fall 2002

TASCHEN
“...THE MOST EXQUISITE BOOKS
ON THE PLANET.” —wallpaper*, London
Cologne, June 2002 What’s new ?
3-13 The making of Marilyn
Dear reader, 14-15 Who, what, when, where, and how much $$$ – Art Now
Here at TASCHEN we always try to find new ways to 16-17 Berlin Interiors – Where East meets West. The best of both worlds
18-23 Lustful places, luscious women – Motel Fetish – Behind closed doors
please you, our customer—and now our newest and with Krider’s vixens
most brilliant campaign should do just that. 24-27 Leave stress behind – Great Escapes Europe – Get away in style
28-29 Glamour, glitter, and gorgeous girls – Bernard of Hollywood:

Find Faulpelz !
The Ultimate Pin-Up Book – Bernard’s star-studded repertoire
30-31 Couture: then and now. Fashion – Three centuries of women’s clothing
32-35 Icons – More bang for your buck! The world in your pocket
36-39 No comment – Asia Grace – Images of Asia that speak for themselves
40-42 Travel ecstasy – Cheap Hotels – Stay in Madras for $4, Tokyo for $37,
or New York for $99
43 Computers. An Illustrated History – The incredible shrinking computer
44-45 Do it yourself – 500 3D Objects – A book with endless possibilities
... and win $ 1000 plus a personal invitation to attend 46-47 In the beginning, there was Pac Man… 1000 Game Heroes – Who’s who
an all expense paid trip to a Faulpelz-Fest in Los Angeles. in the digital battlefield
48-49 Modern Amazons – Hardbodies in bikinis.
This is how it works: The talented Mr. Dobbins (and his amazing bodybuilding babes)
50-51 For the love of trees – Wood Book
52-53 Pomona Britannica – Beautiful berries, precious peaches, fantastic figs,
Beginning with this catalog Faulpelz will appear monthly gorgeous grapes, magnificent melons…
somewhere on our website, and from now on, in all new 54 Living in Greece – Mythical homes in the land of the gods
55 Living in Ireland – Cozy cottages and castles
TASCHEN titles. 56 Style down under – Living in Sydney – Sydney’s coolest interiors
57 Home is where the kitchen is: Country Kitchens and Recipes
58-59 Ads from the space age – All-American Ads of the 60s –
A monthly drawing starting in the fall will be held to 60s Americana galore!
determine which TASCHEN reader has found Faulpelz in 60-63 Gaga for Ghostbusters? Movies of the 80s – Get the guide!
64-75 For Leni on her 100th birthday: Riefenstahl – A very special tribute
TASCHEN books and the TASCHEN website. to her remarkable Africa œuvre
76-77 Back to the future! Architecture Now II – The quest for a new architecture
78-79 Scandtastic! Scandinavian Design – From Aalto to Wirkkala,
Faulpelz, who prefers to stay anonymous, is a TASCHEN more than 200 outstanding Scandinavian designers of the past century
editor who looks like this: 80-82 Case Study Houses – Prototypes for everyone
83 New York by Reinhart Wolf – Skyscrapers up close and personal
84-89 Araki – Photography is love and death – that’ll be my epitaph
90-111 All titles – “Books which trigger the desire to buy.”

Adults only Publisher’s darling Bestseller

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He is hiding within these pages, chameleon-like and Texts: Alison Castle, Paris / Design: Sense/Net, Andy Disl & Birgit Reber, Cologne
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beautiful and exciting Marilyn book ever. This killer book
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Enjoy, Peace Photo credits: Cover & pp. 3-13 © André de Dienes / 16-17 © Eric Laignel / 18-23 © Chas Ray Krider / 24-25 © Gianni Basso/Vega
MG, 26 © Jan Jordan / 28-29 © Bernard of Hollywood / 30-31 © KCI, Kyoto / 36-39 © Kevin Kelly / 48-49 © Bill Dobbins, Los
Angeles / 54-57 © René Stoeltie / 64-75 © Leni Riefenstahl / 78-79 © Panton Archive, Basle / 80-82 © Julius Shulman Photography /
83 © Reinhart Wolf

Benedikt Taschen

| 2 | “…TASCHEN, probably the sexiest graphic book publisher in

existence, is moving from New York to Los Angeles." — Advertising Age , New York
|4| “…TASCHEN est l’éditeur qui a révolutionné le
The complete photographs and memoirs of Marilyn Monroe’s first photographer, André de Dienes

A most rare
and unbelievable treasure
After sitting in storage since his
death in 1984, André de Dienes’s
complete Marilyn archives have finally
been gathered together
for this exclusive publication!

* Worldwide limited edition of 20,000 individually

numbered copies

* Tucked into an enlarged facsimile of de Dienes’s

Kodak film box are:
—an extra-large format, 240-page hardcover
book featuring a vast selection of sumptuous
photographs and excerpts from de Dienes’s
memoirs, printed on 150g matte stock
—a 608-page softcover facsimile of de Dienes’s
complete Marilyn memoirs and his Marilyn
composite book (which includes the complete
set of nearly 1000 Marilyn photos in contact-
sized prints)
—a brochure containing all 24 of Marilyn’s
magazine covers shot by de Dienes

* With some notable exceptions, the vast majority Monroe Ed. Steve Crist and Shirley T. Ellis de Dienes
English, German, French and Spanish editions / Included in a presentation box:
of these images—especially those in color— Hardcover, format: 31.2 x 39 cm (12.3 x 15.4 in.), 240 pp. / Softcover, format:
have never been seen before 17.1 x 22 cm (6.7 x 8.7 in.), 608 pp. / US$ 200 / £ 135 / 2 200 / ¥ 25.000

Photographer André de Dienes’s life was changed forever one day in launch her model career and, a few years later, the film career that troubled megastar. From their trip to see Norma Jeane’s mother in
1945 when he met an aspiring young model named Norma Jeane was to make her a legend. His entire relationship with the star, an Oregon mental hospital to Marilyn’s visit to his home the year
Baker. They immediately took off on the road together so that André including many private moments never before revealed, is detailed before her death, de Dienes recounts all of the emotional moments
could photograph her in natural settings across the West; during their in de Dienes’s memoirs, which were written shortly before his death they shared. This special edition, combining de Dienes’s memoirs
travels, they fell in love and were briefly engaged. After their romance in 1984. Recently uncovered and published here for the first time, and photographs, is at once a touching autobiography and an exclu-
ended, they remained friends and de Dienes continued to photo- these unknown memoirs tell a bittersweet story of love and friend- sive personal exploration into the psychology, history, and iconogra-
graph her. His unique, loving photographs of Norma Jeane helped to ship, tracing the evolution of a sensitive, ambitious girl into a deeply phy of Marilyn Monroe.

marché du livre illustré.” — Le Monde , Paris

 Edited by
Steve Crist and Shirley T. Ellis de Dienes

| 6 | “The name TASCHEN signifies beauty, culture, and modernity. Each

of their books is an object of desire and a world event.” —Madame Figaro, Paris
|8| “TASCHEN books are beautiful, original, un-
Reality can be
stranger than fiction

Selected excerpts from nition, that I told Norma Jeane in 1945 about wanting to start a new
André de Dienes’s memoirs kind of magazine, the picture of the rabbit as the emblem of the
magazine and pictures of her nude inside the magazine. Eight years
Norma Jeane later, Hugh Hefner, a genius businessman, made it a reality! Norma
Jeane was going to be the cover star of the first issue of my maga-
Reality can be stranger than fiction. Soon after I got myself zine; correspondingly, the first issue of Playboy featured my darling
installed in a bungalow at the Garden of Allah in Hollywood, I phoned Norma Jeane, but as Marilyn Monroe, on the cover and nude on the
Emiline Snively, who had the Blue Book Model Agency at the inside.)
Ambassador Hotel, and I explained to her that I was back in
Hollywood again and that I needed models for photos of nudes, artis- I noticed Norma Jeane had a wedding ring on her finger. She
tic nudes for a new project I had in mind. And Miss Snively said there informed me she was married, but separated from her husband and
was a very pretty girl in her office, waiting for her first modeling no longer in love with him. He was a merchant marine away at sea,
assignment, a model who just started in the profession, and perhaps and she was free and modeling was her new goal. She mentioned
she would pose for nudes. Miss Snively said she would send the nothing about wanting to become an actress. The few words of
young lady to see me right away and that her name was Norma explanation she gave me freed my mind from inhibition. The truth
Jeane Baker. was that I wanted to photograph her very much, but I wanted her
more than anything else in the world! I was completely love struck
When Norma Jeane arrived at my bungalow later in the afternoon, it from the moment she appeared at the door.
was as if a miracle had happened to me. Norma Jeane seemed to
be like an angel. I could hardly believe it for a few moments. An
earthly, sexy-looking angel! Sent expressly for me! The impact Norma
Jeane had on me was tremendous. As minutes passed, I fell more
and more in love with Norma Jeane; there was an immediate rapport
between us. She responded to everything I said. She started to look
around in my room examining all the pictures I put on the walls and
began asking questions. I had the immediate feeling that she was
something special, something different from most girls and models I
had met before her, mainly because she was so eager to ask ques-
tions about me and the pictures I put on the walls. She wanted to
know many things right away, she was interested in me! She was
Late in 1999, I had the opportunity to see the documentary film utterly sincere; she did not wish to speak about herself, except when
“Let’s Get Lost” by photographer Bruce Weber. Somewhere in the I asked her my own questions. She was sincere in wanting to know
film, Bruce showed a book of nude photographs to the musician who I was and what I was doing with my life, and I began to amuse
Chet Baker, remarking how beautiful the unnamed artist’s work was. her exceedingly with all sorts of stories that ran through my mind and
Intrigued, I slowed down the videotape many times until I caught a I just kept dishing them out to her. I still remember it as clearly as if it
brief glimpse of the photos and the name André de Dienes on the happened just recently.
spine. Who was this unknown photographer? Why had his work
slipped past me? I began to search. What had become of this pho-
tographer and his pictures? Perhaps I could purchase a print or an
old book for my collection.

Eventually, with patience and a lot of luck, I tracked down André’s

widow less than a few hours away from my home. She reluctantly
agreed to meet me, and we had our first encounter at a roadside
diner in the middle of the California desert. She wore dark glasses
and asked to see my driver’s license to verify my identity. Satisfied,
she produced a small box of André’s photographs from underneath
the table. Instead of the nudes I expected, she told a tale of Marilyn While we were talking, Norma Jeane took a good look at one of sev-
Monroe... lost images... and unpublished diaries. Right then, I knew I eral old engravings I had on the wall—a nude Indian girl sitting on a
had stumbled upon a treasure and there was much more to this rock, surrounded by mountainous scenery and animals, sort of an
story than I ever imagined. allegorical representation of the vision of America, the way Europeans
figured life was like in America a few centuries ago. Norma Jeane
The weeks and months that followed were a blur of unboxing photo- was very interested in the picture and I told her I brought the pictures
graphs, reading scribbled notes, and unfolding the actual umbrellas with me all the way from Transylvania. I went into a long story, telling
that a young Marilyn had held on the beach all those years before. In her that in Spain in the 16th century, it was believed that California
one box lay André’s camera, with the letters MM inscribed on the was an island inhabited by beautiful and strong native women—who
case. Carefully tucked away in a bedroom closet were André’s origi- lived nude. And that the entire continent of the west was rumored to
nal diaries. I began to read, and the story started to come together... be rich with gold, so Cortes, the famous Spanish explorer, outfitted
ships and came to explore and conquer California, driven by the lust
Unknown to me at the time was the fact that Benedikt Taschen had for gold and women. She laughed like crazy when I told her that I
been seeking out André’s work in hopes of publishing it. Our mutual had the same thing in mind coming here to Hollywood, and my
friend, the noted photographer William Claxton, had just introduced intentions were to photograph beautiful girls in the nude all through-
us around the time I was tracking down André—just another of the out the west, but at the same time to explore old forgotten gold
many coincidences in this project. I suppose now that all of this was mines and look for gold in the mountains too. I came straight to the
simply fate unfolding before our eyes. Clearly, the resurrection of point in our conversation, asking her whether she would like to come
these photographs and diaries has been a series of strange coinci- to travel with me. We would go by car to explore the vast west and
dences and connections. Collecting, archiving, and piecing together take pictures everywhere—glamour photos for magazine covers, and
this long overdue book has been a wonderful experience—equal Norma Jeane wore a pale pink sweater, tight to her body, and her nudes too!
parts photography, history, and mystery. Finally, the whole story can curly ash-blonde hair was tied around her head with pink ribbon; her
now be told as I know André would have wanted. It just may be the rosy pinkish face and her blue eyes reminded me of a pretty Easter I had a stack of large enlargements of photos I took of movie stars
last untold story in the life of Marilyn Monroe, published exactly forty bunny. I told her I had bought two large rabbit dolls in a toy shop in the year before, and some nudes, and Norma Jeane looked through
years after her death. New York, which I intended to photograph for a new magazine I was them with great approval. She was excited and wanted to pose for
planning to start (to be financed by a wealthy literary agent), and how me. She asked, “Would you like to see my figure?” In a jiffy, she
Steve Crist sorry I was not to have brought them with me to Hollywood, because grabbed her hatbox, went to the adjoining room (the bedroom), put
I would have loved to photograph her with the rabbits for my new on a bathing suit, and, smiling, beaming with happiness, she swirled
magazine. Norma Jeane loved the idea, and laughed heartily. around the center of the living room, happy to be able to show me
(Thinking back to all that, I find it a bizarre coincidence, or a premo- her beautiful figure.

predictable, and affordable.” — The Observer Life Magazine , London

 The last untold story in the life
of Marilyn Monroe, published exactly forty years
after her death

