhibitionism and voyeurism.” — Catherine Millet
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Bettina Rheims
Opposite: Marthe en guépière, February 1987, Paris. Left: Léah au canapé rose pour Anne Valérie Hash II, October 2006, Paris.
XL
Limited to a total number of 1,000 copies signed by Bettina Rheims Art Edition No. 1–100
Lara, January 2008, Paris (page 165) C-print on Kodak RC Satin paper
Art Edition No. 101–200
Marthe en guépière, February 1987, Paris (opposite) Inkjet Print on Harmann Gloss paper, signed and dated (verso) by Bettina Rheims, 30 x 40 cm (11.8 x 15.7 in.) paper size. $ 1,800 | € 1,250 | £ 1,000 each
Collector’s Edition No. 201–1,000
Limited edition of 800 copies, each signed by Bettina Rheims. $ 700 | € 500 | £ 450 Bettina Rheims Edited by Patrick Remy Hardcover with booklet in clamshell box, 30,5 x 39,0 cm (12,0 x 15,4 in.), 454 pp.
“Wonderful frivolous girls, dancing on the ruins of our burning world, playing with their constantly changing character, bravely reminding us that life is only a game.” — Bettina Rheims
A historic SUMO-size edition of 1,600 copies, authorized and signed by Mick, Keith, Charlie and Ronnie
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The Rolling Stones
“A mammoth photography book with about 500 pages of glossy images, as well as illustrations, spanning more than half a century.” — The New York Times
Previous spread
A variation of the classic cover
of Between the Buttons. The photographer Gered Mankowitz describes how he got his famous photos: “I constructed a filter of black card, glass and Vaseline that I attached to the 50 mm lens on my Hasselblad camera. This gave the images their strange, ethereal, slightly druggy quality, with the guys dissolving into the background, and the backgrounds appearing as abstract shapes.” Gered Mankowitz. Primrose Hill, London (Art Edition No. 151–225)
Mick Jagger, New York, 2014. Photo: Brigitte Lacombe.
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The Rolling Stones
Three years, four Stones, sixty journeys around the globe: 1,600 signed editions COMPILING THE DEFINITIVE, AUTHORIZED, ILLUSTRATED HISTORY OF THE WORLD’S GREATEST ROCK ’N’ ROLL BAND ISN’T JUST AN EPIC CREATIVE ENTERPRISE. IT’S ALSO A MAMMOTH LOGISTICAL FEAT. THE GREATEST CHALLENGE WAS THE ELEMENT THAT WILL BE MOST CHERISHED BY ANY ROLLING STONES FAN: THE SIGNATURE PAGE FOR THE LIMITED EDITION. WE PRODUCED THIRTY SPECIAL ALUMINUM CASES TO TRANSPORT THE SIGNING PAGES TO EACH OF THE BAND MEMBERS. THAT’S FOUR ULTRA HIGH PROFILE, ENDLESSLY GLOBETROTTING STARS, EACH WITH DIFFERENT RESIDENCES AND OFFICES AROUND THE WORLD. SO THESE PRECIOUS PAGES TRAVELED FROM LOCATION TO LOCATION UNTIL EACH AND EVERY ONE WAS SIGNED BY MICK, KEITH, CHARLIE, AND RONNIE. IT PROVED QUITE THE TRIP, COVERING THOUSANDS OF MILES ACROSS THREE CONTINENTS. SOME SIGNING PAGES JOINED THE STONES ON TOUR THROUGH EUROPE AND THE UNITED STATES. AT ONE POINT A FEW HUNDRED PAGES WERE INEXPLICABLY HELD OVER BY NORWEGIAN CUSTOMS. IN TOTAL, IT TOOK THREE YEARS AND TWO ROUND-THE-WORLD TRIPS FOR EACH ALUMINUM CASE TO GET ALL 1,600 SIGNING PAGES THE MARK OF RONNIE, MICK, KEITH, AND CHARLIE APPROVAL. ONCE COMPLETE, THE PAGES VOYAGED BY SPECIAL TRANSPORT TO OUR BINDER IN ITALY. CAREFULLY UNLOADED, THEY ARE THEN STORED IN A SECURITY VAULT TO RIVAL FORT KNOX UNTIL THE FINAL, HISTORIC BOOKS ARE BOUND, PRINTED, AND READY FOR SHIPMENT. AN ODYSSEY OF A JOURNEY, BUT WHAT A ROCK ’N’ ROLL DESTINATION: THE ULTIMATE ENDORSEMENT TO THE STONES’ OFFICIAL PHOTOGRAPHIC RECORD. SATISFACTION guaranteed!
“Compiling the official illustrated biography of the greatest rock band in the world is not just a particular creative challenge. It is also an extraordinary logistical feat.” — Photo, Paris
“This book isn’t just rock ’n’ roll, it’s a roller coaster through fifty years of memory lane!” — Keith Richards With time to kill, Keith indulged in some keyboard-playing.
“We get a kick from every song for a while and then we get fed up with it and write another one. But we get the horrors in a discothèque when they play something of ours – usually a whole LP or something. At first a lot of the songs we wrote were for other people, but now everything we write we can do for ourselves.” Keith Richards, Melody Maker, 24 September 1966. Bent Rej. Copenhagen (Art Edition No. 76–150)
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The Rolling Stones
Keith keeps it real and writes TASCHEN history. Philadelphia, 2013, photographed by his manager Jane Rose.
“There simply isn’t a greater Rock’n’Roll history than this.” — stern, Hamburg
It’s Just A Shot Away:
The Rolling Stones In Photographs
Mick Jagger from the cover session for the album Goats Head Soup David Bailey. London (Art Edition No. 1–75)
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The Rolling Stones
UT O d l So
“Un must!” — Rolling Stone, Paris
Keith and Mick backstage, at the Los Angeles Forum. Ethan Russell. Los Angeles (Art Edition No. 301–375)
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The Rolling Stones
“This is a job. It’s a man’s job, and it’s a lifelong job. And if there’s ever a sucker to prove it, I hope to be the sucker.” — Keith Richards
“A monumental book... What’s really interesting is that it shows the paradox of the Rolling Stones: simplicity and absolute luxury... It is terrific! “ — Canal Plus, Paris
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The Rolling Stones
This shot of the Stones would predate
the band’s flirtation with psychedelia—a full year before assimilating with nature would become a fashionable pursuit. This photograph was part of the same session for the compilation record Big Hits (High Tide and Green Grass). Guy Webster. Franklin Canyon Park, Los Angeles (Art Edition No. 226–300)
“A look into the very soul of the Stones.”
— ARD ttt, Leipzig
“We were lucky enough to work with some of the greatest photographers in the world who captured many magical moments of our career. This volume brings together some incredible pictures spanning the past fifty years.” — Mick Jagger
Time out following a show at the Népstadion venue on 8 August 1995, as part of the Voodoo Lounge tour. “The band’s new album, Voodoo Lounge, is ragged and glorious, revelling in the quintessential rock & roll the Stones marked as their own some 30 years ago.” Barbara O’Dair, Rolling Stone magazine Anton Corbijn. Budapest, Hungary (Art Edition No. 376–450)
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The Rolling Stones
OUT d l o S
“The photos are unshakeable proof that the Stones are the greatest we’ve ever had.” — Rogue Magazine, Makati City
Produced in collaboration with the band and signed by all four members, this SUMO-sized book charts the Stones’ remarkable history and outrageously cool lifestyle. With one-of-a-kind archival access, featuring many illustrations, and a foreword written by President Bill Clinton, it includes over 500 pages of incredible images by David Bailey, Cecil Beaton, Anton Corbijn, Annie Leibovitz, Helmut Newton, Norman Parkinson, Albert Watson, and over 60 other photographers.
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The Rolling Stones
“With a foreword written by former President Bill Clinton, the book stands as the most thorough photographic celebration of the band’s 50-year career ever published.” — SomethingAbout Magazine, London
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The Rolling Stones
Limited to a total of 1,600 SUMO-size copies, numbered and signed by all four band members Art Edition
No. 1–75: David Bailey, UT old O Mick Jagger, 1973 (page S179). $ 20,000 / € 15,000 / £ 12,500
No. 226–300: Guy Webster, Big Hits, 1966 (pages 182–183). $ 10,000 / € 8,000 / £ 7,000
No. 76–150: Bent Rej, Keith Playing the Piano, 1965 (page 176). $ 10,000 / € 8,000 / £ 7,000
No. 301–375: Ethan Russell, Mick and Keith “Laugh”, 1972 (pages 180–181). $ 10,000 / € 8,000 / £ 7,000
No. 151–225: Gered Mankowitz, Smiling Buttons, 1966 (page 173). $ 10,000 / € 8,000 / £ 7,000 Left Few
No. 376–450: Anton Corbijn, OUT Sold184–185). .Like a Rolling Stone, 1995 (pages $ 20,000 / € 15,000 / £ 12,500
Collector’s Edition
No. 451–1,600: $ 5,000 / € 4,000 / £ 3,500
Rolling Stones Hardcover in clamshell box, with fold-outs and silkscreen printed chapter openers 50 x 50 cm (19.7 x 19.7 in.), 522 pp.
SUMO Size
“If it’s large-scale satisfaction you crave for your super fan, this tome will do the trick…” — AP, New York
“ My love letter to the planet.” 190
Sebastião Salgado. GENESIS
Sebastião Salgado’s photographic homage to our planet in its natural state “These pictures are a religious experience. They celebrate the preciousness of life.” — Stern, Hamburg
2 Volumes
SUMO Size
46.8 x 70 cm (18.4 x 27.6 in.)
Each two-volume set is numbered and signed by the artist
Eight years of travel, over 30 journeys into territory far and beyond civilization: this publication celebrates Sebastião Salgado’s majestic hymn to planet Earth in a worldwide limited edition of 3,000 numbered and signed sets.
Both editions come with a custom wooden stand designed by Tadao Ando
The Genesis book stand was conceived by Japanese architect Tadao Ando, the only living person to have won architecture’s four most prestigious prizes. Ando’s simple and innovative design consists of two “twin” pieces of wood, bound together with leather, into which a third piece of wood can be slotted to form a sturdy, elegant display.
Precious cargo
The two volumes come carefully packaged along with the stand in a robust custom-made wooden crate to preserve and protect them. Attention: total weight is 59 kg (130 lb.)!
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Sebastião Salgado. GENESIS
Wooden stand designed by Tadao Ando
“Genesis is something quite different. Stylistically and conceptually it is a new direction.” — The Sunday Times Magazine, London
Art Edition No. 1–500
Two-volume set bound in full leather, with a gelatin silver print signed by Sebastião Salgado and printed under his personal supervision. Limited to five editions of 100 numbered and signed copies. $ 10,000 | € 8,500 | £ 7,000
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Sebastião Salgado. GENESIS
SUMO Size
Collector’s Edition No. 501–3,000
SUMO Quarter-leather and cloth-bound, two-volume set, limited to 2,500 copies, numbered and signed by Sebastião Salgado.
Size
$ 4,000 | € 3,000 | £ 2,500
“Breathtaking, ethereal, timeless. A magnum opus.”
— Der Standard, Wien
Art Edition A–E Each print is titled, dated, and signed by Sebastião Salgado and printed under his personal supervision.
Art Edition A, No. 1–100 Two Mursi Women, Omo Valley, Ethiopia, 2007 $ 10,000 | € 8,500 | £ 7,000
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Sebastião Salgado. GENESIS
Frame not included
“There could be no more powerful reminder of the paradise from which we are falling.” — The New York Times, New York
“ I set out to record those places, animals and peoples least affected by the hand of modern man.”
