Tag Archives: Taschen

LYNN GOLDSMITH AND PATTI SMITH

BEFORE EASTER AFTER—photographer Lynn Goldsmith’s deluxe collaboration with Patti Smith—is forthcoming from Taschen.

This week, join Goldsmith and Smith for a public conversation and live performance.

LYNN GOLDSMITH with PATTI SMITH

Friday, October 25, at 7 pm.

Museum of Contemporary Art Chicago—Edlis Neeson Theater

220 East Chicago Avenue (use Pearson Street entrance), Chicago.

Lynn Goldsmith and Patti Smith, Before Easter After, 2019, Taschen; book cover image (third from top); Smith with Lenny Kaye (above); Patti Smith—Easter cover, 1978 (below). Images courtesy and © Lynn Goldsmith, Patti Smith, and Taschen. Photograph of Smith and Goldsmith signing books at Taschen launch in Beverly Hills, October 8, 2019, courtesy and © Charley Gallay and Taschen.

WARHOL ON BASQUIAT

Andy Warhol’s last years were often spent in the company of his friend and collaborator Jean-Michel Basquiat.

The new book Warhol on Basquiat—edited by Michael Dayton Hermann—looks at this relationship through Warhol’s photographs, archival media, excerpts from Warhol’s diaries, and examples of the artworks they created together.

WARHOL ON BASQUIAT: THE ICONIC RELATIONSHIP TOLD IN ANDY WARHOL’S WORDS AND PICTURES (Cologne: Taschen, 2019).

From top: Jean Michel and Andy at The Rockefeller Center, September 19, 1985, photograph; Jean Michel outside the Mary Boone Gallery on West Broadway, March 9, 1985, photograph; Andy and Jean Michel painting Problems at Andy’s studio at 860 Broadway, March 27, 1984, photograph; page layouts from Warhol on Basquiat (3); book cover; Jean Michel painting Untitled at Andy’s studio at 860 Broadway, April 16, 1984, photograph. Images courtesy and © The Andy Warhol Foundation for the Visual Arts, Inc. and Taschen.

REM KOOLHAAS IN LOS ANGELES

This weekend, Rem Koolhaas will discuss and sign copies of his new book Elements of Architecture—designed in collaboration with Irma Boom—at Taschen in Beverly Hills.

REM KOOLHAAS book signing

Saturday, November 10, from 5 pm to 6 pm.

Taschen

354 North Beverly Drive, Beverly Hills.

See “Elements: A Walk through the Architecture Exhibition at the Venice Biennale,” by Alexandra Ruiz and Barlo Perry, PARIS LA 12 (2014).

From top:

Book cover image courtesy Taschen.

Rem Koolhaas, photograph by Stephan Vanfleteren.

A still from the film 1,2,3 Rhapsody (1965). Koolhaas was both cameraman and actor. Image courtesy of Rene Daalder.

SUNSHINE NOIR

A corpse lies in the bed of the L.A. River in a bleak noir tableau, circa 1955.

The discovery of oil in Echo Park in 1892 brought in mountains of cash, corruption, and crime, and Los Angeles was transformed from a sleepy, rundown village into the birthplace of noir.

“Promotional imagery of mountains, sun, and surf promised a better life and unlimited possibilities, but newspaper and tabloid photos showed newcomers that the seductive vision wasn’t the whole story. The flip side of paradise was a different Southland, one where dope rings, petty criminals, sensational murders, ladies of the night, bullet-riddled bodies, and a notoriously corrupt police force flourished.

“It was the other Los Angeles — a city awash in corruption and sin. The posed and the candid. The good and the bad. A city to aspire to and a city to revile. Both versions were responsible for creating the mythic City of Angels.” — Jim Heimann*

Taschen editor Heimann as assembled the definitive chronicle of L.A.’s dark side from the 1920s through the 1950s in DARK CITY: THE REAL LOS ANGELES NOIR, a nearly 500 page volume which includes bound-in facsimiles of magazine clippings.

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JIM HEIMANN, DARK CITY: THE REAL LOS ANGELES NOIR, (Cologne: Taschen, 2018).

taschen.com/dark_city

*Late last year, the L.A. Weekly published Heimann’s DARK CITY introduction:

laweekly.com/news/taschens-dark-city-real-los-angeles-noir

Top: A riverbed corpse. Image credit: Los Angeles Police Museum and Taschen.

Middle: Cover with slipcase. Image credit: Taschen.

Below: Cairo Mary ejects of patron from waterfront dive Shanghai Reds. Image credit: USC Libraries Special Collections and Taschen.

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JAMES BALDWIN AND RICHARD AVEDON — NOTHING PERSONAL

“It has always been much easier (because it has always seemed much safer) to give a name to the evil without than to locate the terror within. And yet, the terror within is far truer and far more powerful than any of our labels: the labels change, the terror is constant. And this terror has something to do with that irreducible gap between the self one invents—the self one takes oneself as being, which is, however and by definition, a provisional self—and the undiscoverable self which always has the power to blow the provisional self to bits. It is perfectly possible—indeed, it is far from uncommon—to go to bed one night, or wake up one morning, or simply walk through a door one has known all one’s life, and discover, between inhaling and exhaling, that the self one has sewn together with such effort is all dirty rags, is unusable, is gone: and out of what raw material will one build a self again? The lives of men—and, therefore, of nations—to an extent literally unimaginable, depend on how vividly this question lives in the mind. It is a question which can paralyze the mind, of course; but if the question does not live in the mind, then one is simply condemned to eternal youth, which is a synonym for corruption.” — James Baldwin, from his essay “Nothing Personal”

Taschen’s NOTHING PERSONAL reprints the landmark 1964 collaboration between Richard Avedon and James Baldwin, and includes a supplementary booklet with outtakes, correspondence, and a new essay by Hilton Als.

A gallery exhibition of Avedon’s work from from book will be up at Pace MacGill until mid-January.

 

NOTHING PERSONAL—RICHARD AVEDON and JAMES BALDWIN

Taschentaschen.com/richard_avedon_james_baldwin_nothing_personal

RICHARD AVEDON—NOTHING PERSONAL, through January 13.

PACE MACGILL, 537 West 24th Street, New York City.

pacemacgill.com/show

avedonfoundation.org/nothing-personal-1964-essay-by-james-baldwin

See: aperture.org/vision-justice-online-nothing-personal/

 

From top:

Pace MacGill installation view.

Original book cover, Atheneum, 1964.

Richard Avedon, Julian Bond and members of the Student Nonviolent Coordinating Committee, Atlanta, Georgia, March 23, 1963, from Nothing Personal.

Richard Avedon, Dorothy Parker, from Nothing Personal. Avedon’s portrait of the great American writer, wit, and original member of the Algonquin Round Table was taken in 1958.

Nothing PersonalNothing PersonalCover of Richard Avedon and James Baldwin, Nothing Personal, 1964

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Spread from Richard Avedon and James Baldwin's Nothing Personal, 1964

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