A day later, I took her to the beach to take pictures of her. Again and Like a magnet, she attracted all men! I became reluctant, even cau-
again, I photographed her each day. My mind was made up for sure— tious, stopping wherever there were men around. She good-
I wanted to take her away from Hollywood right away on a long trip. humoredly laughed every time and gently apologized to the men that
Just go with her, everywhere! I felt completely enamored by her! she was unable to stay…. She did not tell me so, but I knew she
was very pleased. So that’s how the legend of Marilyn Monroe began
I offered to pay her 100 dollars per week for posing plus all expens- right away—every man was crazy about her!
es, and that I would buy all sorts of things for her to wear for pictures
(Jeanes, blouses, sweaters, bathing suits) and promised she could After we left the police station, I asked her to stand on the highway,
eat as much and as well as she pleased, because I noticed she barefoot, fixing her hair in pigtails. While taking her picture like that, in
loved food. She was young and she had a good appetite! a sudden, strange, psychic revelation, I began pointing at the small
white stars on her red skirt, prognosticating that those stars meant
that some day she would become a very famous movie star! For a
*** while I was talking, babbling about a future fabulous life, foretelling
The journey begins almost incoherently that the road behind her symbolized life, and that
those were the first photos of her future successes to come!
In the days that followed, I bought Norma Jeane various clothes to
wear for my pictures and to keep her warm because it was
December and my plans were to visit the desert, the mountains, ***
everywhere in California, Nevada, Arizona, anywhere my fancy would Marry me!
dictate going. I removed the back seat of my big Buick Roadmaster
automobile and laid down a sheet of thick foam rubber with blankets It was raining while we drove to Mount Hood, Oregon, and the rain
on top and pillows all around, so Norma Jeane could sleep whenever turned into snow when we got to the Timberline Lodge. I went to
she wished to lie down to rest during the long drives I was planning inquire for accommodations and there was only one room available,
to do. That was her little “cage” as I called it. She laughed like crazy with a double bed. I went out to the car where Norma Jeane was
when I told her she would become my little slave and prisoner, that I waiting; she was in a rather serious mood. She said she could prefer
might even buy a long thin chain to attach to one end of her ankle it if we would drive on and find cabins somewhere in the woods…
and the other end to the car! Her hatbox full of her things and a separate cabins. I felt disappointed, because I liked that hotel and
small suitcase were also placed in her “cage,” plus a basketful of wanted the comfort there. The opportunity would have been extra-
food and thermos bottles for milk and coffee, etc. The trunk of the ordinary to take pictures of Mount Hood—a beautiful, extinct vol- took us for honeymooners, and offered us the best room they had,
car was for my equipment and the front seat was also for her, with cano—and it’s a fantastic place for good skiing. But I obeyed Norma on the first floor—a wood-paneled wonderful cozy room. We stayed
pillows against the door to give her as much comfort as possible. Jeane and drove down on the narrow, curving road while it was in there for two days while it was still snowing relentlessly. Our short
And thus the long journey began. snowing really hard and dusk was coming. At the junction of that stay there was like being in paradise!
narrow road and the main highway, there was a place called
Government Lodge. The snow was already too deep and my car A bizarre event happened there in that room during the first day of
our stay. Norma Jeane was manicuring and putting nail polish on her
could not go any further. We got stuck right in front of the hotel, as if
toenails and she lifted her hands in the air to show me her palms,
fate’s hand had guided us there purposefully. And in that hotel, too,
there was only one room left available—a room with one double bed observing how curious it was that in each palm there was a large M.
and a bathroom at the end of a long corridor. I came out to informSomewhat childishly, we compared out palms, looking at the lines in
Norma Jeane that we had to stay there! It was already darkening. them. And there, I told Norma Jeane the story of an old bell-ringer in
Norma Jeane smiled at me. She said, “Okay, let’s take the room. Transylvania who, in my childhood, had predicted that the two letters
Let’s not worry anymore about anything!” “MM” would mean a great deal to me when I grew up. And I told
Norma Jeane the story of about my meeting the old man while read-
A funny thing happened there almost as soon as I registered. On the ing a strange old book, and how the old man was preoccupied with
ground floor there were slot machines everywhere. I pointed at one one of the pages where the writing began with the two words
slot machine out of the many and told Norma Jeane in a loud voice “memento mori.” Norma Jeane was fascinated by my story, and we
that she needed pocket money for Jergen’s lotion (that she loved for discussed again and again the two Ms in our palms. I told her jovially
her skin) and I commanded the slot machine to provide a jackpot for that the Ms had nothing to do with death—to the contrary, they
it. The bartender and everybody at the bar were staring at us, perhaps meant “marry me!” And we pressed our palms together. We hugged
thinking I had gone nuts. I told Norma Jeane to stretch out the bot- and kissed and decided we shall get married as soon as she would
tom of her sweater under the machine. I put the quarter in and pulled get a divorce from her husband. We decided she would go to Las
the handle, and out gushed a flood of quarters! Everybody cheered. Vegas to get the divorce and we would get married there, right after.
From those moments onward, we felt we were engaged. I told
We had a good dinner and afterward we flipped a coin to decide Norma Jeane about my wanderings through Transylvania on foot, and
who would occupy the bathroom first. It wasn’t much of a bathroom, having carved many times in the bark of trees the two initials “M.M.”
just a lousy shower and a toilet. Then we went to bed without the I promised her that when we got married, I would buy her a thick,
slightest nervousness, as if what was happening was the most natural heavy gold wedding ring, and I shall have the two initials engraved
thing in the world. It was a strange contrast to all the days of inside the ring and a memento to remember the prediction of the old
amorous emotions I had to fight, and the frustration I went through bell-ringer. I even took a picture of her palm.
every night. Finally, we spent the night together, in the same bed!
When the lovemaking was over with, Norma Jeane cried in my arms. While it was snowing, we stayed in the room all day long, except for
She was happy, satisfied. And I was holding her, and she was holding a brief hour when I took her out to photograph her in the snow, read-
We were hardly in the outskirts of Los Angeles when the police patrol me as if I were her child. ing. She was pampering herself, combing her curly hair out again and
stopped me for faulty driving. Norma Jeane was sitting close to me again at the mirror, and draping herself in the bed sheet, while exam-
and the policeman might have felt jealous! She felt very indignant. In You might say, “André, let’s hear what it was really like to make love ining the results in the mirror. A sexy little “vampire” she was, glamor-
her sweet voice she riposted to the policeman that he was a crook with the future Marilyn Monroe!” But to respect Marilyn’s memory, I izing herself with the bed sheet, as if it were an expensive evening
and that we had done nothing wrong. The man, part seriously and prefer not to discuss sex. She was a divine, lovely young woman. gown! If only I had the foresight to photograph her in that room as
part joking, said to Norma Jeane that if she cared to stay there for And said she was never as happy before! She was crying. she was glamorizing herself on the bed naked, quite uninhibited. The
the night he would not make us pay the fine. I paid twenty dollars future Marilyn Monroe was there, in that room! A sex symbol was
and we continued the trip. That was only the first proposal she got on It was a fantastic, almost supernatural feeling when I fell asleep in incubating that afternoon!
that trip. Amazingly, at various places we stopped, people began pro- bed with Norma Jeane. She was hugging me, I was kissing her tears;
posing something to her. A garage mechanic said he would give his she said she had never had an orgasm before in her life. And I felt
left arm if she would stay and become his wife. A miner in the moun- greatly satisfied also, having waited for at least two weeks to make ***
tains said he wanted her and would give her everything he had. A love with her—more than I could possibly endure! Why didn’t or MM
young farmer said he was looking for a woman of her beauty! The couldn’t I have made her pregnant? I’ve asked myself ever since….
owner of a motel proposed to her! And the haberdasher where I During the summer of 1946, just at the onset of Labor Day, again,
stopped to buy her jeans went nearly out of his mind wanting to see Next, when we went down for lunch, it was still snowing hard, and Norma Jeane called me to say she had important news to tell me,
Norma Jeane try on various garments in the little dressing closet. my car was covered with snow. The wife of the owner of the hotel and she asked me to come to her apartment. When I got there, she

| 10 | “Quel catalogue offre aussi bien art, architecture,

design, photo, déco, pop culture, cinéma...?” — Ideat , Paris
| 12 | “Another delicious and luxuriously presented addition to the expanding
The making of Marilyn

came right to the subject: “Guess what, I have a new name!” With a would be “THE END OF EVERYTHING.” I quickly snapped the photo.
pencil, slowly, carefully, she wrote her new name on a sheet of I asked her why she pictured her death so sordid, so gloomy, instead
paper: MARILYN MONROE. And she emphasized the two M initials in of giving me an expression of calm smile as if dying was nothing
an almost calligraphic way! I have never forgotten, through all these more than going from one world into another, a beautiful transfigura-
years, my big surprise when I stood there, behind her, watching her tion. But Marilyn insisted that was the way she imagined her death.
writing her name…. There was something almost supernatural about The next photo was my idea. I asked her to lie down on the ground
how beautifully she wrote the large capital Ms. How much I’ve regret- to show me what she would look like when dead and again, I
ted since that day when Norma Jeane, or rather Marilyn, wrote down snapped the photo. It was already late afternoon; we were taking
her name for me, that I did not have the foresight to keep that sheet photos on the top of a cliff, overlooking the ocean. The scenery and
of paper. the light of the setting sun was magnificent; I was in the mood to
take many more poetic photos of her, but after I took the photo of
From now on, I shall refer to Norma Jeane as Marilyn. I had to get her face simulating death, suddenly she sprang to her feet and, part
used to her new name right away. After she signed her new name, seriously, part wittily, she began shouting, screaming at me, “Hell’s
the conversation went on for a while about the certain mysteries of bells, look what you’ve made me do to my hair! I have a date
life one cannot explain, like she, so cleverly finding a name with two tonight!” And she was shaking her head and taking out the pieces of
Ms, especially the name “Marilyn,” because in Portland, Oregon, just straw that stuck in her hair. I calmed her down by promising that
a half year previously, I’d told her that the two large Ms in her palm someday I would do a beautiful album with her pictures, accompa-
meant “Marry Me,” and now, even that resembles her new name— nied by all kinds of lovely quotations from my book, and even some
“Marry” became “Marilyn!” We were discussing how amazingly the of the poems she liked in that album we’d just read together. She
subconscious mind goes to work and concocts decisions, because of made a strange remark, saying, “André, do not publish those photos
previous impressions or suggestions! now, wait until I die!” And I asked her, how does she know she will
die before me? After all, I was 12 years older than her. And in a sad,
low-toned voice, she said she thought she would die before me. But
*** that took only moments; soon she was gay and cheerful again, look-
The end of everything ing forward to her dinner date, and she was urging me to hurry,
hurry, pack everything into the car and leave!
Soon after that day in the cemetery, I entered a second-hand book-
shop I passed by. I suppose I reacted to Marilyn’s suggestion that I I can’t forget how sad I felt that evening while driving back to
ought to bring an unusual kind of book! I was browsing from shelf to Hollywood—to be on time for her dinner date. Marilyn was no longer
shelf, having absolutely no fixed idea of what I wanted. I was about to the lovely Norma Jeane I once knew, only a few months before! She
leave when my eyes fell on an old leather-bound volume. I pulled it was going out to have dinner at Romanoff in Beverly Hills, and I felt she had complete faith in my photography. No matter how I wished
out. The cover looked worn and torn, and handwritten pages were terribly, terribly put down, belittled, and left behind. to pose her, she obeyed and all the pictures we took were delightful.
loose and about to fall out. There were small, very old engravings There was absolutely no nervousness for any reason whatsoever.
pasted on the pages here and there of famous people, like Pascal, I was packing my bags that night to return to New York, when the Only the phone’s ringing bugged me, but I ordered her not to touch it!
Boccaccio, Tennyson, Edgar Allen Poe, and small engravings of land- phone rang. It was her! She said she had a miserable evening with a
scapes from Italy and Germany and Scotland. The book dealer, with lousy guy—a swindler, someone who wanted her to pay for the din- I took pictures of her inside the bungalow and out in the patio, and
a gesture of nonchalance and lack of concern, said that I could have ner! But we reasoned that since she had exposed herself to a career by late afternoon she was taking a bubble bath. Afterward I began
the book for fifteen dollars. I paid and hurriedly left, fearing he might in Hollywood, she ought to be strong enough to cope with everything photographing her with a towel at the fireplace. She was in a
change his mind, declaring he had made a mistake; the book was that comes along—good or bad. But I did not inquire as to what bewitching mood! She had nothing on under the white towel, and
worth far more! happened. Instead, she suggested we ought to go out the following mischievously she was opening and closing the towel, letting me see
night and that I ought to photograph her during the night. In a vindic- her nude for a split second, as if signaling to me that this was the
I went to a restaurant to sit and sit and study what I had bought. I tive mood, I told her, “No. I am leaving for New York,” and that I wasn’t occasion for me to photograph her nude—if I wanted to. These
read the beautiful, handwritten poems and studied the pictures. It was interested any more in her! I did go back to New York the next day. photos at the fireplace were to be the last photos of the day and we
an album a lady started in Scotland around 1830. In it, she wrote were planning to go out afterward to the most fancy restaurant, the
her thoughts, her own poems, and poems she’d copied of famous most expensive place in Hollywood—Chasens. Marilyn began in-
people. I called Marilyn to tell her I’d found something very unusual, a *** sisting that she pay for dinner and for once I should let her be the
book I must show her, share with her, so we can read it together. The Bel Air Hotel boss! I told her we’d flip a coin. The phone rang again and rang and
That agreement we had made in the cemetery that we would go out rang, and finally Marilyn picked it up. She kept listening and listening
to the seashore and read some more could come through, due to In 1949, Marilyn had posed nude for photographer Tom Kelley, and gradually her expression turned frightened, practically horrified.
the book I’d found. A few days later, Marilyn and I were far out at the because she needed the fifty dollars he paid for it. She never told me She said something like, “Yes, I will, I will,” and hung up the receiver.
seashore, north of Malibu on a deserted beach, where we read the about it, but the truth came out three years later, in 1952. Ironically, I The change in her mood was incredible. She was staggering away
pages of the book with a magnifier to decipher the small but beauti- was with her when the story appeared in the newspapers that Marilyn from the phone like someone who is ill, dizzy, ready to faint. She sat
ful handwriting. had posed in the nude. Here I shall reminisce about it: in an armchair; she looked sick and she could hardly talk. I asked
By late 1952, Marilyn had become an extremely successful actress. her what was wrong and she said she couldn’t tell me. She said I
I remember so well which poems Marilyn loved. She was nearly in She was making one picture after another. I got a phone call from had to leave her alone as she had to go to the studio at once to
tears several times. Marilyn wasn’t the kind of person who would my agent in New York that Pageant magazine wanted a photo layout explain something. Even in those moments of distress she was so
have tears in her eyes easily, no matter how deep the emotion. But of the “Blonde Heat,” as they called her. Roy Craft, the clever publici- nice to me, she said I ought to order drinks for myself, and dinner,
the poems touched her immensely. She was holding herself back ty man who had done a great deal to make Marilyn’s fame an and charge it to her. I felt sad for her, and confused. I packed my
from bursting into sobs while she was reading a poem entitled, immense phenomenon, arranged for the sitting. Marilyn told him she equipment and left.
“Lines on the Death of Mary.” She told me that it fit her, but the lady and I were bosom friends and we wanted to be alone the day I
who wrote it forgot to put the “lyn” after the name “Mary!” I remarked would photograph her, that we didn’t want any hairdressers, wardrobe Days later, I found out what was the cause of her great distress. It
that a few days before in the cemetery she told me she preferred a ladies, or make-up men around us while we photographed. Marilyn’s was her studio that had called all afternoon, and when she had finally
long, happy life and now she was saying she would not live long…. wish was a command—we had our privacy. I went to her bungalow picked up the phone, it was one of the executives at Fox who wanted
The poem we were reading about the death of Mary was a predic- at the Bel Air Hotel in Stone Canyon, an exclusive, beautiful place in her to come in at once, to explain the nude calendar which she had
tion for her that she would die young! a secluded canyon west of Beverly Hills. We started photographing posed for. The story had just come out in the newspapers that she
about ten in the morning. Marilyn looked extremely lovely. She was in had posed nude and the executives at Fox were worried her career
The reading ended and I began taking pictures of her, one by one, the happiest mood I had ever seen her. Then the phone rang. might be totally ruined! A few evenings later, she came over to my
depicting the moods she interpreted for me. An entire spectrum of house to look over the photos and I showed her all the lovely shots I
life, depicting happiness, pensiveness, introspection, serenity, sad- I rushed to it and asked Marilyn not to touch it. We were going to had taken that day. She loved all the photos, she crossed out only one,
ness, torment, distress—I even asked her to show me what “death” take photographs all day and didn’t want to be disturbed by anybody. and to reassure her I took the scissors and cut that negative to bits.
looked like in her imagination. She threw a blanket over hear head; I took many photos of her all morning and the phone kept ringing
that was how she interpreted it. but she did not answer. She was extremely cooperative and greatly The nude calendar did not ruin her career. To the contrary! The write-
stimulated. I had a delightful time photographing her and it was a ups about it in the newspapers coast-to-coast gave her even more
The photo that followed was her own idea. She told me to get ready rather unusual experience for me and for her, too, I guess, because publicity! And the public sympathized with her, thus her future fame
with my camera because she was going to show me what her own she knew she was a great movie star and no longer my little Norma was even more assured. In fact, I always suspected that all the
death would look like—some day. She looked down with a very Jeane, not a girl whom I almost married! Yet we felt excessively com- brouhaha about the nude photo was a clever publicity stunt; Marilyn’s
sordid expression, pointing out to me that the picture’s meaning fortable with each other. She knew I respected and admired her and publicity was always a stunning thing.