Art Edition B, No. 101–200 North of the Ob River, Yamal Peninsula, Siberia, Russia, 2011 $ 10,000 | € 8,500 | £ 7,000
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Sebastião Salgado. GENESIS
Frame not included
“I cannot recommend the book highly enough. It’s an amazing body of work, with an extremely important message. Go see it.” — Photo This & That, London
“Hauntingly beautiful and intensely serene.” — Sphere, London
Art Edition C, No. 201–300 Black-browed Albatrosses, Falkland Islands, 2009 $ 10,000 | € 8,500 | £ 7,000
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Sebastião Salgado. GENESIS
Frame not included
“Behind this 520 page tome is a grand ambition: to cover the remaining natural Earth comprehensively, and Salgado succeeds, in glorious black and white.” — American Photo Magazine, New York
Art Edition D, No. 301–400 Marine Iguana, Galápagos, Ecuador, 2004 $ 10,000 | € 8,500 | £ 7,000
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Sebastião Salgado. GENESIS
Frames not included
UT O d l So
Art Edition E, No. 401–500 The Arctic National Wildlife Refuge, Alaska, 2009 $ 12,500 | € 10,000 | £ 9,000
“Salgado’s stately compositions, from small reptile skin details to wide shots of the crests of great mountains, make the book a thing of wonder.” — Amateur Photographer, London
Partners in life and art Kishin Shinoyama’s intimate portrait series of John Lennon and Yoko Ono
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Shinoyama. John Lennon & Yoko Ono. Double Fantasy
“Ever since I had first started as a photographer in the 1960s, I had worshipped photos of New York and had been inspired by the city’s great photographers, like Irving Penn and Richard Avedon. It was a thrill to be there, to see the city as they did.”
“Taken weeks before [John Lennon’s] murder in 1980, a cache of never-seen photos shows the music icon at a turning point.” — The Hollywood Reporter
THE BALLAD OF KISHIN AND YOKO
Jesse Dylan in conversation with Yoko Ono and Kishin Shinoyama
Kishin Shinoyama is one of Japan’s premiere art photographers. Awarded the country’s prestigious “Most Promising Young Photographer” prize in 1966, when he was 26 years old, Shinoyama has since released an astonishing number of photo books and monographs, — Kishin Shinoyama most featuring his signature imagery of nude (or partially nude) women and men. Lyrical and sensual, Shinoyama’s provocative images have been hailed by critics and have come under fire for indecency, making him one of Japan’s most controversial and acclaimed artists. With much of his photography featuring celebrities and pop stars, Shinoyama displays a remarkable ease with his subjects. His work captures rare, private moments with very public personalities, subjects often revealing, through his lens, an unexpected openness and vulnerability. His capacity for intimacy, even when photographing the well known and oft-photographed, lends his images the air of a family snapshot, personal moments captured without staging or self-consciousness. This candidness is perhaps most poignantly expressed in his beautiful series of photographs of Yoko Ono and John Lennon, shot at Ono’s request for the LP cover and promotion of the couple’s celebrated 1980 album, Double Fantasy. Now, over 30 years later, these images (many of them never before published) still resonate with a remarkable freshness and
honesty. Shinoyama successfully captures the iconic couple at a pivotal moment in their long-standing relationship, a time of intense creative catharsis and personal rebirth. Here, film director Jesse Dylan talks with Kishin Shinoyama and Yoko Ono about this iconic photo shoot.
“I was able to capture them as a family, in their living room, very warm and natural.”
“They were working continuously, taking turns resting at the studio. John said to me that his songs for his next album were already made and he would be releasing Double Fantasy soon.” — Kishin Shinoyama
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JD: How did you two meet, Mr. Shinoyama and Ms. Ono? KS: Forty years ago, in 1974, I came to New York City to take a photo of Yoko at the
Dakota for a Japanese magazine, Asahi Graph. That was the first time I met her. She really loved the picture I took and remembered me. YO: I recommended you, Mr. Shinoyama, as a photo artist, didn’t I? KS: That’s right. They wanted a Japanese photographer to do the album cover for Double Fantasy, so I got an offer on the phone.
JD: Tell us about the book you have published with Yoko so many years after the pictures were taken. KS: It was just a two-day photo shoot and probably took seven or eight hours altogether. I took around 800 photos. Now, 30 years later, Yoko said, “Why don’t we publish these in a photo book?” The public has seen a few of the photos, but it’s the first time anyone has seen so many. When I saw them all together in layout, even I thought, “Wow, great expression! Wonderful!” YO: Let me tell you a funny story. When I had my 80th birthday, I thought you might be coming soon so I turned down being photographed by all other photographers and just waited for you!
JD: When you make a photo, do you have a moment where you feel like “this is it”? Or is every moment important to you? KS: Well, it’s not like there’s any special way I try to photograph a certain situation. I share time with people, we build up intensity, and I am able to get some good pictures. JD: I know you have published many books. Do you think that publishing a
Shinoyama. John Lennon & Yoko Ono. Double Fantasy
photo book is kind of putting an end to that time? KS: You could say so. I think that photography should capture a moment at the end of every second, so to speak. Every moment
How do you say it in English? Tender? He was such a sweetheart. JD: Were you more nervous than usual during the session?
It is not a matter of technique, only that I was so fortunate to be a witness at the best time in their lives. YO: You see, this is going to go to the whole world. And everybody loves John, and the
“That August, over the course of 10 days, John and Yoko had recorded most of the songs for Double Fantasy — 14 of John’s and 14 of Yoko’s. Now, they were finally nearing the end of this long and cathartic recording process.” — Kishin Shinoyama
ends instantly, it becomes the past, you know? Photography is one of the tools you can use to record a moment. For any type of work, I’ve never changed my approach.
“I believe that I took these photos at their happiest moment. I’m very glad that I was there to take the photos. It is not a matter of technique, only that I was so fortunate to be a witness at the best time in their lives.”
KS: Well, I was nervous, but only at the beginning. After that, I was working as I normally do. I tried to record every moment of what I saw. JD: As I look at the photos, I really feel John and Yoko have a sense of intimacy around you. How did you get to be so close to them in such a short time? KS: John and Yoko were doing creative work, working on recording the album together after a long time away from making music. They had been raising their son Sean, loving each other and living their happy life together. I believe that I took these photos at their happiest moment. I’m very glad that I was there to take the photos.
book is something that everybody will love. Reviewing the pictures for the first time in 30 years, you can probably look at them more objectively than when you first took them. What kind of effect do these photos have on you now? KS: I am really amazed. I really feel my avidity, my hunger, in these photos I made. That I, as a photographer, tried to pour all my energy into capturing the moments as they happened. There wasn’t a lot of action at the recording studio: Sean came in, Yoko was lying down, John was singing, and so on. The photos reveal how I felt. They show that I didn’t want to waste a second. I would say I did well . . . I did a great job.
— Kishin Shinoyama
I take photos of everything I see, without letting anything pass by. At the time, I had never imagined that John would die so soon. But that makes these photos precious ones. JD: Do you remember your first impression of John? KS: John was a big star. Everyone in the world knows John Lennon of the Beatles. He was really focusing on his music. I was so nervous to meet him, but he was so nice.
John and Yoko recording at The Hit Factory and (right) with their son Sean. It was the first time either of them had recorded since Sean’s birth.
“…an intimate, in-depth look into the couple’s creative process.” — VanityFair.com
“The ideal approach for me was to get very close. I wanted to really capture them working together, create a visual document of their relationship through the session.” — Kishin Shinoyama
208 Kishin
Shinoyama. John Lennon & Yoko Ono. Double Fantasy
Limited to a total number of 1,980 copies signed by Yoko Ono and photographer Kishin Shinoyama
Art Edition No. 1–125
Yoko Ono and John Lennon, 1980
Art Edition No. 126–250
Yoko Ono and John Lennon, 1980 Pigment print on Hahnemühle PhotoRag paper, signed by Kishin Shinoyama, 40 x 30 cm (15.7 x 11.8 in.) paper size.
Collector’s Edition No. 251–1,980
Limited edition of 1,730 copies, each signed by Yoko Ono and Kishin Shinoyama, hardcover in a clamshell, 174 pp. $ 700 | € 500 | £ 450
$ 1,800 | € 1,250 | £ 1,000 each
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“Chronicling one of the most iconic and heartbreaking love stories of our time.” — The Huffington Post, New York
Ol’ Blue Eyes is back
Gay Talese’s seminal essay on Frank Sinatra, printed for the first time in letterpress, with pictures from Phil Stern
Frank Sinatra in front of his Learjet with fellow Rat Pack member Dean Martin, 1965 (John Bryson).
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“He is the champ who made the big comeback, the man who had everything, lost it, then got it back, letting nothing stand in his way, doing what few men can do...” —Gay Talese
“Sinatra with a cold is Picasso without paint, Ferrari without fuel—only worse.” — Gay Talese
The first edition of this book is limited to 5,000 numbered copies, each hand signed by Gay Talese. The type is set in Miller Banner and letterpress printed on natural uncoated paper. Facsimile reproductions of the author’s notes from November 1965 to March 1966 are tipped in at the opening of each chapter, including this colorful draft for scenes 3–6 of Frank Sinatra Has a Cold.
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“The greatest literary non-fiction story of the 20th century.” — Vanity Fair, New York
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“The 15,000-word story is as finely crafted as Sinatra’s (and Talese’s) custom-tailored suits.” —Nieman House
Below: On Beverly Drive, Beverly Hills, 1969 (John Bryson)
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
Above: Pause before an encore at Royal Albert Hall, London, 1975 (Terry O’Neill)
“His childhood was one of loneliness and a drive toward attention, and since attaining it he has never again been certain of solitude.” — Gay Talese
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“When a page has been typed, I pin it… to one wall that’s covered with red felt. …the Sinatra piece ran to so many pages that the wall looked like a clothesline before I got done.” — Gay Talese
A dressing room lunch break while filming MGM’s Guys and Dolls, Los Angeles, 1955 (Phil Stern).
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“I was never part of his inner circle, but for some reason Frank trusted me.”
— Phil Stern
Opposite: Dean Martin, Sammy Davis, Jr., and Sinatra during a recording session for Come Blow Your Horn, Hollywood, 1962 (Phil Stern). Below: With Milton Berle, in white tie and tails, the evening of JFK’s inauguration, Statler Hilton, January 20, 1961 (Phil Stern).
“When Frank Sinatra drives to the studio, he seems to dance out of the car...; then, snapping his fingers, he is standing in front of the orchestra in an intimate, airtight room, and soon he is dominating every man, every instrument, every sound wave.” —Gay Talese
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“There is no such thing as the perfect picture. I was always striving for perfection, even though I knew I could never achieve it. But it kept me reaching for something—you know what I mean?” — Phil Stern
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
The birth of the Rat Pack:
Dean Martin, Peter Lawford, Sinatra, Sammy Davis, Jr., and Joey Bishop, Las Vegas, 1960 (Phil Stern).
“Dean Martin, Sammy Davis, Jr., and Frank—they’d be sloshing drinks and harmonizing tipsily together. But Frank was at the center—he was chairman of the board.” — Phil Stern
All or nothing at all
Gay Talese recalls how he turned a cancelled interview into a triumph of New Journalism
would have otherwise altered the relaxed, trusting, and forthcoming atmosphere that I believe was encouraged by my seemingly less assiduous research manner and the promise that, however retentive I considered my memory to be, I would not identifiably attribute or quote anything told me without first checking back with the source for confirmation and clarification. After trying without success to reschedule the Sinatra interview during my second week in Los Angeles (I was told that he still had a cold), I continued to meet with people who were variously employed in some of Sinatra’s many business enterprises—his record company, his film company, his real estate operation, his missile parts firm, his airplane hangar—and I also saw people who were more personally associated with the singer, such as his overshadowed son, his favorite haberdasher in Beverly Hills, one of his bodyguards (an ex–pro lineman), and a little gray-haired lady who traveled with During the winter of 1965 I recall being sent to Los Angeles by Esquire for an interview with Frank Sinatra, which the singer’s publicist had arranged earlier with the magazine’s editor. But after I had checked into the Beverly Wilshire, had reserved a rental car in the hotel garage, and had spent the evening of my arrival in a spacious room digesting a thick pack of background material on Sinatra, along with an equally thick steak accompanied by a fine bottle of California burgundy, I received a call from Sinatra’s office saying that my scheduled interview the next afternoon would not take place. Mr. Sinatra was very upset by the latest headlines in the press about his alleged Mafia connections, the caller explained, adding that Mr. Sinatra was also suffering from a head cold that threatened to postpone a recording date later in the week at a studio where I had hoped to observe the singer at work. Perhaps when Mr. Sinatra was feeling better, the caller went on, and perhaps if I would also submit my interview to the Sinatra office prior to its publication in Esquire, an interview could be rescheduled. After commiserating about Mr. Sinatra’s cold and the news items about the Mafia, I
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politely explained that I was obliged to honor my editor’s right to being the first judge of my work; but I did ask if I might telephone the Sinatra office later in the week on the chance that his health and spirits might then be so improved that he would grant me a brief visit. I could call, Sinatra’s representative said, but he could promise nothing. For the rest of the week, after apprising Harold Hayes, the Esquire editor, of the situation, I arranged to interview a few actors and musicians, studio executives and record producers, restaurant owners and female acquaintances who had known Sinatra in one way or another through the years. From most of these people, I got something: a tiny nugget of information here, a bit of color there, small pieces for a large mosaic that I hoped would reflect the man who for decades had commanded the spotlight and had cast long shadows across the fickle industry of entertainment and the American consciousness. As I proceeded with my interviews, I rarely, if ever, removed a pen and pad from my pocket, and I certainly would not have considered using a tape recorder had I owned one. To have done so would have possibly inhibited these individuals’ candor, or
Gay Talese. Phil Stern. Frank Sinatra Has a Cold
“After I had checked into the Beverly Wilshire and had spent the evening digesting a thick pack of background material, I received a call from Sinatra’s office saying that my scheduled interview would not take place.” Sinatra around the country on concert tours, carrying in a satchel his sixty hairpieces. In total, I stayed another three weeks and ran up expenses close to $5,000, taking people out each day to lunch and dinner. I returned to New York, and then took Above: Atop of James Dean’s motorcycle, Phil Stern, whose photographs of Sinatra accompany Talese’s text in its new TASCHEN edition. Sunset Boulevard near Laurel Canyon, Los Angeles, March 1955.