‘Interiors’ canon by TASCHEN. ...the true skill of this book is in taking that dream of the
 Featured Art Newspaper infor- Metropolitan Museum, Tokyo, Auction Sales
mation on Jeff Koons Japan Price: $5,100,000
Milwaukee Art Museum, USA Michael Jackson and
Representation Museum Boijmans Van Bubbles, 1988
Gagosian Gallery Beuningen, Rotterdam, porcelain ceramic blend, num.
555 West 24th Street The Netherlands 3/3, 107 x 179 x 83 cm
USA – New York, NY 10111 Museum Ludwig, Cologne, Date Sold: 15-May-01
tel: +1 212 741-1111 Germany Auction House: Sotheby’s,
fax: +1 212 741-9611 Museum of Contemporary Art, New York
[Link] Chicago, USA
Nationalgalerie im Hamburger Price: $2,600,000
Galerie Max Hetzler Bahnhof, Museum für Woman in tub, 1988
Zimmerstraße 90/91 Gegenwart, Berlin, Germany porcelain, num. 1/3,
D – 10117 Berlin San Francisco Museum 62 x 91 x 69 cm
tel: +49 (0)30 229-2437 of Modern Art, USA Date Sold: 17-May-01
fax: +49 (0)30 229-2417 Staatsgalerie Stuttgart, Auction House: Christie’s,
[Link] Germany Rockefeller NY
Stedelijk Museum, Amsterdam,
Sonnabend Gallery The Netherlands Price: $1,700,000
532 West, 22nd Street Tate Gallery, London, UK Ushering in banality
USA – New York, NY 10011 The Museum of Contemporary polychromed wood,
tel: +1 212 627-1018 Art, Los Angeles, USA num. 2 of 3, 96 x 157 x 76 cm
fax: +1 212 627-0489 The Museum of Modern Art, Date Sold: 14-Nov-01
New York, USA Auction House: Sotheby’s,
Collections The National Gallery, New York
Baltimore Museum of Art,USA Washington D.C., USA
capcMusee d’ Art Contem- Whitney Museum of American Price: $1,650,000
porain, Bordeaux, France Art, New York, USA Pink Panther, 1988
Des Moines Art Center, USA Wright State University Art porcelain, num. 3/3,
Deutsche Guggenheim Berlin, Museum, Dayton, USA 104 x 52 x 48 cm
Germany Date Sold: 16-Nov-99
Groninger Museum, Groningen, Price Range Auction House: Christie’s,
The Netherlands $10,000 (multiples); $150,000 Rockefeller NY
Guggenheim Museum, Bilbao, – $3,000,000 (other works);
Spain several million for monumental Price: $1,550,000
Hirschhorn Museum and sculpture Woman in tub, 1988
Sculpture Garden, Washington Porcelain, num. 3/3,
D.C., USA 157 x 23 x 175 cm
Kunstmuseum Wolfsburg, Date Sold: 16-May-00
Germany Auction House: Christie’s,
Rockefeller NY

Franz Ackermann Tacita Dean Damien Hirst Aernout Mik Elizabeth Peyton Thomas Struth
Doug Aitken Thomas Demand Carsten Höller Jonathan Monk Paul Pfeiffer Superflex
Darren Almond Rineke Dijkstra Jonathan Horowitz Mariko Mori Daniel Pflumm Fiona Tan
Pavel Althamer Mark Dion Gary Hume Sarah Morris Richard Phillips Vibeke Tandberg
Kai Althoff Peter Doig Pierre Huyghe Vik Muniz Paola Pivi Wolfgang Tillmans
Francis Alÿs Keith Edmier Christian Jankowski Muntean/Rosenblum Peter Pommerer Rirkrit Tiravanija
Ghada Amer Olafur Eliasson Mike Kelley Takashi Murakami Neo Rauch Grazia Toderi
Miriam Bäckström Elmgreen & Dragset Rachel Khedoori Yoshitomo Nara Navin Rawanchaikul Luc Tuymans
Matthew Barney Tracey Emin Karen Kilimnik Mike Nelson Tobias Rehberger Piotr Uklanski
John Bock Ayse Erkmen Bodys Isek Kingelez Shirin Neshat Jason Rhoades Kara Walker
Cosima von Bonin Malachi Farrell Martin Kippenberger Ernesto Neto Daniel Richter Jeff Wall
Monica Bonvicini Sylvie Fleury Jeff Koons Rivane de Rijke/de Rooij Franz West
Candice Breitz Ceal Floyer Udomsak Krisanamis Neuenschwander Pipilotti Rist Pae White
Olaf Breuning Tom Friedman Elke Krystufek Olaf Nicolai Ugo Rondinone T. J. Wilcox
Glenn Brown Ellen Gallagher Oleg Kulik Manuel Ocampo Thomas Ruff Johannes Wohnseifer
Daniele Buetti Kendell Geers Jim Lambie Albert Oehlen Gregor Schneider Richard Wright
Angela Bulloch Liam Gillick Zoe Leonard Chris Ofili Cindy Sherman Cerith Wyn Evans
Janet Cardiff Dominique Gonzalez- Atelier van Lieshout Henrik Olesen David Shrigley Andrea Zittel
Merlin Carpenter Foerster Won Ju Lim Gabriel Orozco Santiago Sierra Heimo Zobernig
Maurizio Cattelan Felix Gonzalez-Torres Sharon Lockhart Laura Owens Dirk Skreber
Jake & Dinos Chapman Douglas Gordon Sarah Lucas Jorge Pardo Andreas Slominski
Martin Creed Andreas Gursky Michel Majerus Philippe Parreno Yutaka Sone
John Currin Fabrice Gygi Paul McCarthy Manfred Pernice Eliezer Sonnenschein
Björn Dahlem Thomas Hirschhorn Jonathan Meese Dan Peterman Simon Starling

| 14 | country idyll in us all and showing how individuals, partly through skill,
Who, what, when, where,
and
how much $$$
Contemporary art in a nutshell

“Buy
this book by
all means.”
Contemporary Visual Arts, London,
on Art at the Turn of the Millennium

Dear Taschen, Dear Harry,

I love your book Art at the Turn of the Millennium but it’s been a few We’ve been working hard on your request and think you’ll be pleased and Struth bring in at auction. Think of it as an indispensable
years now and the art scene changes so fast these days. How about with the result. Enclosed is the spanking-new Art Now, in which you’ll reference book, travel guide, and art market directory all
an updated and expanded version? I would like to learn not only find the most recent work and updated biographical information for rolled into one.
who are the hottest artists working today, but also how to work the our revised selection of today’s 150 most influential artists. Art Now We hope you like it, and thanks for writing!
art scene like a pro, and how to shop for art without looking like a also includes a completely new section—a sort of “service guide”— Love, TASCHEN
novice. Could you make a new book like this, just for me? produced in collaboration with The Art Newspaper which lists museums,
Thanks, restaurants, and hotels we recommend you check out while you’re P.S. This book actually turned out quite good, so we’ve decided to
Harry L. cruising the global art scene, and even gives the scoop on how publish it. We hope you don’t mind.
much one can expect to pay for a Damien Hirst or a Sharon Lockhart
Art Now Ed. Burkhard Riemschneider / Uta Grosenick
and whom to contact if you decide to buy. We also let you know English/German/French edition / Japanese/English/French edition /
useful details like how many prints Wolfgang Tillmans made for a cer- Italian/Spanish/Portuguese edition / Flexi-cover, format: 19.6 x 24.9 cm
tain edition and what sorts of sums big players like Koons, Sherman, (7.6 x 9.8 in.), 640 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

partly by luck, have managed to make that dream come true.” —Your New Home, London
“Many Danish, American, and Italian television viewers surely think
Germany looks just like it did in the scenes from ‘Derrick,’ the long-
running German crime series. In the same vein, many Germans were
convinced for quite a while that all American cities really do have
sunny ‘Dallas’ facades. Sure, we can try to battle these silly stereo-
types, but we can also embrace them. TASCHEN has decided to
take the latter approach.... Berlin Interiors will impress upon the
world images of a modern Berlin.... We see Berlin as it really is. It
might even be the Berlin the world will expect to see from now on.”
“Another delicious
—Frankfurter Allgemeine Zeitung, Frankfurt a. M. and luxuriously presented
addition to the
expanding Interiors
canon by TASCHEN.”
—Your New Home, London, on Country Interiors

Where East meets West

The best of both worlds
Berlin is an enchanting city with an incredible and turbulent history. The editor: including “American Art in the 20th Century,” “Images of Germany,”
Its Western half once an island in a sea behind the iron curtain, Berlin Angelika Taschen studied art history and German literature in the first “Berlin Biennale,” and the “National Gallery Prize for New Art,”
still bears the marks of a once-divided city—they have become an Heidelberg, gaining her doctorate in 1986. Working for TASCHEN and organized exhibitions by young artists in Berlin.
integral part of its personality. Since the reunification, the city has since 1987 she has published numerous titles on the themes
experienced an extraordinary rebirth and developed into a veritable of architecture, photography, design and contemporary art. She Forthcoming Interiors titles include Africa and Miami.
cultural and political melting-pot, making it one of the most diverse conceived TASCHEN’s Interiors series in 1994 and the Country
and exceptional cities in the world. Full of creative types, and with a Houses series in 1999. Berlin Interiors Ed. Angelika Taschen / Ingeborg Wiensowski / Eric Laignel /
Patricia Parinejad / English/German/French edition / Italian/Spanish/Portuguese
bustling international community, Berlin is naturally home to a unique edition / Hardcover, format: 24 x 31.6 cm (9.5 x 12.5 in.), 320 pp. /
range of interiors which reflect the city’s mix of Eastern and Western The author: US$ 40 / £ 25 / 2 32 / ¥ 5.000
influences. From the home of the Love Parade’s founder Ingeborg Wiensowski studied architecture at the Technical Uni- This page: Below left Dining room in the apartment of Olaf Lemke, dealer of
to a Turkish cafe, via a garden house, hotel, house boat, versity of Braunschweig. Since 1987, she has worked as a freelance antique frames Below right Living in trucks in Kreuzberg Opposite page:
bordello, artist’s loft, rabbi’s home, and much more, Berlin journalist for art, kulturSpiegel, and Reporter, as well as magazines Top The hall of mirrors in the Russian Embassy Bottom The “Poem Room” in the
Interiors offers an inspiring view of the city and its inhabitants. such as Vogue and Image. She has also worked on exhibitions, apartment of film-maker Ralf Schmerberg in Berlin Mitte

| 16 | “These are the sorts of hotels where you bag a Prussian Prince and retire to
some hilltop palace to herd goats for the rest of your life.” —Attitude, London, on Great Escapes Europe
| 18 | “Benedikt Taschen has merged the sensibility of a small
imprint with sure-fire commercial ideas, while managing to remain
Lustful places,
luscious women
Behind closed doors with Krider’s vixens

“The Art Vampire TASCHEN

has struck again. His latest victim is Motel Fetish Edited and with an introduction by Eric Kroll
English/German/French edition /Japanese/English/French edition / Hardcover,
Chas Ray Krider. format: 22.5 x 30 cm (8.9 x 19.6 in.), 240 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.000

Chas Ray’s photography will have

Art Immortality.” —Carlos Messer, The Buenos Aires Times, Buenos Aires

A number of years ago I began to see distinctive layouts in Hustler’s game’ beautifully. An ass in the air, a pair of crossed legs in nylons, The editor:
Leg Glamour that got me nervous. The photographs were that good. all bathed in warm tones. A still life unstuck in time. So this is what In 1994, TASCHEN published Eric Kroll’s Fetish Girls, followed
Whoever it was had style and made the women his women. Krider goes on behind closed doors? in 1997 by Beauty Parade. For the same publisher Kroll has edited
women. Women I began to desire on a monthly basis. In the world of John Willie’s Bizarre, The Art of Eric Stanton, and Elmer Batters,
professional golf there is an expression “the world’s greatest golfer Oh, I almost forgot. Alongside these many Midwest femme fatales is and in 1999 he worked with Natacha Merritt on her book Digital
not to win a major tournament.” Chas Ray Krider was the world’s Dita, raven-haired icon. Not since Betty Page has a woman fleshed Diaries.
greatest erotic photographer not to have a book. out so correctly a vintage girdle and bra ensemble.
Enjoy. He takes you to places where you only vaguely think you have
Thanks to TASCHEN we now have over 160 Krider images to pore been.
over. To salivate over. Like a good film noir, he takes us to lustful
places. Is it a crime scene or a sea of lust? These beautiful, languid —Eric Kroll, editor and pupil
women wait for whom? For me. For you. They play the ‘waiting

| 20 | independent, transgressive and viable. And he doesn’t print

cookery books. For this alone, he should be revered.” —The Observer Life Magazine, London
A hideway for dreams
of love and desire
Excerpts from Eric Kroll’s interview with Chas Ray Krider

I begin to laugh at his joy of creativity. This guy doesn’t stop. I’m CRK: “In a way, yes, because that is the kind of crap I can pick up
looking around and I’m worried about the potential damage to the at thrift stores. I’m not really creating the 1950s. There is nothing in
records from the dampness in the cellar. my photos from the 1950s other than the sense of color, some of
the lingerie. Most of it as you can see is ’70s and bad ’80s furniture.”
EK: “Where are your negatives kept?”
CRK: “At my home. Everything is kept at my residence.” EK: “But nothing is from the new now. Why is that?”
CRK: “Because this is what I can buy cheap.”
Chas has a clear delineation between his home life and his studio. He

EK: “Why are you in

stops work in the studio when it gets dark. He then goes home and
works on his computer.

CRK: “I don’t do any printing here. I don’t do any actual work...I only
shoot here. I store everything at the residence.”
Columbus, Ohio?”
EK: “Is mortality important to you?”
CRK: Yeah. I think about mortality all the time.
CRK: “I don’t live here.
EK: “Do you feel your photographs will survive?”
CRK: “Now that I have this thing with TASCHEN. (Benedikt) Taschen I live in my imagination.”
is this art vampire. He’s going to bite me on the neck and my art is
going to have immortality. People ask me if I’m excited about doing EK: “I don’t believe that. I think there is more there than what you
the book and I say I’m not really excited. I’m relieved that the work are able to buy. My photos refer back to the woman that I lost my
will be seen in a wider world.” virginity to—high heels, vintage girdles, teased hair.”
CRK: “Yeah, I have an affinity for these panties and girdles, coming
EK: “How does your wife, Ellen, feel about your girlie photography?” in as I did at the end of the girdle world.”
CRK: “She’s a graphic designer and I met her when she worked for
an art magazine. She always knew what I was up to. I think if I wasn’t EK: “I don’t see ANY pantyhose.”
I’m walking around Chas’ studio seeing stuff and asking questions. turning it into a career, rather than my total obsession, it might get to CRK: “No I’ve never been interested in pantyhose...I guess I’m really
The large open room has two desks near the wide front windows and be trying...You know you want your art to spill out of the frame and drawing on the sixties. Here in the Midwest, going to a thrift store is
a small kitchen area in the back followed by a bathroom and across sometimes it gets a little messy.” like a recreation. I’ve done it for thirty years and twenties years ago I
from that, a backroom work area filled with stuff. Downstairs is a dark started collecting girdles and panties for no particular reason and
and dank basement with more stuff—albums, furniture, games, etc. I walk his studio seeing more and more work. somehow when I got to this motel stuff I had this whole wardrobe.”

EK: “Why are you in Columbus, Ohio?” EK: “I get it now. Lots of work. Nonstop. Always shooting. Always EK: “And did it click for you?”
CRK: “I don’t live here. I live in my imagination.” creating. How did this pattern evolve into the ‘motel’ series?” CRK: “In the wider world? It was the first thing that I had actually
CRK: “It started about ’95. I completely abandoned the art gallery done where all of a sudden, people outside this city, were interested
EK: “This place seems like it’s stuck in time and not necessarily a track and decided I was just going to make images that I was per- in. And that’s because the code of seduction and fetish is an inter-
good time. So I’m confused.” sonally interested in. Some very sexual images. The thing is, I shoot national language.”
CRK: “In my twenties I hitch-hiked around the country. I lived in in a studio and I didn’t want to shoot women in the studio with that
Florida. Lived on the West coast. Lived on the East coast. I traveled nebulous nothing body form. It wasn’t about form or the body. It was EK: “How did you hook up with Taboo magazine?”
and tried to relocate but I always drifted back here because I never about this context you might encounter a person in. I was very inter- CRK: “A former Columbus person, Cynthia Patterson, is from
had to hold a job. I haven’t had a job in thirty years. Plus I’m from ested in the background. The surface the person is on. I wanted to Columbus. She knew my work and knew I had this motel thing and
here.” make images that would be believable as really could possibly hap- they said they wanted to run it in Leg World and went through every-
pen. So I put it in a context that all viewers are familiar with which is thing and picked anything that might appeal to that crowd. And then
EK: “When did you take your first ‘girlie’ photo?” a room that is in a motel. Light and lamps. So the viewers, when they they did it later and ran it in Taboo and that really sort of started it off.”
CRK: “I moved into photography, after I graduated from college. I did look at my photos, have been there.”
street photography. I thought I was on an exhibition gallery career. I EK: “And then you started to be flown out there to be photographed?”
survived on part time jobs...photo assistant, gas station EK: “But the images have an earlier era feeling. 1950s and 1960s? CRK: “No, you know the whole thing out there is strictly a speculative
attendant...freelance photography. I don’t really do any commercial Harking back to another time.” thing. They liked my style and it looked like the logical digestion for
photography now. Once I got into this motel thing, I just ignored it. I me to go out and shoot something for the industry. I wanted the
used to do work for advertising agencies. Sexy pictures were always action. I wanted the models and the talent and to talk to people
in everything I did. When I was into my street photography stage, no about fetish and photography. To talk shop. You can’t talk shop here.
matter what city I was in, I found myself gravitating to the low-life So I went out and said ‘you book the talent and I’ll pay the talent,
section of town. Where they would still have burlesque theaters and make-up artist and studio fee and everything and if you buy it, cool.’
marquees and I was always shooting lingerie windows and panties. I First time out we shot in a motel and then a studio.”
was just sort of drifting in that direction. Umm. Then I had the studio
and I could bring women in and do Gustav Klimt with sort of roman- EK: “How did you create the sense of a motel in a studio out there?”
tic crap. Around 1980, when the punk and new wave thing was hap- CRK: “At first we thought we’d shoot in a motel and we scouted 20
pening, I did a series of photographs based on a pin-up calendar. It or 30 motels in LA and they all sucked. Not good color, not good
was just another art thing, exhibit orientated.” anything. We ended up shooting in one with beige carpets and beige
lamps. It had nothing. No color. You know. Later we bought a hunk of
I see an open staircase leading to a dark pit. rug and went to the thrift stores and got some lamps and did what I
did here.”
EK: “What’s that?”
CRK: “That’s to the Land That Time Forgot.” EK: “What are some of the photographers that influenced you.
Obviously, Paul Outerbridge.”
We go down a dark staircase. CRK: “Yeah, (Ralph) Gibson, Helmut Newton, Man Ray, all the surre-
alist painters. I think you study all that art history and then one day
EK: “Holy shit fuck! Are there rats down here?” you don’t. It’s in there and it comes out. If I’m shooting the figure in
CRK: “No,” laughing. “I’ve never seen a rat in my life.” the studio and it’s not in a motel, then it’s very Horst, very Man Ray.”