another six weeks to organize and write a fifty-five-page article that was largely drawn
“While I was never given the opportunity to sit down and speak with Frank Sinatra, this fact is perhaps one of the strengths of the article.” from a two-hundred-page chronicle that represented interviews with more than one hundred people and described Sinatra in
such places as a bar in Beverly Hills (where he got into a fight), a casino in Las Vegas (where he lost a small fortune at blackjack), and the NBC studio in Burbank (where, after recovering from the cold, he retaped the show and sang beautifully). While I was never given the opportunity to sit down and speak alone with Frank Sinatra, this fact is perhaps one of the strengths of the article. What could he or would he have said (being among the most guarded of public figures) that would have revealed him better than an observing writer watching him in action, seeing him in stressful situations, listening and lingering along the sidelines of his life? This method of lingering and careful listen-
ing and describing scenes that offer insight into the individual’s character and personality—a method that a generation ago came to be called the New Journalism—was, at its best, really fortified by the “Old Journalism’s” principles of tireless legwork and fidelity to factual accuracy. As timeconsuming and financially costly as it was, it was this research that marked my Sinatra piece and dozens of other magazine articles that I published during the 1960s. Above: Like Talese, photographer Phil Stern was aware of Sinatra’s notoriously elusive nature. Below: At home in his “bunker”, Gay Talese autographs the signing pages for Frank Sinatra Has a Cold, New York, 2015 (Jeremiah Wilson).
“Frank Sinatra was tired of all the talk, the gossip, the theory—tired of reading quotes about himself, of hearing what people were saying about him all over town.” — Gay Talese
42nd Street, New York City, ca. 1960 (Burt Glinn)
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Gay Talese. Phil Stern. Frank Sinatra Has a Cold
Gay Talese’s crystalline portrait of Frank Sinatra, first published in 1966, combined faithful fact with vivid storytelling in a triumph of New Journalism, revealing as much about celebrity at large as it did about Sinatra himself.
Gay Talese. Phil Stern. Frank Sinatra Has a Cold Principle photography by Phil Stern Silkscreened hardcover in a slipcase, letterpress-printed text, two different paper stocks, plus tip-ins and a fold-out, 24 x 34 cm (9.4 x 13.4 in.), 244 pp.
In this Collector’s Edition, Frank Sinatra Has a Cold is published in letterpress, complete with an introduction by Gay Talese and facsimile reproductions of manuscript pages, correspondence, and other papers from the author’s archive. The text is brought to life with pictures from the legendary lens of Phil Stern, the only photographer granted access to Sinatra over four decades (from the 1940s to ’70s)—along with classic moments from top photojournalists of the ’60s, including John Bryson, John Dominis, and Terry O’Neill.
Collector’s Edition of 5,000 numbered copies, each signed by Gay Talese.
TASCHEN’s literary books take great works of nonfiction and pair them with photography from the golden age of photojournalism. Further titles will include The Fight by Norman Mailer, The Electric Kool-Aid Acid Test and The Right Stuff by Tom Wolfe, and The Fire Next Time by James Baldwin.
– Limited edition signed by Gay Talese – Silkscreened hardcover with an embossed paper case – The text is letterpress printed on a natural uncoated paper – Facsimile reproductions of Gay Talese’s original storyboard and manuscript pages $ 200 | € 200 | £ 150
“Snap up one of the 5,000 signed collector’s copies.”
— bloomberg.com
Picadilly by Elmar Ludwig, 1960s. Ever since 1954, the neon Coca-Cola sign has dominated Piccadilly Circus, making it London’s equivalent (albeit smaller) of Times Square.
230 London.
Portrait of a City. Paul Smith Edition
London calling
A photographic journey through the history of this epic city
“This special edition salutes Londoners and their shared history, who throughout the city’s complex past and shifting present, have kept their humour, unique character, and bulldog spirit.” — Canary Wharf, London
232 London.
Portrait of a City. Paul Smith Edition
London. Portrait of a City: Tailor-made by Paul Smith. With a signed print by Elmar Ludwig. Samuel Johnson famously said that, “when a man is tired of London, he is tired of life.” London’s remarkable history, architecture, landmarks, streets, style, cool, swagger, and stalwart residents are pictured in hundreds of compelling photographs sourced from a wide array of archives around the world. London is a vast sprawling metropolis, constantly evolving and growing, yet throughout its complex past and shifting present, the humour, unique character, and bulldog spirit of the people have stayed constant. This book salutes all those Londoners, their city, and its history. In addition to the wealth of images included, many previously unpublished,
Art Edition No. 1–1,000
London’s history is told through hundreds of quotations, lively essays, and references from key movies, books, and records. From Victorian London to the Swinging 60s; from the Battle of Britain to Punk; from the Festival of Britain to the 2012 Olympics; from the foggy cobbled streets to the architectural masterpieces of the Millennium celebrations; from rough pubs to private drinking clubs; from Royal Weddings to raves, from the charm of the East End to the wonders of Westminster; from Chelsea girls to Hoxton hipsters; from the power to glory: in page after page of stunning photographs, reproduced big and bold like the city itself, London at last gets the photographic tribute it deserves.
Paul Smith, London 2012. Photo © Steve Langmanis/Paul Smith.
–– Limited to two editions of 500 numbered copies, each with a fine art print on archival paper, signed by Elmar Ludwig –– Print size 52 x 68 cm (20.5 x 26.8 in.) – – No. 1–500 Piccadilly Circus, 1960s (page 230-231) – – No. 501–1,000 Traffic policeman, 1960s (opposite) –– Clamshell and cover designed by Paul Smith –– London. Portrait of a City Reuel Golden, 25 x 34 cm (9.8 x 13.3 in.), 552 pp.
$ 850 | € 600 | £ 550
Opposite: Policeman by Elmar Ludwig (detail). South side of St Paul’s Cathedral, mid-60s.
“A dynamic, sumptuous, historically vital book that allows the reader to visit London, past and present, again and again.” — Boston Spirit
London. Portrait of a City: Tailor-made by
“ Something every Londoner should own. From glimpses inside Victorian pubs to the chaotic street scenes of the Blitz, and onwards to Banksy’s graffiti murals, it’s a history of the capital in photographs.” — Elle Decoration, London
With a signed print by Elmar Ludwig.
234 London.
Portrait of a City. Paul Smith Edition
“One of the hottest photography books out this year; and since Paul Smith has designed a limited run of 500 fabric covers, it just got a whole lot more exciting.” — Dazed Digital, London
236
Barbra Streisand. Steve Schapiro & Lawrence Schiller
From Funny Girl to A Star Is Born, the meteoric rise of Barbra Streisand
Pitch perfect “A tribute laid before the throne of a goddess. Fascinating, refined, perfect.”— FAS, Frankfurt am Main
Simply Streisand By Patt Morrison
How many photographs have been taken of Barbra Streisand over the years? Thousands? Tens of thousands? Any one of them can only snatch a moment of her quicksilver life, as a frame of movie film freezes just a fragment of a scene. One picture does capture some enduring qualities of Streisand as she was and was to become. It is not the 1980s Babs with the dandelion corolla of curls. It isn’t Barbra of the long, soigné pageboy, the tastemaker and political mover and shaker of the 21st century. Instead, the image by Steve Schapiro shows her half-shadowed face with the delicate kiss-curl of an ingénue, her eyes with a middle-distance gaze of a soothsayer, and her nose, the nose of the Roman emperor Hadrian, who stamped his will on the great world (see p.224). We also see Streisand’s metamorphosis in Hollywood thanks to the
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cameras and eyes of Lawrence Schiller — eye, actually; one was injured in a childhood accident, but Schiller has used his one good eye with more perception and artistry than most people use two. Both Schiller’s and Schapiro’s photographs have compassed decades of the world’s f-stop moments, the sorrowful and the celebrated; and they show a Streisand who is enigmatic, hieratic, exultant, pensive, and, once in a while, still just one happy gal from Brooklyn. Performers come and go. One generation’s hot number is another generation’s back number. Time, circumstance, fortune, and force of character have aligned to put Streisand beyond those transitions. Only Sarah Bernhardt may equal Streisand in the magisterial command of her own life and career. Bernhardt, too, was a jolie laide, unconventionally attractive, a Jewish
Barbra Streisand. Steve Schapiro & Lawrence Schiller
woman who forged her outsider status into the wellspring of her power, and became the impresario of her work. A few women in film have tried. Mary Pickford, the world’s first movie star, formed United Artists in Previous spread: Funny Girl, scene one, take one: “I was excited to get to photograph the clapper for the first take the very first moment when Barbra performed in a movie.” —Steve Schapiro Opposite: Streisand dons the naughty “modeling outfit” in The Owl and the Pussycat. The color portrait served as the key art for the film’s advertisements, along with the suggestive tagline: “In Doris’ Profession You Have to Know How to Sell Yourself.” Photo: Steve Schapiro. Below: Streisand’s signature look helped usher in a new era of fashion with the mass acceptance and celebration of unconventional glamour. This trendsetting style not only aided in branding Streisand’s public image but would turn her into one of the defining vanguards of fashion in the late 1960s and early 1970s as well. Photo: Lawrence Schiller
“Everything you always wanted to know about Barbra Streisand: her life, work, songs, loves, ambitions, successes, and regrets.”— Vogue, Paris
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Barbra Streisand. Steve Schapiro & Lawrence Schiller
Opposite: Barbra Streisand with a Pearl Earring, Los Angeles. With her self-deprecating wit, Streisand often called herself an ugly duckling, but her screen debut in Funny Girl — and Steve Schapiro’s photographs of her during the making of the film — handily disproved that myth. Photo: Steve Schapiro. Below: In Clear Day, Streisand plays Daisy Gamble, a young student who seeks the help of psychiatrist Dr. Mac Chabot (Yves Montand), who puts her under hypnosis. Photo: Lawrence Schiller.
1919 with her husband, Douglas Fairbanks, Charlie Chaplin, and D. W. Griffith. (Fifty years later, Streisand would form the production company First Artists, with Sidney Poitier and Paul Newman.) Pickford was Victorian-born, and in her reclusive old age, she scowled from her upstairs window at Pickfair, alert to whether any woman at a charity luncheon on the lawn below dared to show up in a pantsuit. If Pickford had watched the Oscars on TV in 1969, she must have needed smelling salts when Streisand took the stage to accept the Academy Award wearing a witty, daring, sequined Scaasi pantsuit — the first time an Oscar-winning woman ever showed up in trousers. The Peter Pan collar was the only demure thing about it. To Hollywood, Streisand was laying down her marker: I do things my way. Streisand’s first album came out in February 1963, the same month that publishers launched Betty Friedan’s galvanizing book, The Feminine Mystique — two seemingly dissonant events that in fact shared a com-
mon root. Her arrival on the national stage coincided with the birthing of the modern women’s movement, which demanded that men stop judging women by their looks and start judging them by their abilities. Change that nose? Not a chance. Streisand may not have intended to be a green light for other less-than-“10” women to be as confident as their covergirl sisters, but that’s what she did. Barbra Streisand with a nose job would have been the unkindest cut. Her face, just as it was, was her fortune. Anyway, as Streisand has often said, she’s too afraid of sharp surgical things even to get her ears pierced. But Hollywood’s knives? Bring them on. By being straightforward and forthright about every aspect of filmmaking, rather than dimpled and demurring, Streisand made herself a target for stings and zingers. What did Hollywood’s moguls make of her, this Brooklyn diva who set out to make films on her terms? They simply wondered, where had that other funny girl gone, the self-deprecating girl who made screwball comedies and laughed at herself before others could beat her to the punch? Then, as now, male virtues were female shortcomings: a man was hard-driving, a woman bossy; a man was a critical thinker, a woman bitchy. . . .It has been fifty years since Funny Girl opened on Broadway, since, within the space of three weeks, Streisand appeared on the covers of both Time and Life. In one opening-night news-
paper review, the caption under her photo read, “Barbra Streisand impersonates a star.” That was the right verb for about as long as it took the ink on the headline to dry. From that moment until this, Barbra Streisand has been one.
“They show a Streisand who is enigmatic, hieratic, exultant, pensive, and, once in a while, still just one happy gal from Brooklyn.”
“It’s very beautiful…The artful photographs bring back some great memories.”
— Barbra Streisand
Limited to a total of 1,200 numbered copies signed by Steve Schapiro and Lawrence Schiller
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Barbra Streisand by Steve Schapiro and Lawrence Schiller
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Hello, gorgeous! On the set, on the road, and in the studio, photographers Steve Schapiro and Lawrence Schiller capture the darling of Broadway as her Hollywood star rises. Featuring over 100 never-before-published pictures—and the stories behind the shots.
Art Edition No. 1–100
Limited edition of 100 numbered copies, each with the gelatin silver print Barbra for Harper’s Bazaar (1972), left, signed by Steve Schapiro, 40 x 30 cm (15.7 x 11.8 in.).
Art Edition No. 101–200
Limited edition of 100 numbered copies, each with the gelatin silver print Streisand En Route to London (1969, see pages 238), signed by Lawrence Schiller, 30 x 40 cm (11.8 x 15.7 in.).
$ 1,800 | € 1,250 | £ 1,000 each
Collector’s Edition No. 201–1,200
Hardcover in clamshell box, 31.2 x 44.0 cm (12,3 x 17,3 in.), 340 pp., signed by Steve Schapiro and Lawrence Schiller.
$ 750 | € 500 | £ 450
Frame not included
“Schapiro and Schiller tell the stories behind the photographs, more than half of which have never been published before.” — The Guardian, London
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Mario Testino. SIR
Greg Rogove & Devendra Banhart, Los Angeles, 2008.
Mario Testino’s gallery of men
Hello handsome! “…an extraodinary breadth of work. It is as comprehensive a compilation as it is beautiful. This is masculinity in all its permutations.” — Telegraph Men’s Style, London
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Mario Testino. SIR
Opposite, top: Dennis Hopper and Sean Penn, Los Angeles, 2007. Bottom: Fernando Fernandes, Rio de Janeiro, 2008. Right: Sean “Diddy” Combs, Los Angeles, 2007.
“The way men are seen in photography, in fashion, and the way that men look at pictures of themselves has changed in recent years. It is a subject that has come into focus: The masculine image, a man’s personal style, changing attitudes to the male face and body.” — Mario Testino
“Testino-stérone.”
— Madame Figaro, Paris
Drawn from life Mario Testino in conversation with Patrick Kinmonth
PK: This book is full of images of men who have had a measure of courage in terms of establishing their own identity, which involved a certain degree of redefinition of masculinity in public. David Bowie, Mick Jagger, Andy Warhol and even David Beckham, for example. MT: I found David Bowie a fundamental figure in my adolescence. In Peru it was hard to express an unconventional personality in a very conventional society. The way Bowie proposed these amazing new ideas of what a man could be without ever losing the impact of his masculinity made a great impression on me. I realized that you have to take the risk of being yourself even if other people are going to find that threatening or irritating. And in another way I think David Beckham’s attitude to his own looks and body, his fearlessness of wearing interesting clothes and his tattoos, have had an enormous effect on the way men in general feel about how they dress and who they can be and how they present themselves.
“I realized you have to take the risk of being yourself.” PK: Whilst often erotically charged, the pictures seem to me to avoid sexual vulgarity. I feel there is an interesting sort of cultivated distance between you and that in the pictures. MT: I am obviously interested in sex! Naturally. But I think it has to be only an equal part of many different aspects of a picture. I like sensuality and a certain mystery of sexuality. I am not interested in the hard pornographic image as such…. That exists for one purpose only, which is nothing to do with the purpose of my work. I am much more interested to create an image which suggests many erotic possibilities. I think that makes a picture have a longer life. In the end I think arousing someone’s curiosity is more interesting than arousing someone sexually. Left: Julian Schnabel, New York, 2001. Right: Sir Elton John, Paris, The Sunday Telegraph, 1997.
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Mario Testino. SIR
“An exploration of the evolution of male beauty and glamour over the last three decades— but most importantly, the jawlines and washboard abs, a lot of drooling!” — vogue.com
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Mario Testino. SIR
PK: Which I suppose accounts for a certain amount of playing with gender in your pictures of men? MT: You could see this whole book as a sort of conversation with my camera about curiosity and freedom. There are many sorts of images. I feel personally that we should all be open to imagine things beyond the ordinary and the everyday. That is why Araki is here in a portrait and as an inspiration. Like Mapplethorpe or Newton and others he has had the courage to investigate subjects that are clearly part of the human imagination. You can reject it or accept it, but you have to acknowledge the quality and the perfection with which the images are achieved. That takes not just courage but a great deal of hard work.
defining factor that had to exist for me to allow a picture to be included. It’s quite interesting that the images I have made for a brand with a whole team of collaborators and assistants can be put next to those of a friend I took on a little camera at home alone. But as long as each holds its own, on its own terms, that’s OK. A private and commissioned image can have equal impact. And in a book, they take on a new life.
“I suppose you could see this whole book as a sort of conversation with my camera about curiosity and freedom.”
PK: There is another layer to the selection you have made for the book: Unseen private pictures have equal status as images that have become very well known, for example the portraits of David Gandy in Capri. MT: Ultimately individual quality was the
PK: I know from working with you that, however spontaneous these pictures might look, every detail has been carefully considered. MT: Every detail supports the narrative of the picture. You can always change the plan from the first idea of course and I often do so spontaneously. But every picture is driven by the way the person that I am photographing appears at the moment I am looking through the camera. On the one hand you might want everything to enhance the idea of someone being perfectly groomed. Then every detail of the composition should support this. On the other hand I might want to create a sense of disorder, as
if for example you are seeing someone alone in their bedroom, as if no one else is there. So that is why I arrange and plan everything before and during the shoot… and I am like a scanner when I work, making sure everything in the image, even if it looks as if the place just happened to look like that, adds to the picture. PK: You have created a sort of heightened reality then. There are very strong visual choices. Color, composition, attitude, style are all decisive. And a game of taste too… playing with ideas of convention and taste. MT: Well beauty needs to have an edge in fashion, and that playfulness with the edges of bad taste is definitely invigorating and one possibility amongst many. We have a lot of standard expectations and conventional ideas that build up in our minds over the years. That extends to ideas of what is and what is not supposedly “good taste” and what is or is not seen as “manly.” I think we need to be conscious that we should not be too defined by these things. Which is not to say I do not admire tradition and history. In fact I love them both. I thrive when the new is mixed with the old, the underground mixed with the elegant, superimposing high and low culture. That is very much part of the fun of life. I try to bring all these elements together with an equal amount of sensuality.
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Collector’s Edition
Mario Testino. SIR Hardcover with Swiss binding and Japanese cloth, delivered in a metal slipcase, 32,2 x 41,7 cm (12,7 x 16,4 in.), 456 pp. $ 700 | € 500 | £ 450 New price 2016: $ 1,000 | € 750 | £ 650
Watch Testino’s personal commentary to his all-male portrait collection at www.taschen.com/sir
Above: Josh Hartnett, New York, VMAN, 2005.
“Beautifully done. It’s a beast of a book.”
— Anthony Mason on CBS This Morning
Limited to a total of 1,000 numbered copies, all signed by Mario Testino
“I think arousing someone’s curiosity is more interesting than arousing someone sexually.”— Mario Testino XXL
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Mario Testino. SIR
“An extraordinary celebration of men…”
— Arnold Schwarzenegger
Long live the Queen!
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Her Majesty. Vivienne Westwood Edition
Royal Departure by Harry Benson: Return flight to London after the Queen and Prince Philip toured the Caribbean in February and March 1966.
“The Queen in a new light: unseen pictures in a Jubilee book.” — Evening Standard, London
Frame not included
Royal Greeting by Harry Benson: The Queen takes her leave of her hosts at the end of a two-month tour of the Commonwealth in 1966.
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Her Majesty. Vivienne Westwood Edition
The extraordinary public and private life of the world’s most famous monarch: Royal Edition of Her Majesty by Vivienne Westwood. In honor of the Queen’s Diamond Jubilee—60 years on the throne— TASCHEN celebrates the extraordinary private and public life of Her Majesty. Born in 1926, married in 1947, crowned as Queen in 1953, for over six decades she has steadfastly and loyally carried out her duty on behalf of her country, never speaking out of turn or putting a foot wrong. The book tells her remarkable royal story through hundreds of stunning photographs, many previously unseen and sourced from multiple archives in the United Kingdom (including the Royal Collection), Continental Europe, and the United States. These images have it all: history, politics, glamour, fashion, culture, travel, and, of course, hats. As the Queen, she has endlessly traveled
the globe, been introduced to every leading icon of the 20th century, including the Beatles, Marilyn Monroe, and JFK, attended thousands of receptions and state functions; while concurrently being a mother to four children under the constant glare of public scrutiny. These photographs cover every aspect of her reign: the early years, coming of age during World War II, becoming a wife, Queen and mother, the Royal Tours, the palaces, the crowds, the weddings, the Royal Family, the Silver Jubilee in 1977, and the later years. God save her indeed! Photographers included: Cecil Beaton, Studio Lisa, Dorothy Wilding, Karsh, Lord Snowdon, Patrick Lichfield, as well as Wolfgang Tillmans, Rankin, Annie Leibovitz, and many others. Vivienne Westwood, 2012. Photo © Juergen Teller.
XL
Royal Edition of Her Majesty No. 1–1,000
–– Limited to two editions of 500 numbered copies, each with a silver gelatin print, signed by Harry Benson –– Print size 45.7 x 33.5 cm (18 x 13.2 in.) No. 1–500 Royal Greeting, 1966 (left) No. 501–1,000 Royal Departure, 1966 (page 254-255) –– Clamshell and cover designed by Vivienne Westwood –– Her Majesty, Queen Elizabeth II Reuel Golden, Christopher Warwick, 29 x 39.5 cm (11.4 x 15.5 in.), 366 pp.
$ 850 | € 600 | £ 550
“TASCHEN always has a dazzling, boundary pushing book up its sleeve.” — Modern Painters, London
Royal Edition of Her Majesty by Vivienne Westwood: The queen of fashion takes on the Queen of England.