EK: Picking up a stack of old albums I ask, “What are these?” Technically since he is shooting under low light conditions, the expo-
CRK: “I collect all these things because I’m in love with the images. I sures are long and therefore the models must hold very still, which
have a whole other series of photographs called Bachelor Pad Pop contributes to the frozen moment. Beautiful women as still life.
Art, where I took record cover albums, put them together to get
these strange sexual juxtapositions. I put objects on top of them.” CRK: “A curious thing that happens going through the process is if I
don’t tell them anything or try and make them project, they start to

| 22 | “…a catalog so hip, so huge that you see people at Barnes

...an international sensation
from TASCHEN!

come down to what I call their lowest level, personality wise. Pretty CRK: “It is a panty masterpiece. Here is the routine. I don’t have an Miss K: “His.”
soon they’re not projecting who they were, and that’s the moment I idea in my head. I don’t know what I’m going to do. This woman is
really like.” coming over. All that I want is a little hock to hang the photo shoot EK: “That cigarette butt. Did you, Chas, put it there or did she put it
on. So I go down to K-Mart and I get a six pack of panties. When there?”
EK: “Does that give them personality or take away their personality?” she gets here, what I’m going to tell her is to change her panties CRK: “It’s been there. Usually if my models smoke, I encourage them
CRK: “It neutralizes it. It creates an ambiguous quality for the viewer. periodically so, throughout the routine, it goes from flowered to pink to smoke.”
It’s that psychological and sexual tension that a lot of people will pick to blue. Just keep it moving.”
up on when they see my work. The body language and demeanor of The model is undressed, or rather dressed, in panties and make-up.
the model. She doesn’t really seem to be really giving it, so it’s a EK: “When you started photographing women in this manner you did The set is in place.
more girls in stockings....”
CRK: “Yeah. In the beginning it was all stockings and girdles and CRK: (speaking to the model): “OK. The general thing is I suggest a
high heels that really attracted me and then in the process I discov- pose, you hold this till I say to move, because I move the camera
ered sheer panties that seemed to be more interesting to me. I around to shoot different perspectives then edit to the one that
like this veiling. This seeing and not seeing. It gives the models a works.”
little sense of dignity or modesty. And I’m more into bare-legged-
ness. Maybe I’m getting lazy and I don’t want to style and dress them He’s speaking to me, having returned from changing the music.
up.”
CRK: “OK, it starts out slow then, sometimes, it picks up a little
EK: “How do you treat a situation when a model brings her speed until we figure out where it’s going.”
boyfriend?”
CRK: “If it helps their comfort level it’s fine. Usually the guy is going I hear a jazz beat coming from the speakers. The vibraphone is
to be bored and falling asleep by the time we finish a shoot. I dis- bringing the mood back in time, a brush runs across the cymbals, a
courage it because really I find that they (the models) will actually go cascading piano riff adds and subtracts. I see the warm tones on the
a little further and a little more distance if they don’t have another lady’s large breasts. She isn’t moving. Chas drops to his knees to
controlling influence.” adjust the model’s feet, then back to the camera. He is lowering the
tripod but keeps the tripod legs uneven so the camera is at an odd
Miss K has arrived to be shot. He’s shot her before. angle. He changes perspective. He is not far from his model. He is
constantly eyeing her form, the message her body position is giving
CRK: “I start out looking for the lighting solution. It varies from time off. He lowers a thrift store lamp to the rug, so that that light is from
to time. Do I use this? Do I want it to be up-lighting? What works below and her head is bent towards it.
with this model?”
Chas begins to move the lamp around and watches how the move-
EK: “And is the music always on?” ment of the light changes her look. The vibraphone muffles most of
CRK: “Yeah. I’m going to put the right music on in a moment.” what he is saying to the model. I hear “one, two, three.” But Chas is
directing a constant flow of words at the model. Easy noire. Easy
EK: “How do you know what the right music is?” drama. The mood is set. Languid, easy. The sax is prominent. Low
CRK: “I’ve got my motelesque thing. It’s this sound track music from light. Jazz in the background.
all these films. Undertones. Real trance music. I try and hypnotize
question—who is she? What? What? What? People will say my work them (the models).” The daylight fading into dusk at the other end of the room.
looks like still photographs lifted from a movie of impending action or
action that has just happened. That de Chirico or that Edward Out from the bathroom/dressing room comes Miss K, about to be Chas is shooting and he says something to Miss K and then turns to
Hopperesque stillness and isolation which is maybe a greater reflec- photographed. me and says “that’s my favorite line.” I missed it through the blues
(music) haze.

Eric Kroll: “What’s

Miss K: “Hi.”
EK: “What’s your favorite line?”
EK: “Whose underwear are those?” CRK: “‘OK, let’s lose the bra.’”
your favorite line?”

Chas Ray Krider:

“‘OK, let’s lose the bra.’”
tion of my being here (in Columbus, Ohio) in this environment. That I
am alienated and isolated.”

I asked about the few photos that show a disembodied man’s legs or
hands near a woman.

CRK: “Many viewers think that the women are in the motel room
alone, doing it with no motivation. They can’t figure out that there is
obviously another person in the room sharing that moment. Is it the
invisible photographer asking the model to do private things made
public or you, the viewer, sharing this private moment with this
woman?”

Krider produces another “hobby” of work. It is a series of imaginary

pulp fiction covers that Chas entitles “Faux Fiction.” They are images
he has taken and then added titles and remarks to. I’m looking at
photographs of various models he’s shot and I ask him where a par-
ticularly striking brunette model came from.

I’m looking at a photo of a woman dressed only in underwear.

EK: “This is a panty masterpiece.”

Photos of Chas Ray Krider by Eric Kroll

& Noble make a beeline for the TASCHEN table.” — The New Yorker , New York
 Leave
stress behind
Get away in style

| 24 | “This book is captivating. It’s hard not to be made curious by this kind of crazy, real, theatrical
pain, and of course when it involves naked people (well, girls) that adds another dimension.
Icehotel, Jukkasjärvi, Sweden Hotel Alpenhof Kreuzberg Looshaus, Payerbach, Austria Casa de Carmona, Sevilla, Spain Above Palace Hotel da Curia, Portugal Previous pages: Hotel Parco dei Principi,
Roisheim Hotel, Lom, Norway Hotel Belvédère, Wengen, Switzerland Hotel San Roque, Tenerife, Spain Sorrent Opposite page: Left Icehotel, Jukkasjärvi, Sweden Right Sitting area in
the hotel The Lighthouse, Wales
Amhuinnsuidhe Castle, Isle of Harris, Scotland Badrutt’s Palace Hotel, St. Moritz, Switzerland Quinta da Capela, Sintra, Portugal
Belle Isle Estate, Fermanagh, Ireland Château de Bagnols, Bourgogne, France Palace Hotel da Curia, Tamengos, Portugal The Hotelbook. Great Escapes Europe Shelley-Maree Cassidy / Ed. Angelika
Iskeroon, Kerry, Ireland Le Chaufourg en Périgord, Dordogne, France Paço de São Cipriano, Minho, Portugal Taschen / English/German/French edition / Spanish/Italian/Portuguese edition /
The Lighthouse, Llandudno, England Les Sources de Caudalie, Bordeaux-Martillac, France Reid’s Palace, Madeira, Portugal Hardcover, format: 23.8 x 30.2 cm (9.4 x 11.9 in.), 400 pp. /
US$ 40 / £ 25 / 2 32 / ¥ 5.000
The Old Railway Station, West Sussex, England Les Prés d’Eugénie, Landes, France Marco Polo Mansion, Rhodos, Greece
Charlton House Hotel, Somerset, England Les Maisons Marines d’Huchet, Aquitaine, France Ada Hotel, Bodrum, Turkey
Spaarne 8, Haarlem, The Netherlands La Mirande, Avignon, France Les Maisons de Cappadoce, Uçhisar, Turkey
Domein Scholteshof, Vlaanderen, Belgium La Bastide de Marie, Ménerbes, France
Seehotel am Neuklostersee, Mecklenburg, Germany La Maison Domaine de Bournissac, Provence, France
Landhaus Börmoos, Schleswig-Holstein, Germany Villa Fiordaliso, Lago di Garda, Italy
Parkhotel Wasserburg Anholt, Nordrhein-Westfalen, Hotel Cipriani & Palazzo Vendramin, Venezia, Italy
Germany Grand Hotel Parco dei Principi, Sorrento, Italy
Hotel Kaiserin Elisabeth, Bayern, Germany L’Atelier sul Mare, Sicilia, Italy
Hotel Schlossgut Oberambach, Bayern, Germany Hotel Portixol, Mallorca, Spain
Hotel Vila Bled, Bled, Slovenia Finca Son Gener, Mallorca, Spain
Monasterio Rocamador, Extremadura, Spain

The 43 most extraordinary

hotels and guesthouses from Sweden
to Turkey

| 26 | Also it could not be denied that some of the photographs can only be described as well… damn
The first installment in our new Hotel Book series, this is both a lus- The editor:
cious picture-book of interiors and a guide to some of the most Angelika Taschen studied art history and German literature in
spectacular getaways in Europe. Featuring a selection of the most Heidelberg, gaining her doctorate in 1986. Working for TASCHEN
extraordinary hotels and guesthouses from Sweden to Turkey—all since 1987 she has published numerous titles on the themes of
places where you can melt away from the problems of the ‘real architecture, photography, design and contemporary art. She con-
world’—the book mixes gorgeous color photographs with ceived TASCHEN’s Interiors series in 1994 and the Country Houses
directions, pricing, and contact information. Since reading is series in 1999.
a requisite part of your relaxing escape, we also suggest books for
you to take along to each destination. From a lighthouse in The author:
Wales to a former monastery in Spain, these are the sorts of Shelley-Maree Cassidy is a writer and marketing specialist who
hotels that will open up your senses and just might change your has written two books on hotels around the world and contributes
whole perspective on life. travel articles to magazines and journals. Her particular interest in
hotels stems from her family background, as her great-grandparents
owned several of the first hotels in New Zealand, where she lives.

Forthcoming titles in the Hotel Book series include Great Escapes

Africa and Great Escapes Asia.

goodphotographs. Plus the contrast between the writings, and of the writings (especially that of their
| 28 | creator) to the pictures themselves does clash in a thrilling sort of way.“ —The London Student, London, on
Glamour, glitter,
and
gorgeous girls
Bernard’s star-studded repertoire
Bernard of Hollywood: The Ultimate Pin-Up Book Photo editorial and text
by Susan Bernard
English/German/French edition / Japanese/English/French edition / Hardcover,
format: 24 x 31.6 cm (9.4 x 12.2 in.), 360 pp. / US$ 40 / £ 20 / 2 32 / ¥ 5.000

He has been called the “Rembrandt of photography” and the “king studio to have their portraits taken. Bernard is remembered as the and a producer. At 16, she starred in the cult classic Faster, Pussy-
of Hollywood glamour.” Though he also photographed male luminar- man who immortalized some of the century’s greatest stars and cat! Kill! Kill! With Whoopi Goldberg, she co-produced The Mao
ies such as John Wayne, Gregory Peck, and Elvis Presley, Bernard of mastered the art of pin-up photography better than any one else. Game, a film based on her son Joshua Miller’s first novel. A resident
Hollywood made his name doing portraits of female stars and starlets This book is a testament to his long and illustrious career. of Los Angeles and New York, she is working on a novel and a film
of the 1950s such as Anita Ekberg, Jayne Mansfield, Brigitte Bardot, about her father’s life.
and Marilyn Monroe. He fled Nazi Germany in the 1930s, migrating The author: Susan Bernard is the author of six books, including
to California and eventually establishing himself in Hollywood. By the the best-selling Bernard of Hollywood’s Marilyn and Joyous Mother-
1940s, he was one of the most sought-after photographers there, hood. President of Bernard of Hollywood Publishing, she preserves,
with countless celebrities and hopefuls visiting his Sunset Boulevard exhibits and publishes her late father’s work. She is also an actress Opposite page: Brigitte Bardot

Exquisite Mayhem “La biblia de las curvas digitales.” —Playboy, España, on Digital Beauties
Couture:
then and now
Three centuries of women’s clothing

| 30 | “Benedikt Taschen is a man who has his finger on

Clothes define people. A person’s clothing, whether it’s a sari, cinating excursion through the last three centuries of clothing trends.
kimono, or business suit, is an essential key to his or her culture, The KCI believes that “clothing is an essential manifestation of our
class, personality, or even religion. The Kyoto Costume Institute rec- very being” and their passion and dedication positively radiate from
ognizes the importance of understanding clothing sociologically, his- every page of this book.
torically, and artistically. Founded in 1978, the KCI holds one of the
world’s most extensive clothing collections and has curated many The authors: Opposite page: Left Dress, Turner (1870s, English) Right Jacket and skirt, Junya
exhibitions worldwide. With an emphasis on Western women’s cloth- Akiko Fukai (Chief Curator of The Kyoto Costume Institute), Watanabe (2000)
ing, the KCI has amassed a wide range of historical garments, under- Tamami Suoh (Curator of The Kyoto Costume Institute), Below left Gloves, anonymous (1925–1929, Chilean) Right Dress, Issey Miyake
wear, shoes, and fashion accessories dating from the 18th century to Miki Iwagami (Lecturer of fashion history at Sugino Fashion (Guest artist series no. 2: Nobuyoshi Araki on Pleats Please, 1997, Japanese)
the present day. Showcasing a vast selection from the Institute’s College (Tokyo)), Reiko Koga (Professor of fashion history at Bunka
Fashion Ed. The Kyoto Costume Institute
archives of skilled photographs depicting the clothing expertly dis- Women’s University), and Rii Nie (Assistant Curator of The Kyoto English, German, French and Japanese editions / Flexi-cover, format:
played and arranged on custom-made mannequins, Fashion is a fas- Costume Institute). 19.6 x 27.3 cm (7.7 x 10.7 in.), 736 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

the pulse of the future of publishing.” — Fused Magazine , Birmingham

 More bang
for your buck!
All Icons:
Flexi-cover, format: 14 x 19.5 cm (5.5 x 7.7 in.),
192 pp. / US$ 10 / £ 5 / 2 7.50 / ¥ 1.000

Kitchen
Kitsch
Bizarro Postcards

| 32 | “TASCHEN are children of the revolution.” — reader’s comment , [Link]

California,
Here I Come

Future Perfect

“Luxury for less.” — art , Hamburg

 Mexicana

See the World

“These books are beautiful

objects, well-designed and lucid.”
—Le Monde, Paris

50s Cars

“A huge
pictorial punch in
tiny packages.”
—New York Magazine, New York

HR Giger

| 34 | “TASCHEN is the reference in art publishing.” —Virgin Megapresse, France

The world
in your pocket
All Icons:
Flexi-cover, format: 14 x 19.5 cm (5.5 x 7.7 in.),
192 pp. / US$ 10 / £ 5 / 2 7.50 / ¥ 1.000

Photo Icons
1827-1926

Photo Icons
1928-1991

Eccentric
Style

“These seductive little books have

slick production values, excellent illustrations,
and smart texts. Each one is a fast-food,
high-energy fix on the topic at hand.”
—The New York Times Book Review, New York

Seaside Style

“L’art qui fait l’impression.” — Elle , Paris

No comment
Images of Asia that speak for themselves

Co-founder of the digital culture magazine Wired, Kevin Kelly leads Japan. The scope of this book is so vast, flipping through the pages
a double life: cyber-culture editor and independent photographer. For is like a journey, more akin to an epic film than a book. In Kelly’s
the past thirty years, and completely independently of his work on words: “My book is a wordless experience in remote Asia. The idea
Wired, he has been traveling the far reaches of Asia photographing is that you open the book and fall into it. You become immersed
the ins and outs of daily life. Kelly has the unique perspective of in Asia.”
someone who lives in the digital fast lane and yet craves to experi-
ence and understand cultures far different from his own. In approxi- Asia Grace Kevin Kelly
mately 600 stunning, richly-colored images, with no text whatsoever, English/German/French / Hardcover, format: 22.9 x 30.5 cm (9 x 12 in.), 320 pp. /
Kelly shares his vision of Asia from East to West, from Afghanistan to US$ 40 / £ 20 / 2 32 / ¥ 4.500

| 36 | “Fiell Good Factor … they have turned out a stream of lexicons on 20th century design
for the German publisher TASCHEN. Their most recent book is the most adventurous, as
| 38 | it steps outside historical territory to question 100 contemporary designers about
their vision of the future.” — The Saturday Telegraph Magazine , London, on Design of the 20th Century
 Travel ecstasy
I spent four years on the road, staying in more than 200 budget The author: Daisann McLane writes the Frugal Traveler column
hotels from Berlin to Bali, and took photos of my rooms before I for the New York Times Sunday travel section, and is a contributing
turned down the covers every night. Along the way, I discovered that editor and columnist for National Geographic Traveler magazine.
travel ecstasy usually increases in inverse proportion to your hotel bill. Her articles on culture, food, and world music have also appeared in
Cheap Hotels is a quirky memoir of a life lived under hideous bed- the Village Voice, Vogue, and Rolling Stone, and she has been a
spreads, a guide to choosing inexpensive hotels that embody the commentator on NPR’s All Things Considered. Her photographs have
spirit of a place. appeared in the New York Times, Travel and Leisure and Der Fein-
schmecker. When not holed up in cheap hotel rooms, she lives in
Those who fear that travel has become a sterile, globalized experi- Brooklyn, New York.
ence will enjoy seeing the world through this eclectic parade of
rooms from the charming little cottage on a deserted pink sand
beach in the Philippines to a closet-sized cubicle on a Venetian
canal. This book will delight and tickle travelers, armchair and other-
wise, who have found (or imagined) themselves swinging in a ham-
mock on a slow boat down the Amazon, or sleeping in a $28 motel
room in the South Pacific.
—Daisann McLane

Budget hotels
from Berlin to Bali
Introduction neighborhood of Thai Art-Deco? In the bathroom, every night at mid- rice, flowers, and spices wrapped in a banana leaf, on your doorstep.
No hotel room has yet changed my life, but many of them have made night, a tiny pale-yellow chameleon with three legs emerged from Finding hotels with grace notes like these, which tell you as much
me, unexpectedly and inexplicably, happy. I am not talking about the behind the toilet. By morning he was always gone. I still think about about a given locality as any guidebook, is not a difficult thing right
fantastic, painstakingly designed and realized chambers that decorate him. now. But I fear that may change. World tourism is a staggeringly big
the pages of high-end travel magazines. Since I took an assignment, business. According to one group of analysts, in 2001 it accounted
four years ago, to write a newspaper column about traveling on a The strangest things can push the for 10.7 percent of the global gross domestic product, or one in
budget, I have stayed overnight in more than 200 different rooms.
However not a single one has had a private fountain, 24-hour butler buttons of my hotel desire. every 12.2 jobs in the world. And its scope increases with each
passing year. As tourism globalizes, private hotels melt into the arms
service, or authentic Khmer stone goddesses embedded in the bath- Linens, for instance. Most people come home from Italy raving about of multi-national corporations, which prioritize standardization over
room tile. the food; I came home from my first trip to Italy with a permanent individuality, consistency over quirkiness. While I have spent enough
nights in sad, decrepit rooms to appreciate the joy of a familiar hotel
chain every now and then, I fret about what may happen to the spirit
houses, the wilted frangipani, the stiffly creased hand towel by the
bidet.