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Her Majesty. Vivienne Westwood Edition
Limited to 1,000 numbered copies, clamshell and cover designed by Vivienne Westwood. With a signed print by Harry Benson. XL
“ Features a Vivienne Westwooddesigned, hand stitched Star of the Noble Order of the Garter drawing on the cover and is encased in an elegant mother-of-pearl clamshell box—a must-have for fashion lovers and royalists alike.” — Sphere, London
“This is a piece of modern history.” — Net-a-porter, London
“TASCHEN has created a world for books on art, anthropology and aphrodisia. A world full of audacity, wit and controversy.” — Fashion Soapbox, Beirut
Stores
You can find TASCHEN stores in Amsterdam Berlin (Pop-up) Beverly Hills Brussels Cologne Hamburg
Hollywood London Miami Milan New York Paris
Milan
Modular library by
Marc Newson Terrazzo floor by
Jonas Wood
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TASCHEN Stores: Milan
“A store that matches the production values of their famously high-quality tomes. And here they have one, on the aptly named Via Meravigli (wonder or marvel) in Milan.”— we-heart.com
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TASCHEN Stores: Milan
“A superb bookshop, in which contemporary design sits side by side with traditional craftsmanship and accents of 1950s Italian design.”
— Livres Hebdo, Paris
“The interior design of the Milan store is true to TASCHEN’s bold, eclectic spirit, with over 120 square meters of museum like space, spanning two floors.”— De de ce Blog, Sydney
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TASCHEN Stores: Milan
“ Taschen has a unique ability to look back as much as he can look forward, in both his business and personal choices, seeing opportunities where others do not. The new store is equally a celebration of the past greatness of Italian design, forever linked to the city of Milan, and a joyful embrace of the global influences that shape the world of design today.” —Architectural Record, New York
“I think I just died and went to book heaven.” — cover.dk
Marc Newson and Rem Koolhaas at the opening of the Milan store.
“Visually it was important for me to keep the overall look and feel quite neutral to really showcase the books, highlighting and displaying a select few within a colored insert.” — Marc Newson
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TASCHEN Stores: Milan
“Coffee table books truly give character and an accent of domesticity and flair to the space you live in. So why not invest in the best of the best?” — LA Confidential.com
“Not every book publisher is like TASCHEN. For over 30 years they’ve been creating luxurious slabs of bookcraft.” — Wanderlust, London
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TASCHEN Stores: Milan
“TASCHEN makes it an experience to remember at their new Italian address.”
— Suite Hazen, London
New York
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TASCHEN Stores: New York
Design
Philippe Starck Art
Beatriz Milhazes
“The decor of this bookstore, every inch of it, is crafted to make people feel that they are welcome to sit and browse for as long as they wish.” — About.com
Beverly Hills
Design
Philippe Starck Art
Albert Oehlen
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TASCHEN Stores: Beverly Hills
“An opium den of a bookstore, an irresistible emporium for all things excessive and escapist.” — LA Weekly
Miami
Design
Philippe Starck Art
Toby Ziegler
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TASCHEN Stores: Miami
“A genius stroke of art-meetscommerce.”
— 944 Miami
“TASCHEN’s stores have entered the popular consciousness as somewhere ‘cool’ people frequent, as evidenced by its appearance in a new episode of The Simpsons.” — Digital Arts
London
Design
Philippe Starck
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TASCHEN Stores: London/Hollywood
Hollywood
Design
Philippe Starck Art
Mark Grotjahn
“In the middle of all this corn-fed wholesomeness (The Farmers Market) is a tiny island of sophistication.” — xfanz.com
Brussels
Design
Philippe Starck
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TASCHEN Stores: Brussels/Paris
Paris
Design
Philippe Starck
“The books take center stage, but the space brings additional soul.”— Paris Match
The Rolling Stones p.282 Elmer Batters & Eric Stanton p.294 George Quaintance p.304 Mick Rock: David Bowie & Co. p.314 TASCHEN Collector’s Editions p.322
TASCHEN Gallery
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
BRIGHT LIGHTS
From rock ’n’ roll legends to fetish pioneers, the new TASCHEN Gallery celebrates artists who have defined, and defied, a generation
TASCHEN Gallery, 8070 Beverly Blvd, Los Angeles
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TASCHEN Gallery: The Rolling Stones
Our big book productions can take years from start to finish; it’s like a major documentary, often with ten or more people working on the project. During the process we work through all major and unknown archives on a subject. With the groundwork done, the TASCHEN Gallery offers a new platform for this extensive research. From high culture to counterculture, our exhibitions will be based on our publishing program. The gallery launched in December 2014 with “IT’S JUST A SHOT AWAY: THE ROLLING STONES IN PHOTOGRAPHS.” Most displayed works in the TASCHEN Gallery are available for purchase both on site and at www.taschen.com/gallery
“A historic photo exhibit…” — The Hollywood Reporter
IT’S JUST A SHOT AWAY: THE ROLLING STONES IN PHOTOGRAPHS Opening night with David Bailey
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TASCHEN Gallery: The Rolling Stones
“One could hardly imagine a more glamorous opening party.” — FotoMagazin, Hamburg
More than 10,000 visitors, including industry luminaries from the art, fashion, and music worlds, came to see the gallery’s inaugural show, featuring nearly 100 images of the Stones from such leading photographers as David Bailey, Peter Beard, Gered Mankowitz, Ethan Russell, and Anton Corbijn. Photo: livzey.com
“A highlight in Los Angeles’ growing art scene…”
— Gosee.com
David LaChapelle, Pamela Anderson, David Bailey, and Amber Rose with Benedikt Taschen.
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TASCHEN Gallery: The Rolling Stones
Jack Nicholson and David Bailey. Photo: livzey.com
“Also walking through the crowd is Jack Nicholson, arm across Bailey’s back, examining the pictures with a grin. No one looks more amused than Bailey.” — The Los Angeles Times
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TASCHEN Gallery: The Rolling Stones
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
David Bailey
Dominique Tarlé
Mick and Keith, 1971 “Boxes” 80 x 120 cm (31.5 x 47.2 in.) Archival Inkjet Print Edition of 25 $ 5,600
The Rolling Stones, 1973 “Goats Head Soup” 134.6 x 96.1 cm (53 x 37.8 in.) Archival Inkjet Print Edition of 5 Also available: 83.8 x 61.6 cm (33 x 24.3 in.) Archival Inkjet Print Edition of 10 Prices on request
“The fame that the Rolling Stones have achieved is unmatched.” — LaRepubblica.it
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TASCHEN Gallery: The Rolling Stones
Ethan Russell
Keith Richards, 1972 “Patience Please, a Drug Free America Comes First” 121.9 x 152.4 cm (48 x 60 in.) Archival Pigment Print Edition of 15 $ 16,500
Keith Richards Exits “The Starship”, 1972 88.9 x 60.9 cm (35 x 24 in.) Archival Pigment Print Edition of 40 $ 4,500
Also available: 40.6 x 50.8 cm (16 x 20 in.) Archival Pigment Print Edition of 250 $ 2,350
Also available: 50.8 x 40.6 cm (20 x 16 in.) Archival Pigment Print Edition of 75 $ 2,850
Ethan Russell
“From coffee-table books to fine art, TASCHEN Gallery’s newly opened 6,000-square-foot space curates exhibits to coincide with its impressive lineup of tomes.” — C Magazine, Los Angeles
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TASCHEN Gallery: Elmer Batters & Eric Stanton
“Bizarre Life is an important study of how far society has come in terms of artistic acceptance, and proven by the numerous imitations in recent times, one that will prove fruitful for artists for years to come.” — Hunger TV, London
Embrace Your Fantasies The art of Elmar Batters & Eric Stanton
“There was a time when Stanton’s work would never have graced gallery walls. Thankfully, the time is over.” — The Huffington Post, New York
Installation view with works by Bill Ward, Gene Bilbrew, and John Willie.
Installation view with works by Eric Stanton.
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TASCHEN Gallery: Elmer Batters & Eric Stanton
Installation view with works by Eric Stanton and Hatstand, Table, Chair by Allen Jones.
“Foot fetishists and leg lovers rejoice—a blast of truly strange old-school erotica is being unleashed. …showcases images from two World War II vets-turned-fetish picture pioneers...” —Maxim.com
“The life stories of these true artists and pioneers are 100 percent Hollywood drama —a mix of Goodfellas, Boogie Nights, Ed Wood and, of course, Pulp Fiction.” — Benedikt Taschen in The Hollywood Reporter
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TASCHEN Gallery: Elmer Batters & Eric Stanton
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
Installation view with works by Eric Stanton (top) and Elmar Batters (below).
“The influence of Stanton’s work is obvious, his imprint visible everywhere from Robert Mapplethorpe’s photographs to Madonna’s ‘Human Nature’ music video.” — The Huffington Post, New York
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
Eric Stanton
Face Sitting Suite N. 31, 1977 24.2 x 20.6 cm (9.5 x 8 in.) Mixed media collage $ 15,000
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Eric Stanton
Men In Bondage, 1965 45.72 x 29.21 cm (18 x 11.5 in.) Gouache on board $ 35,000
TASCHEN Gallery: Elmer Batters & Eric Stanton
“Being short and a little shy as a young man, I loved the idea of big, strong, aggressive women who would use their strength to wrestle me down.” — Eric Stanton
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TASCHEN Gallery: Elmer Batters & Eric Stanton
“Batters brought the fetish out of the dungeon and into the all-American living room (well, some living rooms). His long-time collaborators, TASCHEN, are still celebrating the renegade almost 20 years after his death.” — Dazed Digital, London
Bill Ward
The Married Set, 1967 Wee Hours Paperback; Malkin 36.8 x 24.1 cm (14.5 x 9.5 in.) Gouache on board $ 16,000
Elmer Batters
Untitled, ca. 1976 8.9 x 10.8 cm (3.5 x 4.3 in.) Polaroid $ 600
Elmer Batters
Untitled, ca. 1975 8.9 x 10.8 cm (3.5 x 4.3 in.) Polaroid SOLD
“In the age of internet porn, the new TASCHEN Gallery exhibit Bizarre Life—The Art of Elmer Batters and Eric Stanton is like the ‘Rosetta Stone’ of fetish sex in media.” — Los Angeles Magazine
“The world has changed a great deal since openly-gay artist George Quaintance created his paintings in the late 1940s and early 1950s. It was a pre-Stonewall, pre-gay rights era in which not only was homosexuality taboo, but expressions of it such as these were borderline illegal. Now, L.A.’s TASCHEN Gallery features his work…which is the first public show of his art.” —LA Weekly.com
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TASCHEN Gallery: George Quaintance
Flamboyant Affair
The art of George Quaintance
“His physique paintings are largely traded between private collectors before they ever come to auction, which makes this new exhibition a rare and celebratory occasion.” — It’s Nice That, London
Below and right: Installation views with works by George Quaintance and Tom of Finland.
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TASCHEN Gallery: George Quaintance
“Greek gods, Latin lovers, lusty cowboys, and chiseled ranch hands: Seventy years since his first fantasy-fueled creation of the male form, this marks the first public showing of his revolutionary work… Before Tom of Finland, Etienne, or Harry Bush, there was George Quaintance.” — Out.com
“Pleasure trumps politics in George Quaintance’s queer, utopic paintings.” — artsy.net
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TASCHEN Gallery: George Quaintance
“George Quaintance explored the limits of the male physique before other artists dared to.” – Frontiers, Los Angeles
For a virtual tour of the exhibition visit www.taschen.com/gallery
“George Quaintance was a true trailblazer making erotic, blatantly homosexual themed works in the forties and early fifties. Quaintance had balls, literally and figuratively.” — Gayletter.com
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
George Quaintance Night in the Desert, 1951 Oil on canvas 96.5 x 86 cm (38 x 34 in.) $ 75,000
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George Quaintance
Morning in the Desert, 1949 Oil on canvas 106.5 x 81 cm (42 x 32 in.) $ 75,000
TASCHEN Gallery: George Quaintance
“The eroticism of his paintings are almost heightened by the lack of genitalia—in hinting at something the audience will never be able to fully witness, it’s as if his pieces are forever teasing us.” — Gay.com
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TASCHEN Gallery: George Quaintance
George Quaintance The Pyramid Builders, 1952 Oil on canvas 104 x 76 cm (41 x 30 in.) $ 60,000
George Quaintance
Untitled (Portrait), 1940s Charcoal on brown paper 63.5 x 48.3 cm (25 x 19 in.) $ 14,000
“Seventy years since his first fantasy-fueled creation of the male form, this marks the first public showing of Quaintance’s revolutionary work.” — navigaytour.net
SHOOTING FOR STARDUST:
The rise of David Bowie & Co. by Mick Rock
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TASCHEN Gallery: Mick Rock: David Bowie & Co.
Plus special exhibition of all TASCHEN Collector’s Editions 1991–2015
“Plenty of onstage and intimate behind-the-scenes images grace the walls. There’s a starman waiting at the TASCHEN Gallery. Go see him.” — Examiner.com
For a virtual tour of the exhibition visit www.taschen.com/gallery
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TASCHEN Gallery: Mick Rock: David Bowie & Co.
“TASCHEN does an incredible job with their music-themed exhibits—the gallery’s inaugural show, ‘It’s Just a Shot Away: The Rolling Stones in Photographs,’ was visual evidence of Taschen’s research, expertise and commitment to telling one hell of a story about its subjects; it left us anxious to find out who would be next, and we couldn’t be happier that David Bowie is finally getting his day (month) in the LA sun.” —Time Out Los Angeles
“…showcases Rock’s photographic prowess resplendent in its historical context.”
— The New York Observer
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TASCHEN Gallery: Mick Rock: David Bowie & Co.
For all available artwork visit www.taschen.com/gallery or contact us at la-gallery@taschen.com
Mick Rock
Bowie with Cigarette, 1973 61 x 76.2 cm (24 x 30 in.) Archival semi-matte 260gsm Edition of 35 $ 4,000
Mick Rock
David Bowie and Ronson, 1973 Lunch on train to Aberdeen 152.4 x 101.6 cm (60 x 40 in.) Archival semi-matte 260gsm Edition of 10 $ 12,000
“Could a photographer have been gifted with a more charismatic and iconic subject?”
— Barney Hoskyns
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TASCHEN Gallery: Mick Rock: David Bowie & Co.
Mick Rock
David Bowie. Mirror Hadden Hall, 1972 101.6 x 152.4 cm (40 x 60 in.) Archival semi-matte 260gsm Edition of 10 $ 12,000
Mick Rock
Pink Debbie Harry, 1978 50.8 x 61 cm (20 x 24 in.) Archival semi-matte 260gsm Edition of 50 $ 2,500
“David was off to the fucking races. He had the taste and he wasn’t ever going to let go and he never did.” — Mick Rock
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TASCHEN Gallery: TASCHEN Collector’s Editions
For a virtual tour of the exhibition visit www.taschen.com/gallery
“TASCHEN brings new life into stellar photography exhibitions worthy of museum collections and Hollywood elite.” — The Huffington Post, New York
This special exhibition brings together all of TASCHEN’s Collector’s Editions for the first time, celebrating the crème de la crème of our publishing program.
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TASCHEN Gallery: TASCHEN Collector’s Editions
“A veritable cultural event on the West Coast!” — Variation, Le Muy
“The name TASCHEN signifies beauty, culture and modernity. Each of their books is an object of desire and a world event.” –Madame Figaro, Paris
Left w e F
Martin Kippenberger “Ashtray” Edition of 50 $ 10,000 | € 7,500 | £ 6,500
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Albert Oehlen
Edition of 25 $ 18,000 | € 12,500 | £ 10,000
TASCHEN Gallery: TASCHEN Collector’s Editions
UT O d l So
“One of the most adept manipulators of luxury brand repositioning is Benedikt Taschen, whose eponymous imprint has become synonymous with glamorous, high-end books.” — Newsweek, New York
“ If I were the president of the world, TASCHEN, the fittingly German publisher of monolithic art books that manage to be simultaneously intimidating, terrifically obsessive, gorgeously produced and breathtakingly gaudy, would have the rights to publish everyone’s high school yearbooks.” —Christopher Borelli, The Chicago Tribune
Press
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The Big Black Book
September 2015
September 2015
The Big Black Book
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Los Angeles Times (USA Date: December 11, 2013 / Circulation: 606.07
Left: Benedikt Taschen at work in his home, sitting behind expanses of glass reflecting clouds and sky (Ken Hively, Š 2005 Los Angeles Times).
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December 2013
Date: December 11, 2013 / Circulation: 606.0
Š 2013. Los Angeles Times. Reprinted with Permission.
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“Knowing BT’s (Benedikt Taschen) physical whereabouts relies on an invisible network of free-flowing interconnectivity. There is no organisational chart; clusters of individuals come together to find paper stock, edit text, track down bookbinders and magically (it sometimes seems) create books… At the middle of the storm is BT, obsessively reviewing the typeface of the page numbers, hyperfocused in the midst of distractions. Perhaps all the activity is conducive to his productivity. Since he is personally involved in every project—you can be sure that every TASCHEN book has been overseen by the man himself—progress relies on his marathon working streaks, which often go on all night long.” — The Art Newspaper, London
December 2014
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The Hollywood Reporter (USA) Date: December 05, 2014 / Circulation: about 70.000
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December 2014
The Hollywood Reporter (USA) Date: December 05, 2014 / Circulation: about 70.000
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Date: December 05, 2014 / Circulation: about 70.000
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June 2015
!"#$%&'
(')'*+,"#"!-.$') ,')/%#,0&! .%%1#2%%1.$3+-"+!)#1+!+/3'
"456#"7896:7;648 PHOTO: MARK SEELEN
"<6=#746#7>:?46>@#8A:69?:68#6BC?6>#7B>#AD96B#EAF?6>#DA4#9<6?4#?BE46>?GH6#A4?I?B7H#E4679?AB8J#&6B# H?;6#F5GH?8<64#(6B6>?;9##"78E<6B@#K<A86#6L947A4>?B74?H=#G6759?D5H#7B>#AD96B#47E=#GAA;8#<7C6#G66B# D78E?B79?BI#9<6#KA4H>#DA4#MN#=6748J#.<4?89?7B#1?7?I46@#9<6#6H6I7B9#:78964#AD#:?B?:7H?89?EOH5L5O 4?A58#?B964?A48@#;BAKB#DA4#<?8#>68?IB8#AB#H7B>#A4#79#867J#%4#74E<?96E9#,6BIA#,5:7@#K<A#?8#BAK# 947B8FA49?BI#9<6#749#AD#G5?H>?BI#9<6#P7F7B686#K7=#G6=AB>#<?8#B79?C6#8<A468J#
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!"#$%&'(#)* Art, architecture and photography mixed with a gutsy dose of sex. What started as a young boy from Cologne in Germany with a passion for rare comics Benedikt Taschen turned into the biggest publishing house for spectacular books. INTERVIEW: Michaela Cordes
PHOTOS: Mark Seelen
PRODUCTION: Michaela Cordes and Janine Weitenauer
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“Like an old time studio boss, always in control,” is how Billy Wilder described him.
Thumbs up! Benedikt Taschen on the roof of his first gallery, which he just opened on Beverly Boulevard in Los Angeles.
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Benedikt Taschen first visited Los Angeles in his twenties (photo on the right, 1981). “I immediately felt comfortable here. Probably because everything that had shaped me originated from here.” In 2001 the publisher (who belongs to today’s 200 most important art collectors, according to Artnews. com) acquired the Chemosphere House in Los Angeles, built by John Lautner in 1960. Having renovated the octagonal work of art with a lot of care and attention, he moved in.
With his unusual marketing tool, the TASCHENtruck, Taschen brought his books to the buyers. At book fairs, the TASCHEN stalls caused a stir, not only because of their unusual, often racy titles.
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PHOTOS: MARK SEELEN (4), © KLAUS FRAHM (1), © ERIC LAIGNEL (1), ALICE SPRINGS (1)
“I want a TASCHEN book!” Daughter Marlene on the cover of one of the first catalogues. In 1999 Taschen celebrated his breakthrough with his first XXLbook on the work of photographer Helmut Newton (photo below). Taschen published this biggest and most expensive book of the 20th century as a limited edition, commissioned Philippe Starck to design a stand for the 30-kilogram work of art, and established a whole new segment. For this first SUMO book, Taschen needed to ask the Vatican’s bookbinders for help, as no one else had experience in binding such a mammoth tome. Today, the art piece, which originally sold for 1500 dollars is out of print and can be found on the secondary market for ten times its price.
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Glorious. At night the lights of his childhood dreams seem to shine on Benedikt Taschen like an inverted, starry ďŹ rmament.
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“His extraordinary connoisseurship and taste. His incredible friendship and loyalty, but above all his brilliant and naughty sense of humor!” MARC NEWSON ON WHAT MAKES BENEDIKT TASCHEN SO UNIQUE
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!"#$%&'%()$%*&+(%,*-&.(/#(% (/+($*/0$.+%&'%&1.%(,*$2%3,()%/% -$.+&#/4,(5%/+%*14(,'/6$($7%/+%% ),+%-184,+),#9%-&.('&4,&2: SIMON DE PURY
Free to follow his business talent, young Benedikt – here selling vampire drawings at age 8 – began making real money with rare comics.
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The newest SUMO book presents works of Annie Leibovitz. Its stand is a design by Marc Newson. Below: 1979, the first shop in Cologne, Germany.
!
ucked away behind the famous Mulholland Drive, with a view onto Universal Studios, lives
PHOTO: MARK SEELEN (1)
the Lord of the Books – Benedikt Taschen. We
are standing in his garden among the lush greens of a cultivated wilderness. Above us hovers what must be the most stylish habitable flying saucer, the octagonal Chemosphere House built by John Lautner. Next door lives one of Taschen’s friends, the painter David Hockney, with whom he is in talks for a new project. Below us, an eagle is quietly gliding into the vast valley. Taschen, who has just returned from a short trip to Berlin, chose this beautiful spot as his second home 15 years ago: “I love to spend time in L.A. I just feel at ease here.” No wonder. Taschen himself has become an established figure in Hollywood. Admired by many, endlessly imitated, but never matched, his TASCHEN publishing house is today considered a global phenomenon, with sales of 20 million books annually. The man from the German city of Cologne has published more than 1,000 titles worldwide in the last 35 years, selling his spectacular works in Philippe Starck-designed TASCHEN Stores in locations from London, Paris, and Milan to New York and Los Angeles. What makes him so unrivaled? “His unique publishing portfolio is without equal. It blends ‘high and low’; mixes art, sex and popular culture. Benedikt is one of the most important tastemakers of our time. He has strongly influenced the taste of our era and the art market,” says his good friend, the auctioneer and art expert, Simon de Pury. “As a person, he is as multifaceted as his publishing house. His humor, nonchalance, creativity, well-developed sense of friendship, and loyalty make him one of the most fascinat-
Opposite: After years of collecting, 18-years-old Benedikt settles down in his own shop, selling a huge selection of new and rare collectors’ comics, Cologne 1980.
June 2015
ing personalities in the arts and culture scene.” Equally impressed is star designer Marc Newson, who created a bookstand for TASCHEN’s new Annie Leibovitz book: “I admire his incredibly broad field of interests, his extraordinary connoisseurship and taste, his friendship and loyalty, and especially the fact that he has such a brilliant and naughty sense of humor!” TASCHEN’s portfolio is as colorful and diverse as Benedikt’s personality: architecture, art, design, fashion, photography, and, of course, sex. The fact that a book about architect Zaha Hadid is produced with as much passion, dedication, and attention to detail as Big Butts in 3D – is for Taschen a total given. It is 12 noon as we sit in the sunny shade in front of his home office. Benedikt lives here with his third wife Lauren. (She was a co-founder of Art Basel Miami Beach, and is in charge of the event’s program and sponsorship). His youngest son Balthazar (age 2) is having a nap, 5-year-old brother Laszlo is sitting on daddy’s lap, drawing. Your passion for printed works was born when you were a young boy.
I believe it was the books by Jules Verne, which I read at the age of seven. I grew up surrounded by books, and that hasn’t changed to this day. I spend a couple of hours every day reading books and newspapers, but always hardcopies, never on the computer.
Do you remember the first book that had a big impact on you?
How would you describe your childhood? What did your parents
Both of my parents were doctors. My father was an internist and my mother a general practitioner. I am the youngest of five siblings, and grew up with three sisters and one brother. My oldest sister is 16 years older than me. do?