I also worry about the philosophy that seems to be shaping the new
boutique hotels that are currently popping up as alternatives to the
chains in hip Western capital cities. The guru of these design-inten-
sive lodgings, hotelier Ian Schrager, once proclaimed, “You are where
you sleep, because where you sleep says to the world, ‘This is who I
am’.” Yet a world in which the only alternative to staying in a chain
hotel is to stay in lifestyle dormitories for the style-obsessed doesn’t
sound like much fun to me.

And yet, in spaces so tiny I can reach out while sleeping and touch crush on Italian towels. Italian hotel bathrooms, even in the inexpen- In New York City, I already sleep in a place that says, “This is who I am.”
both walls, in beds draped with pilled polyester covers, I have experi- sive places in which I was staying, all had spotless white linens, hang- That place is my apartment. But when traveling, I am looking for some-
enced great comfort, and profound peace. ing beside the sink, the shower, even the bidet. In a few places, like thing else. Not a room that reflects some fantasy version of me, but
the Hotel Terme Preistoriche in Montegrotto Terme, they were draped one that tells me, in some small way, about the people I’m visiting.
While I believe it is possible to buy your way to hotel room bliss—at over a chrome rack heater with a temperature control. Raised on
$1,000 a night, plus, a hotel had better deliver ultimate satisfaction American terrycloth, I was unprepared for this encounter with the civ- The first thing I do when I enter any hotel room for the first time is
—I’ve found that once you drop below what travel agents call the ilized Old World. True, my $65-a-night rooms in Italy were usually the open all the shades and curtains. The room is my first window on a
“super-luxury” category, there’s often no correlation between a hotel size of a closet in one of those polycarbon-scented chambers at the new place, an unexplored culture, and I want to make sure I can see
room’s price and the pleasure it delivers. Part of this has to do with Chicago Motel 6. But wouldn’t you rather live in a closet wrapped in as much as possible. The Hotel al-Hussein, in Cairo’s old Khan el-
the unevenness of currency values in the global economy. starched, ironed—and heated!—linen towels? Khalili district, had stained sheets and dust balls—but it also had a
I paid $102 for a night at the Motel 6 in downtown Chicago, Illinois, little balcony overlooking the city’s largest and most splendid
and 500 bhat (about $12.50) for a night at the Peachy Guest House It delights me that Italians make fine linens a priority in their hotels, mosque. I checked in. Outside my four-dollar, no-sheets-or-towels
in downtown Bangkok. Both rooms were the same size and offered, even the cheap ones. All around the world, each culture holds fast to single at the Broadlands Lodging House in Madras, wedding parades
more or less, the same amenities. its own version of hotel room comfort, and to the little detail that it led by trumpeters and jewel-bedecked elephants drifted past my
would be unthinkable to overlook, even in the humblest lodging. In open wooden shutters. Parades, religious processions, clanging
But in the Motel 6 depression blanketed me every time I entered Japan, it is the teapot on the lacquer tray, beside a lacquer cup and gongs, rhythmic chants and unexplained animal noises have all, at
my room and hit a cloud of American chain-hotel odor, an assault of a container of green tea. In the Amazon, it is the strong metal hooks one time or another, enriched my hotel room experience.
industrial carpet polycarbons and synthetic floral disinfectant. on opposite walls, for hanging your own hammock during the after-
noon siesta (when a bed mattress just wouldn’t be right). In Thailand, Sometimes, as in the case of the “Liberace Room” at San Antonio’s
Why must every cheap hotel always, there’s a miniature house somewhere on the hotel premises, Painted Lady Inn, my hotel room window looks out on nothing more
in America smell like a new car? with little plastic people in it, and incense burning—a Thai trick to
coax all the local spirits into the doll’s house, so they won’t roam the
interesting than a side alley. But when alley-facing rooms are dripping
in chandeliers and hung with gold-framed portraits of Liberace, how
What did Chicago actually smell like? Mysteries to me, forever. The corridors and disturb your stay. The housekeepers in South Pacific can you complain to the management?
Peachy Guest House room, on the other hand, had a window with a guest houses will lay frangipani or ginger blossoms on your pillow Once on a trip to Kuala Lumpur, Malaysia, I got to stay in a bona-fide
curious iron Oriental Miami Beach motif separating the bedroom from every morning after they clean the room, that wilt slowly in the heat luxury hotel room. Asian currencies were collapsing, and the
the bathroom, a source of endless fascination. If I poked around of the day, filling the air with intoxicating fragrance. The housekeepers Malaysian government had frozen the ringgit, which was suddenly
Bangkok long enough would I suddenly stumble upon an entire in Bali whisper a little prayer and place tiny mysterious packets of worth about 40-percent less dollars than it had been a few weeks

| 40 | “Underpriced, insanely great publishing—they must

be communists...or worse—commonists!...” — reader’s comment , [Link]
 Stay in Madras for $4,
Tokyo for $37, or New York for $99

before. Seizing the instant, I booked a room at the Shangri-La (could Tip the bellhop, open the windows, unpack. Take off shoes. Play with and brace myself for another night in a cheap motel. I can deal with
a hotel chain have a more perfect name?) for $82—less than the the knobs on the mysterious box by the bed—is it a radio? A the aesthetic attack that a horrific bedspread provokes, but I can’t
price of a Quality Inn in Houston. heater? Toss Balinese sarong over hideous bedspread. Investigate handle the thought that my bedspread, in the last week of its three-
nooks and crannies. Joy is a small refrigerator that works. A pretty month shift, may attack me at the molecular level, too.
The room, of course, was a perfection of marble tubs and gilded clay teapot with a container of green tea leaves and a thermos of
faucets, gold damask upholstery, and fresh orchids on the nightstand. boiling water in a Japanese ryokan. A mint condition Art Deco sink in Trickle down minimalism
Actually, they might have been lilies. When hotel rooms are perfect, I Manhattan. In the tropics, a fluttering ceiling fan. Misery is a bubble During the 1990s, the hotel industry discovered Modernism in a big
often forget the details. gum-pink room lit entirely by cheap florescent bulbs. Mysterious way. Suddenly, in just about every international city, there was a “bou-
brown stains on the walls. Bedsheets with holes, in India. tique hotel”, where the employees, chosen by casting agents, wel-
Here’s what I do remember: A forest of steel building skeletons and comed throngs of trend setters to rooms bare of excess furniture and
construction cranes frozen motionless outside my 14th-story picture I adjust the rabbit ears on the television and decipher the Cyrillic or
window. In Malaysia, the “tiger” economy had stopped, abruptly, in Chinese characters on the remote. By randomly pressing buttons, I
mid-roar. Thanks to the room, what I had understood from abstract find two stations, each broadcasting the same newscast in a lan-
headlines was now visible and concrete. Oh, and I remember one guage I can barely make out. Uh oh ... there’s a map covered with
other thing—a sign, on the refrigerator, that said, “Guests are wavy lines, and a newscaster pointing to a spot and speaking, over
requested to not bring Durian fruit into the room.” and over, a word that sounds like “typhoon.” Time to go downstairs
and have a drink. If I’m really on a roll, there will be a pool, and
Perhaps this is not the kind of memory one expects to carry home enough time for a swim before the deluge.
from Shangri-La. But it is among the best of mine.
Attack of the killer bedspreads
The drill They have names: Captiva, Vanessa, Sussex, Ikat, Royal Manor and
New Jamestown. I discovered this on the Internet one afternoon, in
At the moment of arrival, my heart search of a clue to a mystery that has puzzled me for years. Why do
begins to flutter. Checking into all budget American hotel rooms have the same five ugly patterns?

an unfamiliar hotel is a little like Okay, I’m exaggerating. There are more than five hideous patterns
going on a blind date. circulating in the Bedspread Industry. Maybe twenty or thirty. But just
who is responsible for these atrocities of clashing, swirling colors,
No matter how much advance information I’ve been able to gather these unfortunate Rorschach splotches, these profusions of cabbage
from guidebooks or from other travelers, I can’t predict if I will be roses and palm trees?
happy, indifferent or miserable until I step into the lobby.
As I’ve always suspected, the national proliferation of ugly polyester-
If my reservation is on the books, I relax a little. Other good omens: filled covers has its roots in the proverbial bottom line. In the United
uniformed employees in the lobby, smiling guests, fresh flowers, a States, there are several large textile and bedding manufacturers
welcome cocktail. Bad omens: bulletproof protective glass around catering to the needs of the hotel industry. In most American cities,
the check-in desk, employees wearing badges that say, “Have a Nice you can’t put just any blanket on a bed—it has to meet the local fire
Day My Name Is ...” and domesticated animals. (With the exception code standards. Hence, the polyester so heavily coated and treated
of elephants. There’s a hotel in South India that is famous for its ele- with flame retardant that it feels like plastic bubble wrap.
phant, which visits the lobby every morning on its way to a nearby
temple. This is considered to be very good luck.) Then there’s laundry—for any hotel, a big expense, but for budget
hotels, a crippling one. As you work your way down the hotel chain, decorated mainly in shades of white. Outfitted with clever accessories
The ritual of signing in follows. In some parts of the world, hotels no it’s an expense that gets pinched. A reporter for the Des Moines and sleek, brushed stainless steel bathroom fixtures created by
longer bother with this; in others, you’re handed a form that requests Register once called a few local hotels and asked them how long famous architects and interior designers, these hotels grabbed the
you to list your entire itinerary, your future plans, and your curriculum they waited in-between washings. “At the West Des Moines Marriott, attention of a young, new monied class of travelers, mostly too busy
vitae in block letters on a 3 x 5 card. And then the moment of truth: management says the bedspreads are changed every six weeks,” he admiring the clever lampshades and built-in desks to notice that
you are led to The Room. Or given a key and sent off into the dark was told. “At the Motel 6 in Des Moines, bedspreads are laundered there was barely enough space in their pricey hotel room to walk
night with a flashlight. every three months unless there is a ‘visible’ stain.” around the bed.
The unspoken little business secret of these boutique hotels was this:
I prefer carrying my own bag. I like to be alone when I step into a It would take a forensic expert to separate the design from the stains Modernism can be very cost-effective. The Japanese have known for
room for the first time; the presence of a hovering bellhop throws my on Captiva, Vanessa, Sussex, Ikat or Royal Manor. years that if you pare a hotel room down to the basics, and avoid
radar off, and I end up not noticing the u-shaped depression in the fussy details, you can make people comfortable in very small spaces.
center of the bed, or the airshaft-facing window. I try not to think about such things as I pull down the garish coverlet And the smaller the space per guest, the higher the profit margin.

I watched this trend develop over a few years, from afar, since the price
tag on the New Minimalist rooms was too high for my travel budget.
But then, late in the decade, the inevitable knockoffs began to appear
on the scene. First I noticed that in many recently renovated cheap
hotels the color palette had shrunk to shades of gray, black and white.
Then, around 1999, I checked into a just-renovated budget hotel in
Manhattan, walked into its bathroom and beheld a cone-shaped, steel
sink. I knew that Minimalism had trickled-down to the masses.

Personally, I prefer coming back at the end of the day to clean bare
walls, rather than calico wallpaper—much more relaxing. On the
other hand, I don’t enjoy spending the first hour of my hotel stay
searching like a bloodhound for the light switch (hint: they’re often on
the telephone console) and then figuring out how to make them
work. If there’s a tiebreaker in this dilemma, it is this: In hotels
with bare walls (unlike the ones with calico wallpaper),
there is almost always a supply of good, strong coffee.

Page 41 Clockwise from top left Hostal Rifer, Madrid, Spain / The New Yorker
Hotel, New York City / Choksan Hot Spring Resort Village, Sokch’o, Korea / Hotel
Alessandra, Florence, Italy
Opposite page Left Shojoshin-in-Monastery, Koyasan, Japan Right “Liberace
Room” at the Painted Lady Inn, San Antonio, Texas
This page Left Hotel Due Torri, Rome, Italy Above Shangri-la, Kuala Lumpur,
Malaysia Top Maina Sunset Motel, Aitutaki, Cook Islands

Cheap Hotels Daisann McLane

English/German/French / Hardcover, format: 16.5 x 22.2 cm (6.5 x 8.7 in.),
192 pp. / US$ 20 / £ 10 / 2 16 / ¥ 2.500

| 42 | “Les plus beaux livres d’art, et les plus originaux,

The Computers: An Illustrated History Christian Wurster
English, German and French editions / Hardcover, format: 16.5 x 22.2 cm
(6.5 x 8.7 in.), 336 pp. / US$ 30 / £ 17 / 2 24 / ¥ 3.000

incredible shrinking
computer

“Real-life retro computer chic.”

—Dazed & Confused, London

Remember your first computer? No doubt it now seems like a relic preceded by teletypewriters? The progress we’ve witnessed in our informative text describing the computer’s evolution up to the present
from the Flintstone era. From automated punch-card calculators lifetimes is mind-boggling. The struggle for the best interface, the day, excerpts from important historical essays, and an A-Z index of
to the first personal computers such as the Apple II and Commodore greatest design, and the fastest processor have resulted in computers the most influential computer developers and designers.
64 to today’s Sony Vaios and PowerBook G4s, the computer has of a size, power, and with capabilities and uses that were unfath-
undergone an amazing, rapid evolution in its brief history. Can you omable only a few decades ago. Discover the fascinating history of The author/photo editor/designer: Christian Wurster earned
believe the computer’s first input device was a light pen used to computers, interfaces, and computer design in this illustrated guide his degree in Media-Sciences at the Technical University in Berlin.
select a symbol on the screen? And that computer keyboards were that includes pictures of nearly every computer ever made, an He lives and works in Berlin as a freelance art director and designer.

c’est souvent la maison TASCHEN qui les édite.” — ELLE , Paris

 Do it yourself
A book with endless possibilities

500 3D Objects Vol. I Julius Wiedemann

English/German/French edition / Spanish/Dutch/Japanese edition / box + 2 CDs,
format: 15.5 x 15.5 cm (6.1 x 6.1 in.), 640 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

The 500 images presented in this book look fab on paper, but the true Each entry in the book includes: * 500 3D models and images: 460 standard resolution
three-dimensional fun begins when you pop the included CD-ROMs into * the rendered image and 40 super high polygon models, with respective
your computer. All of the images featured in the book are provided on * texture examples and the number of textures masks, shadow channels, and textures. (If purchased
the CDs as pictures and as 3D models in 3DS format (the universal for- * where to find the 3D model on the CD and its quality separately, these 3D models provided on these CDs
mat for 3D files) so that you, dear reader, can experiment with them in in polygons would cost over $2000!)
any way you wish. If you aren’t already experienced in working with 3D, * the image resolution
not to fear—we’ve also included a demo version of 3D manipulation * a short description Introduction by German 3D expert Wenzel Spingler, one of the
software so you can teach yourself how to rotate the images, incorporate * wireframe image leading professionals working with virtual environments for hyper
the included textures, and mix them with your choice of backgrounds. realistic digital illustration. Models by Spanish model maker
Once you’ve compiled your own 3D creation, you can use it for Flash CDs include: De Espona, one of Europe’s leading companies in this field.
animations, graphic design, architecture, interior design, logos, signboards, * Demonstration version of Swift3D software (Windows and
information graphics, typography, or anything else your heart desires. Macintosh compatible)

| 44 | “Luxury for less.” — art , Hamburg

 T V!
AS SEEN ON
f $ $
1000s o
e ls FREE
of 3D mod ok!
b o
with this

Greyscale rendering Object-mask Shadow-mask

without textures

“Popstars der Branche.” — Der Spiegel , Hamburg

 | 46 |
NAME
TOMB RAIDER
LARA CROFT
THE ANGEL OF DARKNESS
PLATFORM
PS & PS2 - 2002
RELEASE
1999
PRODUCER
ADIAN SMITH
DEVELOPER
CORE DESIGN/EIDOS
FACT
1.500.000 COPIES SOLD
In the beginning,
there was Pac Man…

“This concise guide is a must-have for anyone interested

© Core Design / Eidos Interactive
1000 Game Heroes David Choquet Licensed Heroes Funny Heroes Strange heroes Fighting Games Kings of Action
English/German/French / Flexi-cover, format: 19.6 x 24.9 cm (7.7 x 9.8 inches),
608 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500
Strange Heroes Legends Magical Heroes Fearless Heroes Sexy Heroes
of Video Games

Who’s who
in the digital battlefield

From cute, furry little rodents to gnarly, sword-wielding giants, video working process involved in creating the games and their heroes. The author:
game heroes are the stars of this new book which catalogs 1000 For game aficionados, casual or one-time gamers, and anyone who Sign of destiny or simple coincidence, David Choquet was born
characters, from the most famous to the most obscure, spanning the has ever had a sore thumb from punching gamepad buttons, this in 1972, like the very first video game, Pong. In 1992 he began
history of video games from their very roots to the present day. book is not to be missed! working as a video game-specialized journalist. He worked for the
Arranged by categories (Violent Heroes, Sexy Heroes, Video Game French magazine PC FUN until 2000, first as staff writer and then
Legends, etc.) and including three indexes (Name of the Game, * Written by senior game magazine editor David Choquet deputy editor, and was subsequently editor of the French gaming
Hero’s name, and Platform) the book is designed to be navigated * Special sections on icons, facts, game weapons, and record scores portal [Link].
like an encyclopedia or simply flipped through. Each chapter’s intro- * Added bonus: a DVD tucked inside which includes short clips and
duction is written by a famous game creator and describes the advertisements from games featured in the book

in the entire scope of design.” —City Magazine, USA, on Design of the 20th Century
Hardbodies
in bikinis
The talented Mr. Dobbins (and his amazing bodybuilding babes)

Though the popularity of female bodybuilding has been rapidly grow- studio and natural light portraits, he worships these women’s bulging published The Women: Photographs of the Top Female Bodybuilders
ing over the past three decades, women’s brawny body types are still muscles like no photographer has done before. (Artisan, NY); he has written a number of books on bodybuilding
not accepted in the global opinion of the way women ought to look. training and nutrition and has collaborated with Arnold Schwarzen-
Enter Bill Dobbins, a man whose mission is to show the world what The photographer: egger on three books.
ultra-muscular women really look like—and that they look good. Bill Dobbins is a photographer, writer, and video director. His artis-
Modern Amazons is a unique collection of fine art photos and essays tic photographs, especially nudes, first appeared in Joe Weider’s Flex Modern Amazons Bill Dobbins
English/German/French edition / Japanese/English/German edition / Hardcover,
giving a fascinating insight into Dobbins’s vision of femininity and the Magazine, the world’s leading bodybuilding publication. His work has format: 26 x 28.8 cm (10.2 x 11.3 in.), 168 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.000
impact of female bodybuilding on modern society. Dobbins shows also been featured in numerous gallery and museum exhibitions,
us a kind of female physique that challenges the typical thin-legged- including this year’s “Picturing The Modern Amazon” exhibition at the This page: Below left Heather Tristany Below right Lesa Lewis Opposite page
large-breasted archetype of female beauty. With his highly skilled New Museum of Contemporary Art in New York. In 1995, Dobbins Lesa Lewis

| 48 | “Like no other book of its kind. Crack the book to see how their revo-
lutionary ways of thinking take shape.” — Style Monte Carlo , Monaco, on Designing the 21st Century
For the love of trees

“The specimens,
as things of beauty, are greatly to be prized….
The work is valuable and unique.”
—The Boston Globe, Boston, on the 1888 edition

of an extremely rare original set of volumes in very good condition and philosophy at the universities of Cologne, Tübingen and Glasgow,
from the Royal Botanic Gardens, Kew, London. For each tree, and then taught biology at the university of Frankfurt. From 1986 to
three different cross-section cuts of wood are represent- 1989 he was the Director of the Botanical Institute and the Botanical
ed (radial, horizontal, and vertical), demonstrating the particu- Gardens in Frankfurt-am-Main. It was there in 1988 that he was
lar characteristics of the grain and the wealth of colors and textures elected Chairman of the Society of Friends of the Palm Garden.
Culled and to be found among the many different wood types. Also included in
assembled by Romeyn this special edition are lithographs by Charles Sprague Sargent of the Holger Thüs, born in Ratingen in 1970, is a biologist specializing in
Beck Hough between 1888 and leaves and nuts of most trees, as well as texts describing the trees’ botany. From 1997 to 2001 he worked on the taxonomy and ecolo-
1913 in what still remains and stunning and geographical origins and physical characteristics. Interior designers, gy of central European aquatic lichens at the Senckenberg Research
unparalleled achievement, American Woods—original- craftsmen, nature enthusiasts, and artists alike will enjoy this Institute (FIS).
ly published in 14 volumes, with actual specimens mounted on beautiful collection of wood samples which includes
card stock—is a work of breathtaking beauty that has set many trees that are now very rare or completely extinct. The Wood Book facsimile of The American Woods (1888–1913) by Romeyn
the standard for study of trees and wood. TASCHEN’s Wood B. Hough. Introduction and text by K. U. Leistikow / Holger Thüs
Book reproduces, in painstaking facsimile, all of the specimen pages The authors: English/German/French / In a wooden box, hardcover, format: 16 x 23.2 cm
from the original volumes; for this purpose we have obtained the use Klaus Ulrich Leistikow (1929–2002) studied natural science (6.3 x 9.1 in.), 864 pp. / US$ 75 / £ 50 / 2 75 / ¥ 10.000

| 50 | “Thanks to TASCHEN, arts publishing has never

been so damned dirt y.” — Attitude , London
 Beautiful berries,
precious peaches, fantastic figs,
gorgeous grapes,
magnificent melons ...

Pomona Britannica Uta Pellgrü-Gagel / Gotthard Brandler / Werner Dressendörfer

English/German/French / Hardcover, format: 26 x 30.2 cm (10.2 x 11.9 in.), 200 pp. /
US$ 30 / £ 17 / 2 24 / ¥ 3.000

Pomona Britannica, originally published in 1812 by George Brook- analyses; also included are some 19th century recipes, so you can of the Botanical Garden and Botanical Museum Berlin-Dahlem.
shaw (1751–1823), an admired draftsman and engraver of fruits taste such delicacies as melon ice or fig soup. Lovingly drawn on Gotthard Brandler, director of the Staatliche Bücher- und Kupfer-
and flowers, celebrated the richness of food variations cultivated in charcoal backgrounds, the mouth-watering cherries, stichsammlung Greiz, is specialized in prints & drawings of the 19th
England, with superb illustrations of 256 species of fifteen kinds of apples, figs, and other divine fruits seem to jump right off & 20th centuries.
fruit. For this enhanced reprint, we have been fortunate enough to the page. Werner Dressendörfer, pharmaceutical historian and professor at
obtain the use of a very rare original copy: the exquisite, limited edi- the universities of Erlangen and Regensburg, is currently conducting
tion, hand-colored volume that was first owned by Princess Elizabeth, The authors: research into the history of healing plants. He is also the author of
daughter of George III. Each chapter of our publication focuses on Uta Pellgrü-Gagel, after undergoing professional training in textile The Roses, The Lilies, The Garden at Eichstätt and The New Herbal
one family of fruit and is accompanied by a contemporary text giving technology and studying art history, modern history and classical of 1543, all published at TASCHEN.
nutritional information about the fruits as well as cultural and historical archaeology in Berlin, now works as an author for the central office

| 52 | “It’s bloody huge and frankly, awesome. Buy it.”

— FHM , London, on Exquisite Mayhem
 Mythical homes
Above Terrace at Wassily Tseghis’ house on Serifos

in the land of the gods

Living in Greece Barbara and René Stoeltie / Ed. Angelika Taschen
English/German/French / Hardcover, format: 26 x 30.2 cm (10.2 x 11.9 in.),
200 pp. / US$ 30 / £ 17 / 2 24 / ¥ 3.000

Barbara and René Stoeltie bring you yet another excursion to the Browning, descendent of the English poet, in Hydra, a stunning 18th Touloumtzoglou and his wife, Tilly. The magic of Greece’s old-world
best of the world’s country homes—this time to the mythical land of century Turkish-Greek palace in the Argo-Saronic Islands (the former charm drips from the pages of this book, which features 22 homes
Greece. Go island hopping with the Stoelties and discover the best of residence of a Turkish governor, now inhabited by a farmer and his throughout the country.
Greece’s hidden treats, such as the hilltop vacation house of Robert family), and the cozy, romantic home of Onassis, ex-pilot Basile

| 54 | “The TASCHEN empire, or the art of making beautiful

Top Living room of Charlie and Sally Clements in their house in County Kildare

Living in Ireland Barbara and René Stoeltie / Ed. Angelika Taschen

English/German/French / Hardcover, format: 26 x 30.2 cm (10.2 x 11.9 in.),
200 pp. / US$ 30 / £ 17 / 2 24 / ¥ 3.000

Cozy cottages
and castles
There is hardly a land more characterized by charming country The editor: The authors:
homes and castles than Ireland. Images of dewy plush foliage, rolling Angelika Taschen studied art history and German literature in Barbara and René Stoeltie both began their careers as artists
green hills, and fairy-tale cottages and castles come quickly to mind. Heidelberg, gaining her doctorate in 1986. Working for Taschen and gallery owners. With René as photographer and Barbara as
The homes featured here live up to the most fanciful of expectations, since 1987, she has edited and published numerous titles on the writer, they have been collaborating on interior design articles since
ranging from quaint, cozy little dwellings to a plethora of different themes of architecture, photography, design, and contemporary art. 1984, contributing to such influential magazines as Vogue, The
types of castles and stately homes. Of special interest is the breath- She conceived Taschen’s Interiors series in 1994, the Country World of Interiors, AD, Elle, House and Garden, Country Living, and
taking Leixlip Castle, where the owner of Guinness beer resides. Houses series in 1999, and the Hotel Book series in 2002. House Beautiful.

books available to everyone.” — Numéro , Paris

David Astridge & Abbie Galvin Mitchell & Helen English David Katon Craig Rosevear
Jackson Clements Burrows Hans Freymadl & Jonathan Richards Christina Markham & Rita Qasabian Harry Seidler
Peter Clark & Mark Pearse Burley Katon Halliday Sam Marshall Andrew Stanic & Andy Harding
Kerry Crowley Iain Halliday Stephen Ormandy & Louise Olsen
Neil Durbach & Camilla Block Dale Jones-Evans Alex Popov

Style down under

Sydney’s coolest interiors
Living in Sydney packs into 200 pages the very best of cutting-edge famous Sydney beach. Shot by Italian interior photographer Giorgio Above Night view from the terrace of Harry Seidler’s penthouse (Milsons Point)
interior design from Australia’s most happening city. Highlights include Possenti, these sumptuous photographs of penthouses, open space
the home of Australian architect Harry Seidler (with a magnificent interiors, and minimalist homes (filled with original designs by the Living in Sydney Antonella Boisi
view of the harbor), architect Alex Popov’s home, and the house of likes of Le Corbusier, Jacobsen, Eames, and Saarinen) are a wonder- English/German/French edition / Italian/Spanish/Portuguese edition/ Hardcover,
Dinosaur Design’s Stephen Ormandy and Louise Olsen in Bronte, a ful treat. format: 26 x 30.2 cm (10.2 x 11.9 in.), 200 pp. / US$ 30 / £ 17 / 2 24 / ¥ 3.000

| 56 | “Das Programm umfaßt vor allem Bildbände in einer spektakulären Mischung aus Kunst, Pop,
Home is where
the kitchen is
“Ce livre s’adresse à notre coeur,
nos souvenirs et nos papilles et se présente
comme une véritable mémoire du meilleur de la
cuisine campagnarde internationale
avec ses décors, ses recettes, et ses odeurs ...
Les photos sont éloquentes.”
—Campagne décoration, Paris

Country Kitchens & Recipes features the most charming and roman- kitchens, furniture, and kitchenware are accompanied by a detailed Above Martine Colliander created a kitchen in shades of white with
tic country kitchens throughout Europe and America. Based on the list of shops where inspired readers can find such period accoutre- a red brick floor
simple, age-old concept of the kitchen as the center of the home ments. In this age of microwaves, genetically-modified “Frankenfood,”
and family life, this book is a veritable wellspring of ideas on how to and sterile, minimalist décor, Country Kitchens & Recipes presents Country Kitchens & Recipes Barbara and René Stoeltie / Ed. Angelika Taschen
decorate and cook like our ancestors did. a wonderful alternative: cozy kitchens with character in which pure, English/German/French / Hardcover, format: 26 x 30.2 cm (10.2 x 11.9 in.),
Atmospheric photographs of the very best examples of classic wholesome meals are prepared with love. 200 pp. / US$ 30 / £ 17 / 2 24 / ¥ 3.000

Design, Fotografie, Architektur, ‘Adults only’ und hocherotischen Blumenbüchern.” — FAZ , Frankfurt a.M.
Ads from
“The whole TASCHEN team should
be congratulated on this fine piece
of cultural archaelogy.”

the space age

—The Richmond Review, London, on the All-American Ads series

60s Americana galore!