There is the anecdote about how you seemed to have had an early sense for business, even as a child. On summer vacation at the beach in Holland, you would lie in wait under the wooden planks for
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High quality, multilingual, affordable, large circulation. The TASCHEN concept was born in 1983. At the time, Taschen bought 40,000 monographs for a dollar apiece, and sold them two months later for 9.95 Deutschmarks each.
change to fall through the gaps from the ice cream stand above. Later as a teenager, you founded a mail order company buying and selling comic books. Yes, I earned my own money early on. Back then, you had to send everything cash-on-delivery, or get paid via a post office account. The mailman would bring the money in the morning, while I was at school. What did your parents say about your early business ventures? My whole family, and especially my parents, were very supportive of me from an early age, in a variety of ways, including financially. I felt loved and knew that my family had faith in me, no matter what I did. That was very important to me and was an invaluable advantage. I was very fortunate and had everything I needed. I felt secure and inspired, and was left to my own devices. Nobody told me what to do or when to be home. I grew up happy, with a lot of freedom, and was treated as an equal, like an adult from a very young age. Where did your great passion for comics come from? When I was about ten, I was hooked on Mickey Mouse comic books. They totally captured my imagination and I began collecting them. I bought old comic books, and visited comic book stores in Cologne two or three times a day. At the time I did not realize that other people might also be interested in them. Much later I discovered that there was a collector’s market and that many people try to recapture the dreams of their lost childhood by buying vintage comics. How did you discover that other people were also interested in rare
When I got my hands on the first comic book price lists in 1976. I realized then that I wasn’t the only person in the world with this passion. On my search through the stores, I then started buying duplicates and comic books that others were interested in. I started enclosing price lists with the comics I sent to the collectors, who would comics?
then place orders by mail or simply call me up. New orders would arrive every day: for 30 Deutschmarks, or a few hundred, sometimes even more. I operated this mail order business out of the basement of my parents’ house for a few years. After passing my Abitur, the final exams before entering university in Germany, just shy of my 18th birthday, I opened my first store. Instead of attending college? Graduating was the only request my parents insisted on. In my store, I continued selling the vintage collector’s items, but also new books and magazines from around the world. In 1980, I took my first plane to California, where I visited a few comic book sellers and publishing houses. Back in Germany, I sold all the stuff that I had imported from the U.S. Did you already envision yourself a publisher by that point? That development happened more or less by chance. Business was good and we always needed new stock. We bought from publishing houses and distributors in various countries, and quickly learned what would sell and what wouldn’t. Apart from comic books we sold remainders and overstock items: art, movie, and photographic books, which publishing houses in the U.S., England and France were not able to sell at the regular price. Our game changer was a monograph about the Belgian artist René Magritte. We acquired 40,000 copies in the U.S. for a dollar each and quickly sold them on for 9.95 Deutschmarks apiece. A surreal success. At that time the distribution to other booksellers within Germany and abroad was organized by my then partner in crime Ludwig Könemann, a crazy-brilliant young man. Without him, there wouldn’t have been a company in the early years. Your big breakthrough happened in 1999 when you published the biggest and most expensive book of the 20th century. Your first SUMO book on the works of photographer Helmut Newton broke all records.
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!"#$%&'#()&*+*,-.(&& /0&1232&4&.--&56#&.(5/%5%&& 7.05&5+&80+7&6/92:& BILLY WILDER ON TASCHEN (VANITY FAIR, 2000)
Newton, Taschen and de Pury on the night of the auction of the first Newton book (left). Taschen at his first comic book shop (above).
Much more than a book, you published a Limited Edition work of
Newton was a milestone for the publishing company and for me personally. The whole thing was a wild idea: number 00001 of the SUMO book, signed by more than a hundred of the personalities photographed in it, was auctioned off for 630,000 Deutschmarks in 1999. It was the most expensive book to be published in the 20th century. Once again, I was very lucky. The book was a phenomenal success and has been sold out for many years now. Copies in their original packaging are today being traded for ten to fifteen times the original issue price of 3,000 Deutschmarks/$ 1,500. On top of that, I had the pleasure of getting to know Helmut Newton, who became a close friend until his sudden death in 2004. How did you come up with this revolutionary idea? I met Helmut at the end of the 1980s in Berlin. He was one of my big heroes and I asked myself: what could I offer him? What could I suggest to get him interested in working with me? I needed something completely original! So I came up with the idea of the oversized SUMO book. He loved the idea, and being his adventurous self, he agreed to do it. Every now and again, he would have some doubts. After all, he was at the pinnacle of his career and was taking a big risk. But in the end, everything came together perfectly, and the book looked exactly how we had envisioned it.
PHOTOS: MARK SEELEN (4), © ERIC LAIGNEL (1)
art.
Because of your first SUMO book you were able to establish prices
After the sensational success of the first SUMO book, we felt confident to publish more extraordinary, elaborately produced books that were as unique as they were expensive. All of a sudden, we found ourselves in this unusual, but fortunate position: we were publishing books with a huge print run for 10 dollars, and at the same time that would have been unthinkable in the publishing world before.
producing lucrative Collector’s Editions with a much higher issue price that were restricted to 1,000 copies. We want to make it possible for everyone to buy the books they are interested in – independent of their wealth. It seems that today you and your company are almost regarded as a
Creative people need an environment in which they feel understood and taken care of, and where they are in the company of other artists who appreciate them. That is the home that TASCHEN offers. Your gut feeling – is it the secret to your success? (laughs) Naturally, it comes with both advantages and disadvantages. If something looks relevant and unique to us, we try to make the best out of it. In addition to mainstream themes, we also like to feature more niche subjects. But in everything we do, we treat the chosen content with the same diligence and passion, no matter if we are working on the complete works of Leonardo da Vinci, Tiki culture or the foot fetishist Elmer Batters. What is not of interest to us, we do not publish, even if it promises to be commercially lucrative. The TASCHEN portfolio reflects the personal and often idealistic visions of the editors – and myself. All in all a rather anachronistic program. platform or advocate for artists?
You have turned the coffee table book into a desirable lifestyle object. A new sort of art collection you can take home. What do you
What others do, or who they copy, is their business. We are busy enough with our own work, and are primarily concerned with one main objective: how to keep our loyal TASCHEN readers inspired and devoted to us. Many of our customers have grown up with us and have been loyal readers for ten, twenty or thirty years. Some are even second-generation readers. think of those who try to copy you?
Continued on page 176
43 June 2015
363
course, as well as pop culture. On top of that, the Americans themselves welcomed me in a an old time studio boss, always in super open and friendly way, charming with ” is how Billy Wilder described him. (..+"22"2 their almost childlike curiosity. I quickly got to know individuals from backgrounds(/01%&" who treatriety of rea-!"#$%&" FINELL, www.finell.co INTERVIEW page 24the most diverse HORGENGLARUS, www.horgenglarus.ch STUDIO JOB, www.studiojob.be EDITOR’S LETTER page 6 BENEDIKT TASCHEN ICE-WATCH, www.ice-watch.com me with an ease and openness that I was not so used BENEDIKT to from mypage 34 in their re-TASCHEN,ed www.taschen.com TASCHEN, www.taschen.com INCIPIT, www.incipitlab.com WOMAN page 26 KARTELL FRAGRANCES, time growing upADEEN, in www.adeenyc.com Germany. KENGO KUMA page 44 www.kartellfragrances.com '#()*+%,-.
$#%2"0,'
ANYA HINDMARCH, www.anyahindmarch.com
KENGO KUMA, www.kkaa.co.jp MAARTEN DE CEULAER, page 18 AREAWARE, www.areaware.com MuhammadTRAVEL When I told friends that I was going to meet you, their first question www.maartendeceulaer.com ANDRÉS GALLARDO AND MARINA CASAL, BAUR, www.baur.de
ORLEBAR BROWN, www.orlebarbrown.de
VERTIGO page 60
PIA WÜSTENBERG, www.piadesign.eu
PHILIPPE BRIAND, www.philippebriand.com
DELIGHTFULL, www.delightfull.eu Koons, Kip-BARUC CORAZÓN, was:www.baruccorazon.com but can you still make money selling printed books? (laughs) CHRISTIAN LIAIGRE, www.christian-liaigre.fr PAUL ROCO, www.paulroco.com JACKS BEAUTY LINE, www.andresgallardo.es
JORGE PENADÉS, www.jorgepenades.com
www.jacks-beautydepartment.com d many oth-JOSÉ SELGAS “Painfully feeds itself,” asSIEGER, thewww.sieger-germany.com German proverb goes. Yes, UND LUCIÁ CANO, the squirrel LOQI, www.loqi.eu
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www.selgascano.net
Continued from page 43
There are TASCHEN customers who bought their first art books for a few dollars as teenagers, and over the years, have built up libraries of hundreds of our books (sometimes even more than a thousand). One of our most devoted clients is the Belgian collector René Rousseau, who owns 179 limited Art and Collector Editions plus 650 unlimited TASCHEN books. He even built a beautiful, small museum for his TASCHEN collection, with custom-made shelves and special air conditioning for the books! Every day, we get dozens of emails and letters from readers around the globe who are delighted with our books, in which they discover whole new worlds. This kind of feedback is crucial to our work. Are you thinking about going digital at some
PHOTO: MARK SEELEN (1)
MOSCHINO, www.moschino.com CLINICA DESIGN, the job. Yes,LAwww.laclinicadesign.com sometimes I do feel a silent movie There isOFFICES something page 164 LOOKproducer. page 30 OLYMPIAlike LE-TAN, www.olympialetan.com BOTTEGA VENETA, www.bottegaveneta.com AMES DESIGN, www.amesdesign.de TASCHEN, www. taschen.com MARRE MOEREL, www.marremoerel.com ARPER,can www.arper.com way around. very anachronistic about books. But you definitely stillSOCIETY makepagemonTRENDY TUB, www.trendy-tub.com 172 CHANEL, www.chanel.com WOOUF!, www.woouf.com TASCHEN, www.taschen.com DASRAS, www.dasras.fr ART & DESIGN page 22 n business.AUDEMARS ey,PIGUET, especially if you already have a fewDESIGN3000, bucks, and luck. We’ve been in www.design-3000.de BOOKS page 174 MAN page 28 www.audemarspiguet.com DIX HEURES DIX, www.dixheuresdix.com BECKER JOEST VOLK VERLAG, www.bjvv.de hings moveFLORENCEbusiness for 35 years now, and are still very much alive and kicking ARTEL, www.artelglass.com DOLÉAC, www.doleac.net NASON MORETTI, www.nasonmoretti.com BRANDSTÄTTER, www.brandstaetterverlag.com BETHAN GRAY, www.bethangray.com KENDELL GEERS, www.kendellgeers.com NORMANN COPENHAGEN, www.hirmerverlag.de s longer. InKRISTINA–DAM,a www.kristinadam.dk kind of a big BINAURIC, fish in a small pond www.normann-copenhagen.com – “Knock on wood!”HIRMER, as my good www.binauric.com TASCHEN, www.taschen.com CRABTREE & EVELYN, www.crabtree-evelyn.de PAOLA C., www.paolac.com M RESTAURAN T, www.mrestaurants.co.uk TENEUES, www.teneues.com DEIRDRE DYSON, www.deirdredyson.com rpiece Gen-VITRA DESIGN friend would say. I amPEDRALI, extremely www.pedrali.it grateful for our ongoMUSEUM,Simon de Pury DOLCE & GABBANA, www.dolcegabbana.com PETITE FRITURE, www.petitefriture.com www.design-museum.de PERSONAL page 178 PUCCI, www.emiliopucci.com WINDSPIEL GIN, www.windspiel-gin.de DANIELthe LIBESKIND, www.libeskind.com TAMARA COMOLLI, www.tamaracomolli.com ing success, and EMILIO thank all our loyal TASCHEN fans around globe publishing, MC who are such a big part of it. because of your racy sex publications. Does one need to be provocative to be noticed around the world?
I don’t know. I’m not interest-
ed in causing controversy. One thing that may not be quite as well known about you is the fact that you are a father of five. Are your children involved in the compa-
Marlene, my eldest daughter, is running our Milan office. Charlotte is an actress, and works at TASCHEN in Los Angeles, when she has the time. My son Bene advises me on photography and organizes successful pop-up exhibitions with his “Hardhitta” gallery. Laszlo, Balthazar, and my granddaughter Aurelia have everything under control: the next generation, so to speak, currently active in preschools. ny?