“The ads do more than advertise

products—they provide a record of
American everyday life of a
bygone era in a way that nothing
else can.” —Associated Press, USA

With the consumerist euphoria of the fifties still going strong and the end of the era brought psychedelic swirls and liberated women and The author:
race to the moon at its height, the mood of advertising in the sixties minorities to a newly conscious public. Keep an eye out for some of Jim Heimann is a resident of Los Angeles, a graphic designer,
was cheerful, optimistic, and at times, revolutionary. The decade’s ads the more surprising and controversial ads—such as Tupperware writer, historian, and instructor at Art Center College of Design
touted perceived progress (such as tang and instant omelets—“just billing its storage container as a “wifesaver.” in Pasadena, California. He is the author of numerous books on
add water”) while striving to reinforce good old American values. architecture, popular culture, and Hollywood history, and serves as a
Stars like Sean Connery, Woody Allen, Salvador Dalí, and Sammy From forgotten cars such as the Dodge Dart, to cigarettes consultant to the entertainment industry.
Davis Jr. endorsed everything from bourbon to handmade suits in an (“This Christmas give cartons of Luckies”) to food (mmm!
attempt by Madison Avenue to urge Americans to open their wallets TV dinners!) and much more, this colorful collection of print
and participate in one giant consumer binge. Social change at the ads explores the wide, wonderful world of 60s Americana.

| 58 | “Eine große Lässigkeit geht von diesen Bildern aus, jener Stoizismus,
 “Leafing through the pair
is like walking through a massive
design exhibition on the mores
of those two decades. ...
Who would ever have imagined
that ads could say so much about
our recent past ?”
—The L.A. Times, Los Angeles, on All-American Ads of the 40s and 50s

Coming soon: All-American Ads of the 30s and 70s

All-American Ads of the 60s Ed. Jim Heimann / English/German/French/ All-American Ads of the 40s Ed. Jim Heimann / All-American Ads of the 50s Ed. Jim Heimann /
Spanish/Japanese / Flexi-cover, format: 19.6 x 25.5 cm (7.6 x 10 in.), 928 pp. / Flexi-cover, 768 pp. / Flexi-cover, 926 pp. /
US$ 40 / £ 20 / 2 32 / ¥ 4.500 US$ 40 / £ 20 / 2 32 / ¥ 4.500 US$ 40 / £ 20 / 2 32 / ¥ 4.500

der ein fester Bestandteil der amerikanischen Geisteshaltung ist. Die USA
Gaga for
FILMS Betty Blue Body Heat Dead Men Don’t Wear Driving Miss Daisy
Beverly Hills Cop Das Boot Plaid E.T. The Extra-Terrestrial
After Hours Big Born on the Fourth of July Dead Poets Society Edward Scissorhands
Aliens The Big Blue Brazil Dead Ringers Escape from New York

Ghostbusters ?
Amadeus The Big Chill Bullet in the Head Deadly Circuit The Evil Dead
An American Werewolf in Bird Chariots of Fire Desperately Seeking The Falcon and the
London Blade Runner A Chinese Ghost Story Susan Snowman
And the Ship Sails On Blood Simple Clean Slate Dick Tracy Fanny and Alexander

Get the guide

Angel Heart Blow Out Conan the Barbarian Die Hard Fatal Attraction
Babette’s Feast Blue Steel Crimes and Misdemeanors Down by Law First Blood
Back to the Future Blue Velvet Dances with Wolves The Draughtsman’s A Fish Called Wanda
Batman Body Double Dangerous Liaisons Contract Fitzcarraldo

“ This is a must
for every movie-goer
worldwide, a brilliant
anthology of the
movie making of the
last decade.”
—reader’s comment, [Link]

| 60 | gewannen den Krieg wahrscheinlich auch deshalb, weil sie die

Flashdance Highlander The Little Shop of My Beautiful Laundrette Nostalghia Prince of the City She’s Gotta Have It The Terminator The Untouchables
The Fly Home Alone Horrors My Left Foot Once Upon a Time in Prizzi’s Honor The Sheltering Sky Tie Me Up! Tie Me Wall Street
The Fourth Man House of Games Lola The Naked Gun: America Querelle Shoot to Kil Down! When Harry Met Sally…
Frantic I Hired a Contract Killer Mad Max Beyond the From the Files of The Osterman Weekend Rain Man Something Wild Time Bandits Who Framed Roger
Full Metal Jacket Indiana Jones and the Thunderdome Police Squad! Out of Africa Ran Sophie’s Choice Time of the Gypsies Rabbit
Gandhi Last Crusade Men The Name of the Rose Paris, Texas Reds Stand by Me To Live and Die in L.A. Wild at Heart
Ghostbusters Jacob’s Ladder Miller’s Crossing Near Dark A Passage to India The Right Stuff Sweetie Tootsie Witness
Goodbye Children The King of Comedy Misery Never Say Never Again Pelle the Conqueror RoboCop Tampopo Top Gun Working Girl
Goodfellas Kiss of the Spider Mississippi Burning A Nightmare on Elm Places in the Heart A Room with a View Tea in the Harem Total Recall Year of the Dragon
The Green Ray Woman Monty Python’s The Street Platoon Rumble Fish Terms of Endearment The Unbearable
Hannah and Her The Last Emperor Meaning of Life Nikita Presumed Innocent Scarface The Breakfast Club Lightness of Being
Sisters Lethal Weapon Moonstruck 9 1/2 Weeks Pretty Woman Sex, Lies and Videotape The Company of Wolves Under the Volcano

Step right up and get your fill of 80s nostalgia with the movie the delight of audiences everywhere. In fact, the 1980s saw The editor: Jürgen Müller, born 1961, studied art history in
bible to end all movie bibles. We’ve diligently compiled a list the invention of a new reality, a movie-world so convincingly Bochum, Paris, Pisa, and Amsterdam. He has worked as an
of 145 of the most influential movies of the 1980s that’s sure real—no matter now far-fetched—that spectators could not art critic, a curator of numerous exhibitions, a visiting profes-
to please popcorn gobblers and highbrow chin-strokers alike. help but abandon themselves to it. Now that’s entertainment, sor at various universities, and has published books and
The 80s was a time for adventurers, an era of excess, pomp, folks. numerous articles on topics dealing with the history of art and
and bravado. Back when mullets and shoulder pads were the cinema. He currently teaches art history at the Universität
all the rage, moviegoers flicks as wide-ranging as Blade der Künste in Berlin. He lives in Hamburg and Berlin.
Runner, Indiana Jones, When Harry Met Sally, and Blue Features:
Velvet. Without a doubt, sci-fi was the most important genre © Filmbild Fundus Robert Fischer & Deutscher Fernseh-Dienst (DEFD/
* Cast/crew listings * Box office figures Columbia/Concorde/Fox/Jugendfilm/Neue Constantin/Scotia/Senator/UIP/Warner)
of the decade, with non-human characters like E.T. winning * Trivia * Film stills
the hearts of millions while the slimy creatures from Aliens * Actor and director bios * Academy Awards list Movies of the 80s Jürgen Müller
became the stuff of nightmares and movies like Ghost- * Useful information on English, German, French and Spanish editions / Flexi-cover, format: 19.6 x 24.9 cm
busters and Back to the Future fused comedy and sci-fi to technical stuff (7.7 x 9.8 in.), 864 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

bessere Werbung hatten.” — Der Tagesspiegel , Berlin, on All-American Ads of the 40s and 50s
The Cinema of Surfaces
On the Aesthetics of Film in the Eighties, by Jürgen Müller & Steffen Haubner

A city spews fire. The black sky above Los Angeles is rocked reality and follow its own laws. Despite the film’s tangible mate goal and true destiny is to achieve perfection. In the final
by countless explosions. Fireballs erupt from factory smoke- desire to overwhelm the audience with images, this imaginary moments of his life, Roy rejects all this, voicing his willing-
stacks, the air itself seems to shudder and groan; futuristic journey to the city of tomorrow also has its philosophical ness to eschew immortality and embrace death. Though all the
flying machines swoop through the city, and a bolt of light- ambitions. Critics did not fail to notice that the protagonist’s wonders he has seen will disappear with him “like tears in
ning slashes the horizon. So much light… and yet the dark- name—Deckard—evokes that of the French philosopher René the rain,” he can still justify his existence in aesthetic terms.
ness seems immune, unscathed, impenetrable. Very close Descartes, who claimed to have proved with certainty that In its underlying fatalism, Blade Runner is clearly inspired
up, the next explosion; and then we see a single human eye, human beings can know they exist. Later, the leader of the by film noir. The mood of the “dark films” which characterized
the city lights glittering on its shiny surface. This eye itself replicants, Roy (Rutger Hauer), is granted a closing monolog the Forties is an ideal vehicle for the film’s epistemological
is in turn a kind of screen, or mirror, impassively reflecting in which he quotes a poem by Nietzsche that invokes the skepticism, the notion that the future will hold no natural or
the fireballs that loom above the city. Ridley Scott’s opening grandeur and beauty of an infinite universe. verifiable truths. In the year 2019, Los Angeles is either too
sequence in Blade Runner articulates—indeed, realizes—one These philosophical allusions have a common point of bright or too dark. Instead of illuminating, the light blinds.
of the central aspirations of Eighties cinema: that a film be departure. Behind the ideas of self-knowledge and the super- This stylistic technique, so typical of Ridley Scott, creates
more than a mere image; that it create its own aesthetic man, there is an implicit understanding that humanity’s ulti- some tremendously potent images, whose very effectiveness

supports the film’s fundamental skepticism regarding any ception. What we know depends on what we see; and whether Recall (1990), Dune (1984), Star Wars: Episode VI – The Return
kind of knowledge or self-knowledge. we like it or not, we look at the world through tinted glasses. of the Jedi (1983), E.T. – The Extraterrestrial (1982), Outland
Blade Runner might well be subtitled: “An Apology (in the In this respect, it makes little difference whether our view is (1981) and Back to the Future (1985) still exhilarates audi-
old sense) for Superficies (in the literal sense).” This also colored by our ethnic origin, gender, ideology or our most ences to this very day. All of these films went to extraordinary
goes some way towards explaining why it became such a cult personal desires. lengths to create impeccable and unprecedented parallel uni-
success in the Eighties, a decade in which many directors verses. Film publications of the time increasingly focused on
were obsessed with the surfaces of things. These surfaces, The Dream Machine the mysterious world of special effects. Yet audiences were
however, are not always recognizable as such. They conceal not simply succumbing helplessly to the seductive power of
themselves—like mirrors in the act of reflection. For surfaces Blade Runner is an excellent example of the rapidly growing the cinematic illusion. They were discovering and understand-
are anything but superficial, though many a critic would have interest, throughout the Eighties, in the cinema’s peerless ing this very illusory potential as a thrilling subject for the
us believe otherwise. We can only really begin to speak in capacity to create illusions. The means, methods and conven- movies themselves.
terms of an aesthetic of surfaces if we approach the topic tions of film were increasingly questioned and the defining The two directors mainly responsible for this shift had
with a measure of humility. In this context, humility means characteristics of cinematic fiction examined. The flawless established themselves in Hollywood in the Seventies. While
admitting and embracing the relativity and subjectivity of per- production design exhibited in movies like Aliens (1986), Total Steven Spielberg and George Lucas exploited the medium’s

newfound technical capabilities, they were also willing to the “cinema of attractions”—and the Eighties made no attempt Bertolucci burst onto the international film scene, scoring his
resort to crowd-pleasing stock content. If it helped to lure the to conceal film’s lowly origin as a sideshow sensation. greatest triumph with the widely acclaimed The Last Emperor
audience away from the television and back into the the- (1987). Britain’s film business enjoyed a vibrant renaissance,
ater—so be it. The Wonderful World of Artifice with a generation of directors fired by a passionate opposition
When Star Wars (1977) was released in the late Seventies, to Thatcherism. This interest in politics was something of an
it was the first in a long line of films to be accompanied by a In Europe, the Eighties saw the passing of a generation of anomaly in the European cinema of the time. The “New
massive merchandising campaign—the movie as a commer- great individual European filmmakers. In 1982, Ingmar British Cinema” declared war on Thatcherism, and directors
cial for itself, so to speak. But only in the Eighties did the Bergmann retired from filmmaking and Rainer Werner such as Stephen Frears and Ken Loach produced some
“blockbuster” become the rule rather the exception. If a film Fassbinder died; Luis Buñuel died in 1983, and François politically provocative pieces of film. But the most radical
drew the crowds, a sequel was inevitable. The popularity of the Truffaut just one year later. However, it proved to be a varied innovations in “ways of seeing” were achieved in the work
Indiana Jones trilogy (1981, 1984, 1989) boasted unbeatable and heterogeneous age for European cinema. While Federico of Peter Greenaway and Pedro Almodóvar.
speed as a substitute for an original storyline. The film histori- Fellini produced a melancholy farewell to a Golden Age of cin- In the United States, Jim Jarmusch became the dominant
an Tom Gunning once referred to the industry’s early years as ema with And the Ship Sails On (E la nave va, 1982), Bernardo figure in independent cinema, and his influence on European

| 62 | “Plush is the only way to describe [it]. ‘Nobody’s perfect’ is happily not appli-
filmmakers is undeniable. The work of the Finnish director Aki neered by Jean-Jacques Beineix and Luc Besson marked the hurt the project more than it helped it. Blade Runner, too, was
Kaurismäki is a case in point: much like Jarmusch’s, his films arrival of design as an autonomous mode of cinematic sharply criticized for its extreme stylization. The grand illu-
can be seen as a challenge to the ruling Hollywood norms. expression. This artificial “neon cinema” was an attempt by sionists, however, were quite unfazed. Ridley Scott made
Kaurismäki’s laconic heroes are travelers without a destina- the younger generation to create original myths and to make a robust defense of his film’s mannerist style and the
tion, people who put attitude before action. Both these a clean break with the intellectual tradition of French film. unabashed artificiality of the world he had created: “Sometimes
directors have a notable liking for long shots and a stationary It was this aesthetic stance that made Beineix and Besson the design is the statement.”
camera. perhaps the most representative figures of their time. This It was impossible for the cinema of the Eighties to be a
In Germany too, it is hard to identify a common trend. goes to show that we can neither speak of a “European cine- medium of enlightenment, for it was less interested in ideas
Fitzcarraldo (1978–1981) was one of Werner Herzog’s finest ma” per se—nor of any identifiable, monolithic “European and convictions than in its own seductive power. Correspond-
films, while Wim Wenders’ Paris, Texas (1984) marked a audience.” ingly, the brazen artificiality of the Hong Kong cinema began
highpoint in the director’s mastery of form. As ever, film criticism in the Eighties continued to pit art to exert an increasing attraction on American and European
France witnessed a kind of rapprochement between Holly- against commerce. One American critic wrote that the exorbi- audiences.
wood and the European tradition. The cinéma du look pio- tant sum of money Terry Gilliam spent on Brazil (1984) had

Beneath the Surface tor shatters the idyll and makes a conscious allusion to Luis governments are pulling invisible strings from behind the
Songbirds, nature safely domesticated behind immaculate Buñuel and Salvador Dalí’s An Andalusian Dog (Un chien scenes—as in Nikita. Or apparently normal, law-abiding citi-
picket fences, neat rows of family homes under a radiant blue andalou, 1929). Lynch hereby embraces the Surrealist tradi- zens are aliens in disguise—as in John Carpenter’s They Live
sky, children playing on freshly mowed lawns, and a picture tion, the artistic movement that articulated the strongest (1988). In House of Games (1987), David Mamet presents a
book fire truck with the friendly fireman waving atop as he aversion to any form of “normality.” Inasmuch, this piece of bunch of cardsharks and con-artists in such a way that that
passes. A tranquil, pristine world, a blessed relief from all visual sampling might be said to have set the agenda for every apparent revelation of the truth is merely a front for a
these somber trips through neon-lit urban purgatories. Well, the Eighties. further deception. Modern technology and the apparently lim-
not quite. Horror lurks just under the beautiful surface. Yet Lynch’s surfaces are brilliantly ambivalent. They reveal as itless power of the media make it increasingly easy to doubt
again, a stylish facade turns out to be a kind of mirage. In the they conceal, which brings us back to the misgiving voiced one’s own perceptions. For The Osterman Weekend (1983),
words of David Lynch, Blue Velvet (1985) “...takes us under by the director that the thin facade of everyday life conceals Sam Peckinpah orchestrated a complex cat’s cradle out of
the surface of American small-town life and on a journey into some very sinister forces. In the Eighties, a wide variety of government red tape, in which it soon becomes impossible to
the subconscious.” films expressed the suspicion that the most mundane realities tell who is actually conspiring against whom. Here, even the
With the appearance of a human ear in the grass, the direc- are merely masks for something extraordinary. Corrupt weather report cannot be taken at face value. It should there-

fore come as no surprise to us that films have continued a whole lot more to life than what home cooking and advice Searching for the lost secret
to voice the suspicion that life itself is nothing more than a columnists have to offer. The protagonists of the films just list-
brilliantly fabricated illusion. ed are paradigmatic heroes, our proxies on the mythical jour- It’s astonishing how decades so recent can yet seem centuries
ney to an alien world—a gaudy, threatening and seductive away. Weren’t the Eighties thoroughly anti-classical—and
Metamorphosis and Transgression microcosm in which they will finally encounter and face up to less secure than the Seventies in matters of taste? And don’t
themselves. The need for self-transcendence is reflected even the Eighties now seem naïve and colorful compared to the
An element of social criticism adds to this climate of suspicion. more clearly in a number of films that deal with the topic of cool, elegant decade the Nineties tried so hard to be? More
In Wall Street (1987), Oliver Stone depicts a young stockbro- metamorphosis. In Woody Allen’s Zelig (1983), a human emphasis might well be placed on just how conservative the
ker (Charlie Sheen) learning a few of life’s harder lessons. chameleon develops a desire to identify his true self. In Sidney decade was, more space might be devoted to noting how
In the process, he comes to see that the world in which he Pollack’s Tootsie (1982), the protagonist played by Dustin reactionary so many films were, and how indelibly the
lives and the goals he has aspired to are nothing more than Hoffman can only achieve self-realization by disguising himself Eighties were marked by the presidency of Ronald Reagan.
a mirage. The stylish interiors, the designer desks, the well- as a woman. Penny Marshall’s Big (1988) is a fairy-tale take Rambo (First Blood, 1982), Aliens and Top Gun (1985) are
groomed surfaces of the people and the objects cannot con- on the transformation theme: a mechanical fortuneteller at a some of the prime examples that come to mind. Still, it would
ceal the nihilism at the heart of it all. This is a world in which carnival grants a young boy’s wish to grow up immediately. be unfair to reduce the Eighties to this. Instead of harping on
everything is sacrificed, irretrievably, to profit. An abstract The unexpected is seen not only as an opportunity but also the baleful influence of political stagnation—a perspective on
painting serves as a symbol for this inner and outer void, as a threat. A diffuse feeling of menace haunted the Eighties. the decade that would force us to see the films as mere com-
when Gordon Gekko (Michael Douglas) finds only one thing Domestic politics stagnated while the atomic superpowers pensation mechanisms—we should embrace the escapism,
worthy of mention: the picture’s appreciated value. Standing held each other at bay, and a dramatic rise in epidemics cul- take pleasure in the anarchy and thoroughly enjoy the paranoia.
in front of this work of art, he gives his “protégé” a lesson in minated in the plague of AIDS. Politicians called for a return Maybe the decade’s finest achievement was its mistrust of
capitalism. “Illusion has become reality, and the more to the traditional values of home and family. Yet interestingly any claim to absolute truth, and its self-liberation from the
real it gets, the more strongly it is desired.” —and perhaps strangely in such a climate of social and stranglehold of ideologies. For were the 80s not a decade for
In After Hours (1985), Martin Scorsese has an IT expert political tension—the unexpected was increasingly felt to be adventurers, both real and imaginary, in the vestiges of Don
wander the streets of a Kafkaesque New York. In Something lurking in the most intimate refuge we possess: in our very Quixote and Columbus? And what did these films accomplish,
Wild (1987), Jonathan Demme sends a stodgy businessman selves. Alan Parker’s Angel Heart (1986) showed a particularly if not reendow reality with its inherent mystery?
the woman of his dreams, who almost drives him insane. chilling voyage of negative self-discovery in which the pro-
In Susan Seidelman’s Desperately Seeking Susan (1984), tagonist is forced to realize that his identity is an illusion and
a bored housewife loses her memory and finds that there’s that he is nothing more than an instrument of the devil.

cable to the team that crafted Billy Wilder’s ‘Some Like it Hot’.” — Flaunt , USA, on SOME LIKE IT HOT
| 64 | “TASCHEN has design all figured out. They know what’s good, has
value, lasts, engages, indulges, uplifts, and is new.” — reader’s comment , [Link]
| 66 | “[TASCHEN’s is] a painstakingly edited program addressing
both the familiar and the unknown.” — Neue Zeit , Berlin
| 68 | “TASCHEN, the publisher of those dreamy oversize picture books
For Leni on her 100th birthday
A very special tribute to her remarkable Africa œuvre

“Riefenstahl’s ambition at nearly

a century of life seems undiminished.... * XXL-Format: 34.5 x 50 cm (13.4 x 19.7 in.)