One of your greatest passions is devoted to
When I first visited L.A. in 1980, I immediately felt I belonged here. Many things seemed so faYou have grown from dealing with comics into miliar to me, thanks in part to my favorite the global market leader of art books. What authors back then – like Chandler, Steinbeck drives you now? What inspires you? That’s a and Bukowski – but also because of Disney’s comics, T V shows, movies, and music, of good question! I am still as curious as a little boy, which is why I am still having so much course, as well as pop culture. On top of that, fun working on a daily basis. There is never a the Americans themselves welcomed me in a “Like an old time studio boss, always in chance for boredom, because the range of subsuper open and friendly way, charming with control,” is how Billy Wilder described him. jects is so vast. On top of that, I am extremely their almost childlike curiosity. I quickly got to know individuals from the most diverse backgrounds who treatprivileged to work with people that I value highly for a variety of reaed me with an ease and openness that I was not so used to from my sons and with outstanding talents from around the world in their retime growing up in Germany. spective fields. point or does that run counter to your philos-
the city of Los Angeles. Why is that?
If we have one! (laughs) No, e-books are not for us. ophy?
You have collaborated with Billy Wilder, Helmut Newton, Muhammad
When I told friends that I was going to meet you, their first question
Ali, Mick Jagger, Paul McCartney, Dennis Hopper, Jeff Koons, Kip-
(laughs) “Painfully the squirrel feeds itself,” as the German proverb goes. Yes, sometimes I do feel like a silent movie producer. There is something very anachronistic about books. But you can definitely still make money, especially if you already have a few bucks, and luck. We’ve been in business for 35 years now, and are still very much alive and kicking – a kind of a big fish in a small pond – “Knock on wood!” as my good friend Simon de Pury would say. I am extremely grateful for our ongoing success, and thank all our loyal TASCHEN fans around the globe MC who are such a big part of it.
Well, somebody has to do the job. Yes, most of them approached us, but it also happens the other way around. If we then manage to find some common ground, we are in business. How long do you normally spend working on a book? If things move along quickly, about a year. But sometimes a book takes longer. In some instances three, five or more years. Salgado’s masterpiece Genesis took more than ten years. ers. Did they all approach you?
The U.S. media like to call you the successful “bad boy” of publishing,
was: but can you still make money selling printed books?
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June 2015
PHOTO: MARK SEELEN (1)
penberger, Valentino, Starck, Ando, Salgado, Leibovitz and many oth-
“The historic photo exhibit drew a bevy of who’s whos including Arnold Schwarzenegger, Pamela Anderson, Steven Tyler, David LaChapelle, Jeremy Scott and Udo Kier. The exhibit was also legendary photographer Bailey’s first group show since he exhibited with artist David Hockney in London in 1971. Fans of portraiture remarked on the significance of the wide appeal of the event, which became even more evident when Jack Nicholson entered the room.” — The Hollywood Reporter, Los Angeles
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My First Taschen So small, that first book, but such content! Wow! Who thought of this? Who publishes this? It was this little book, a present from my father in 1997, that first drew my attention to Benedikt Taschen. It is the book ‘Jan Saudek 1987-1997’. A breathtaking juxtaposition in photographs of erotica with the long, slow slide from youth to old age, from bloom to decay. Eroticism in a book making me go red all over the first time I paged through it. Is it shame? Shyness? Excitement? Or simply amazement that someone had the balls to publish this? I have to know more about this man!
366
René Rousseau Collection
…a book making me go red all over the first time I paged through it.
wow “TASCHEN projects are like thousand-dollar fanzines: obsessive, exhaustive, and compulsively readable.” — Graphis, New York
‌Vanessa is delivered to my door, wrapped in brown paper and cardboard, suggestively urging me to unwrap her.
6
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RenĂŠ Rousseau Collection
It is 1981. I am barely 16, living in the provincial town of Maastricht, when I first get acquainted with Vanessa del Rio, together with a friend in an obscure theatre in Amsterdam. It is this Latina porn star who serves us up what is to become my first adult film. The impression she leaves on me I will never lose. It is 2007 when I get wind of a publication about Vanessa by TASCHEN, the publisher whose works I am now gradually becoming rather familiar with. Oh Vanessa, back in town! Back in mind! It is now no longer enough to go down
to the shop and get it. No, this calls for phoning Cologne. TASCHEN headquarters. I speak to Perihan Dogan, direct sales manager. She sells me my first Collector. A few days later, Vanessa is delivered to my door, wrapped in brown paper and cardboard, suggestively urging me to unwrap her. My hands are shaking like I’m 16 again as I strip Vanessa of her packaging, layer by layer. The binding is leopard-skin print, and with the piercing, cherry-red lipstick kiss of the introduction, she leads me on, winking, to penetrate deeper into the book.
From that moment on, I’m a moth to the Taschen flame.
“TASCHEN revels in the glory of the printed medium even as the rest of the world continues to reduce its library down to pixels on small screens.” — Vanityfair.com
Groot Groter Sumo
Foto boek: Helmut Newton
I call Cologne again to ask whether they have anything else in the catalogue as bold, enthralling, and artistic as this. It is a long conversation: about the editions, about the artists and their art, about extreme formats, about collectors, working methods, and techniques.
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RenĂŠ Rousseau Collection
This book is a passionate kiss
Among my absolute favourites is the Taschen book of the work of Walton Ford, animal illustrator and painter. The collector’s print shows hummingbirds caught among ‘limed blossoms’. I cannot help but recall the way I catch birds myself, in great numbers with nets, to ring them and then send them on their way to their next flight.
Their numbers have increased every year since I started, in 2009, and they are now thousands. In light of my decision to stop breeding exotic birds in the coach house where the Taschen collection is now housed, this building and the Walton Ford etching bring everything full circle.
9
“Stunning art books that are artworks in themselves.” — The Huffington Post, New York
Raindrops My collector’s addiction is awakening. Peri agrees to send me a number of ‘teasers,’ the amuse-bouche of the book world. Bait, to catch a customer. And it works, because the teasers are works of art in their own right, just screaming to be collected themselves. I begin to feel like nothing from Taschen can be considered transitory; from here on I begin saving every wrapper, every paper, every envelope, every cardboard box. It’s as though Benedikt is making the books especially for me. Taschen has become my obsession. A little later, when I’m holding ‘An Encyclopedia’ by Danish-Icelandic sculptor and conceptual artist Olafur Eliasson in my hands, I know there’s no going back. That volume, with its rippling raindrops captured on the cover, is still a favourite in my collection. From there, it escalates quickly. One art edition after another is delivered to my door. Raindrops flow together into a brook, a stream, a waterfall. Over 200 Collector’s and Art Editions and around 1,000 Trade Editions – many in multiple copies – with stunning accompanying signed prints.
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René Rousseau Collection
Revolt
Habitat
Where should I keep this bulging collection? The library would seem to be the obvious choice, but it’s not big enough. A bigger room? Multiple rooms? Along walls, under beds, on tables, under tables, wherever there’s any space to be found, books accumulate – many not even unwrapped. Inch by inch and yard by yard, they eat up the space intended for us, the ones who live here. A silent revolt begins to grow among my wife, our nine children, and the staff – a revolt against Taschen.
It becomes clear to me that the collection must be united, it has to be visibly put together, but that every book also merits its own attention, and so needs its own habitat. It slowly dawns on me that even our vast house is not big enough… I look out of the window at the 19thcentury coach house where I long raised exotic birds, and it comes to me: this will be my Taschen museum. The Hall of Fame!
“I am an unabashed, screaming fan of TASCHEN. I don’t just love it, I aspire to be it: big, bold, sleek, tasteful, smart, glossy, beautiful, expensive, impressive.” — Pure Film Creative, Los Angeles
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RenĂŠ Rousseau Collection
Pearl necklace
Altar
Every time I enter the new space, I see everything that changed during the metamorphosis. A sustainable renovation worthy of the content. Sometimes I’m aware of how my books act like a beautiful, demanding woman on whom you might lovingly bestow a diamond ring, a pearl necklace. Indeed, that’s what drove me to place selected works of applied art here, to serve as a balance to the heart of the exhibition.
An extraordinary book stand, design by architect Tadao Ando, stands on an antique table over four metres long. It is the ‘altar’ to the breathtaking photography of Sebastião Salgado. This is a sacred work. Two ceramic chalices by artist Guido Geelen flank Sebastião Salgado’s photography as the Holy of Holies.
The centrepiece is the eight-metre long display case with deep, built-in drawers, designed by Theo Faesen, made from stainless steel, hardened glass, and aged oak. Then, there are the dozens of roughhewn wooden steps of the rugged staircase, each cut from a single block of rock-hard wood by sculptor Xander Spronken. And the rare narwhal tusk, the Coco de Mer, and the antique engraved sperm whale tooth all have their place here.
Here, the Rousseau Collection resides in a place befitting its grandeur.
The spectacular display cases, creations of hand-forged steel and hardened glass by Xander Spronken, present a few of my favourites from the collection. Here, my collection resides in a place befitting its grandeur. In my thoughts, and in my desires, I see the next Taschen in the making...
“TASCHEN is a miracle of taste in publishing… They consistently maintain incredible quality in content and style…” — Mad Men creator Matt Weiner
EACH AND EVERY TASCHEN BOOK PLANTS A SEED!
Each year, we offset our annual carbon emissions with carbon credits at the Instituto Terra, a reforestation program in Minas Gerais, Brazil, founded by Lélia and Sebastião Salgado. To find out more about this ecological partnership, please check: www.taschen.com/zerocarbon
Inspiration: unlimited. Carbon footprint: zero.
Olafur Eliasson
Dennis Hopper
Pedro Almod贸var
Christo & Jeanne-Claude
Mick Rock
Neo Rauch
Jean Nouvel
Robert Crumb
Howard Bingham
Darren
Hugh Hefner
Annie Leibovitz
Valentino
Andy Summers
Richard Meier
Bettina Rheims
Christopher Wool
Mark Ryden
Bert Stern
Issey Miyake
Ralph Gibson
Bob Willoughby
David LaChapelle
David B
Albert Oehlen
Ralph Stea
Neil Leifer
Julius Shulman
Shigeru Ban
Kishin Shi
Alex Steinweiss
Larry Schiller
Pierre & Gilles
Hunter S. Th
Paul Smith
Bowie
LeRoy Grannis
Tadao Ando
The Rolling Stones
n Almond
Ai Weiwei
adman
Mario Testino
Naomi Campbell
Marc Newson
Vanessa del Rio
Harry Benson
Walton Ford
David Bailey
Gisele B端ndchen
Terry Richardson
hompson
Philippe Starck
William Claxton
Jeff Koons
inoyama
Sebasti達o Salgado
Ellen von Unwerth
Helmut Newton
Wolfgang Tillmans
Nobuyoshi Araki
Muhammad Ali
H.R. Giger
Peter Beard
Inez van Lamsweerde
Hundertwasser
Paul McCartney
Gay Talese
Vivienne Westwood
Zaha Hadid
Contacts
Corporate gifts
Need help? Any questions? Our team will be happy to help you. Please contact collectors@taschen.com
Time to thank a valued client? Or to win over an entire board of trustees with illegal bribes? Whatever the occasion and whoever the recipient, our corporate gifts team can help you. Please contact
THE AMERICAS Erin Levy: +1 323-463-4441
corporategifts@taschen.com Olivia Byron: +39 02 84345013
“If you decide to invest, choose appreciating assets and global heritage value.”
“At a time when the book publishing what is faltering and the old powerhouses are going digital, Taschen is running in the opposite direction. The 35-year-old company is growing, and even accelerating the production of lush print volumes, many of them special additions that include original works of art. It has an old world feel, closer to an 18th-century bookmaking collective than a worldwide publishing empire.”
— Süddeutsche Zeitung, Munich on TASCHEN Collector’s Editions
EUROPE Aline Vandersanden: +49 221 20180-123 ASIA Prudence Tsui: +852 254 480-18
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1991– 2015
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1991– 2015
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