Her book is simply magnificent.” * Extensive bibliography and biography section

Interview by Kevin Brownlow

—International Documentary Magazine, Los Angeles, on Five Lives

* All color illustrations are color-separated
* and reproduced in Aniva, the finest reproduction
technique available today, which provides
unequalled intensity and color range. The duo-
tone illustrations are made with Novatone, a
special treatment for black and white images
that produces exquisite tonal range and
* Six of Leni Riefenstahl’s Africa images (198 x 135 cm/
77.9 x 53.1 in.) as seen on pages 64-69 and 75, are density
available in a limited edition of 10.
* All the prints are signed, dated, numbered, and titled by
Leni Riefenstahl * Subscription price until October 1, 2002:
£ 850 / € 1.250
* Price per print: US$/ 2 20.000 Outside Europe until December 1, 2002:
* For more details please see our website
[Link] US$ 1.250 / ¥ 150.000

As Leni Riefenstahl turns 100, TASCHEN celebrates with a tribute to remembers her experiences in Africa as the happiest moments in her Page 64/65 Nuba men on their way to the wrestling festival—the larger the cala-
bash, the greater the warrior’s reputation Page 66/67 The dance festival which
her remarkable Africa oeuvre. When she was in her early sixties, life. Her beautiful, skilled photographs represent a landmark in the
takes place after the knife duels
Riefenstahl began voyaging frequently to the African continent, where extraordinary career of the 20th century’s most unforgettable artistic Opposite page top The screams of the men on the cliffs announce a fighting
she has worked on various film and photography projects over the pioneer. contest Opposite page bottom The village square of Kau This page Portrait of
last half century. Her favorite destination was in Sudan, where she the young Nuba woman Jamila
lived with and photographed the Nuba tribes people, learning their Africa Leni Riefenstahl, Ed. Angelika Taschen Page 75 Three young Nuba girls at the dance festival
English/German/French/Japanese edition/ Hardcover in a box,
language and becoming their friend. The Nuba were a loving and XXL-format: 34.5 x 50 cm (13.4 x 19.7 in.), 580 pp. /
peaceful people who welcomed Riefenstahl as one of their own. US$ 1.750 / £ 1.200 / 2 1.750 / ¥ 200.000
Her images of the Nuba, as well as of the Dinka, Shilluk, Masai, and Subscription price until October 1, 2002: £ 850 / 2 1.250
other tribes, are gathered in this monumental book. Riefenstahl Outside Europe until December 1, 2002: US$ 1.250 / ¥ 150.000

that are neatly stacked on all the best coffee tables….” — Empire Magazine , USA
| 70 | “It is impossible to overstate TASCHEN’s devotion to promoting
serious photography at an affordable price.” — British Journal of Photography , UK
“If Leni Riefenstahl had done nothing but
visit Africa and bring back her photographs, her place
in history would be secure.”
Leni Riefenstahl interviewed by Kevin Brownlow
“When I found out about them, from the photo by Rodger which I “Did the policemen ever stop you taking pictures?”
had with me, and which I showed to people, and when I was on my
way there, the police (chief of Kordofan) told me that these Nuba on “Yes, they tried. Despite the permission I had. At the last settlement
the picture—“the unclothed Nuba”—no longer existed. They said where there were still Sudanese living, the officials there tried to stop
they’d existed ten years earlier. But I didn’t give up asking and trying me, and I screamed and raged and threw myself on the ground. I
to find out.” refused to go on and forced them to give in. I had worked out a plan.
At a stop in a town a few hundred kilometres back, I had recorded
“When I showed the Polaroid, an officer saying that I had got the permission from the government
in Khartoum to go and stay with the Nuba, and he was a high-rank-
one Nuba would say to the other ‘That’s ing officer. And that tape I played at the last station. The distances
you!’ They’d never seen themselves are enormous—from Khartoum to the capital of the province, Elobe,
and they just kept looking at the picture is five hundred kilometres. And that’s where I showed the documents
from the Ministry of Tourism in Khartoum to the officer in charge
and then the other one would say and I asked him to read the official permission on to tape for me.
‘But that’s you!’ ” And I played that tape at the last station. They couldn’t read there.
But they could hear!”
The Nansen people drove on through the Nuba hills. After searching
for a week, the only Nuba they had encountered looked like any “Let’s say that the time I spent with the Nuba was among the hap-
other black African, wearing shirts and shorts. The morale of the piest of my life, among the most beautiful of my life. It was just won-
expedition plummeted. One day, after they had been driving for hours derful. Because they were always cheerful, laughing all day long,
through a deserted valley, the distinctive round houses of the Nuba good people who never stole a thing. They were happy about every-
appeared high above. Leni spotted a young, naked girl, who scam- thing, pleased with everything. And they had no capital punishment or
pered away in fright. With great caution, and immense excitement, anything of the kind. The punishments there were really harmless and
they moved forward on foot. the greatest crime was stealing a goat. A heavy punishment would
If Leni Riefenstahl had done nothing but visit Africa and bring back mean that the offender would have to go for a few days to the nea-
her photographs, her place in history would be secure. For these pic- “Several naked men, ’she wrote in her memoirs,‘ covered with snow- rest place that had a police station and there do some punitive work
tures are an extraordinary record. Equally extraordinary is her stami- white ashes and wearing bizarre headgear, were followed by others, like road sweeping and other menial chores.”
na; while she made her first visit in her early sixties, she undertook whose bodies were painted white and adorned with white ornaments.
her most recent at 98. Her love for Africa resulted in three photo- Girls and women, similarly painted and decorated with white pearls,
graphic books before this one. nimbly trailed the men, walking straight as candles and bearing cal-
abashes and large baskets on their heads. No doubt about it; these
Her first expedition should have acted as aversion therapy and put were the Nuba.” (p. 468)
her off for life, for it could hardly have been more disastrous. She set
out to make a film about the illegal slave trade in Africa. While travel- That same evening, the expedition saw the phenomenon of wrest-
ling north of Nairobi, the driver of her jeep tried to avoid a tiny dik-dik ling—a vast crowd of shrieking and strangely painted Nuba surroun-
(dwarf antelope); the vehicle hit a rock and was hurled into the air, ded pairs of wrestlers who, accompanied by the constant sound of
crashing down into a dry river bed. Leni went through the windscreen drumming, fought through a ritual which ended with the victors car-
and she was severely injured—her head wound was sewn up with a ried on shoulders, just like the Rodger photograph.
darning needle—and she was not expected to live. With her incre-
dible resilience she recovered. A fleeting glimpse of Masai warriors I asked Leni if she, a lone woman of advanced years in the middle of
carrying spears and wearing tribal costume inspired a fascination the African bush, felt the fear that I know I would have experienced.
which led eventually to her photographic work. Ernest Hemingway
described the Masai as “the tallest, best-grown, most splendid people “Not at all. I felt far safer than I would walking around the streets here
that I had ever seen in Africa.” on my own. One could see they were very good people. I felt it, I
saw it in their faces, they radiated it. I was never afraid. Never,
When I spoke to her at her home in Pocking, Leni Riefenstahl, still in never—even when I was alone—did a Nuba touch me. They always
pain from yet another crash in Africa, told me that Ernest Hemingway treated me as one of their own.”
had been responsible for her fascination for the continent.
The Nansens pitched camp near a Nuba settlement in December,
“I read Hemingway’s book, The Green Hills of Africa (1935). And that l962, under a tree which would become Leni’s favourite spot in the
influenced me. And when I got there, this shimmer, this light that I world. She set out to learn the language and the customs. “The
found in Africa, the warmth and the colours that look so completely blacks whom we live among here are so delightful that I’m never
different in the heat from those of Europe, all that fascinated me bored for even a moment,” she wrote to her mother, telling her how
greatly. It reminded me of the Impressionist painters—Manet, Monet, the Nuba, carrying spears, gathered round the radio and listened to
Cézanne.” their first broadcast—Christmas carols from Germany. (p. 471) But the Nuba’s state of innocence offended the authorities. “The
Sudanese government had forbidden them to go around naked, they
But it was a picture of Nuba wrestlers—one man carried on the Since stopping at Kadugli, a young Sudanese policemen had joined had to wear clothing.” This order, however, took some years to
shoulders of another—taken by the English photographer George the expedition with the specific purpose of acting as censor, and to change the way they lived.
Rodger, that led to her becoming a great stills photographer herself. It prevent Leni photographing naked people. For nakedness was for-
looked, she said, like a sculpture by Rodin and with its brief caption bidden by the Muslims. Leni had come to Africa primarily to make a film, not to take still pic-
“A Nuba of Kordofan” it drew her magically to a forgotten, little-ex- tures. But now the film had collapsed, she fell back on her trusty
plored part of Africa. But how to get there? Her finances were low, Leica camera.
she had no pension and she had a mother to support. She pursued
an opportunity to make a film set around the Nile. She succeeded in “A difficult question; how did you know the right moment?”
obtaining a visa to travel in the Sudan from Ahmed Abu Bakr, the
Director of Tourism, who became a friend and who would play an “I simply try as quickly as possible—it has to be quick—to find the
important role in her life. But then the Berlin Wall went up and her right framing. I work very, very fast.”
backers lost their money. The film was cancelled.
“This remarkable talent could not have appeared overnight. When did
She was given a second chance by the head of the German Nansen you realise you had this talent?”
Society. Herr Oscar Luz warned her how tough it would be, for Leni
was over sixty. But with her training in ballet, mountain-climbing and “I actually got that from my director, when I was appearing as an
skiing, she was exceptionally confident. After the meeting, she said, actress in my first films with Dr Arnold Fanck. He was an outstanding
she felt “reborn.” photographer. He showed me how to do it, and how to frame photo-
graphs. I absorbed it all unconsciously, watching him work. And then I
“I had read that the Nuba lived in Kordofan. At first, nobody knew “As long as I was with the Nansen expedition, there was always a began unconsciously photographing, just as he did. So unconsciously
where Kordofan was. It took me a long time to find out that Kordofan government policeman with us. But that was only up to l963. he was my teacher.”
was a province of the Sudan. And when I was in Khartoum, the capital Aftewards, when I was on my own, I never had a policeman with me.
of the Sudan, and asked about Kordofan, most people hardly knew, The Minister of Tourism in the Sudan, Ahmed Abu Bakr, gave me “Did you ever consider Polaroids?”
and no one know where the Nuba might be. I was in Khartoum twice special permission so I could be there without a policeman accom-
before I found someone who even knew the Nuba existed. panying me.” “I had Polaroids for several reasons. One was to use them with the

| 72 | “TASCHEN’s limited edition range is launched with the publication

customs authorities. The various provinces had customs borders and Togadindi region, who was almost seven feet tall. The remarkable group of us showed the surviving rolls of the Nuba film on l6mm. I
it was always a great problem to get across. I would photograph the event had just reached its climax when Leni caught sight of her remember feeling that Fromm’s cinematography was careful and effi-
customs officers and give them the photo and I’d then get permission estwhile friends, the German and the Englishman. cient, but when we saw the Nuba slides, without exception, her stills
to cross the border. In fact, whenever I had problems with people, in colour of the same events were more effective. Many were incredi-
the Polaroid was my best helpmate. I also used them so that the “They said they were leaving and I had to go with them. But I bly good.
Nuba could see for the first time what they looked like. It was very couldn’t leave because my things were in another place, not where
funny. When I showed the Polaroid, one Nuba would say to the other the wrestling was going on.” “You can see I am a film-maker, yes?” she said.
“That’s you!” They’d never seen themselves and they just kept look-
ing at the picture and then the other one would say “But that’s you!” But leave she had to, even though the Nuba begged her to stay. We were amazed by mass scenes of tribesmen, the spears com-
They had no mirrors, and when the Nuba got their Polaroid picture, Weeping with frustration, she had to climb in to the van—and when posed like paintings by Utrillo, powerful close-ups, full figure shots
they all wanted one. I was completely overwhelmed. They were she returned to her camp, the German admitted they couldn’t leave showing her fascination with the beauty of physique, swirling action
screaming for the pictures. I didn’t have that much film on [Link] until the next day. Leni could have stayed at the festival. That night, pictures of wrestling... Her depictions of innocence, the paradise
were just crazy about them.” her Nuba came back. They had left the festival to say goodbye to before civilization, were most effective in closeups of Nuba tribesmen
her. And all too soon, it was time to depart. and girls; the serene expressions she captured were most touching.
“But the Moslems felt that photographing naked people was wrong?”
“The German and the Englishman were dragging me off. The Nuba “Stills can also be artistic,” she said, suspecting prejudice from us
“Yes. In the Sudan that’s a very grave offence. It’s almost a crime. came running up and said “Goodbye, goodbye!” and grabbed my film-makers. “I like stills because there is more time to look.”
And that was my greatest difficulty. No one in the Sudan was sup- hands. They wanted me to stay. But the others took me off by force.
posed to know that I was photographing these naked people. During The Nuba didn’t want to let me go. They’d already picked out a spot We all felt deeply privileged .
the first expedition, I still had to send my photographs to Khartoum to where they were going to build me a house. I really wanted to stay
be censored. I have an album here with photos where you can see there, I was going to stay there for good.” At the end of l966, Leni returned to Sudan for a brief visit. After the
those marked that I wasn’t allowed to publish. They didn’t destroy the usual enthusiastic reception from the Nuba, she realised it was
photos, I just wasn’t allowed to publish them. One was always on a The Nuba ran beside the VW calling out “Leni basso”. Of course, Christmas.
knife edge. It was dangerous with the government there. I kept get- Leni knew she would come back.
ting on the blacklist in Khartoum. The really extraordinary thing was “I showed them what an angel looked like with a white sheet. I made
when there was one of those changes of government and President In May, l963, Leni accompanied the elderly Prince Ernst von Isen- some kind of wings. I tried to explain what Christmas was like with
Nimeiri gained power—my books had already been published then— burg, who had lived in East Africa for thirty years, on a trip to the candles. I gave a small Christmas party—a surprise to the Nuba who
a miracle took place. Because Nimeiri said “These pictures are Art” Masai. Celebrated for their fearlessness, the Masai were undefeated didn’t know what Christmas was. When I lit the candles in my hut, it
and I ought to be given an award for them. Even when the people until they met the British and the Gatling gun. But they would not sign turned out that they had never seen a candle.”
are naked. And I received the highest Sudanese order, and a a peace treaty until they had been brought into the presence of the
Sudanese passport.” highest authority, Queen Victoria herself. She realised that she could no longer manage alone; ideally she
needed someone familiar with motion picture cameras who was also
The European idea of “savages” proved unfounded; in fact, she “The Masai are very interesting photo material—their appearance, an engineer. And, incredibly, she found him. Horst Kettner was a tall
found the so-called “savages” a lot more congenial than many of the their dress. The pictures I took in the Sudan are rare because people young man whose face “inspired my trust from the very first
“civilized” people she encountered. hardly ever get there, but those of the Masai photos are not worth a
lot because there are so many of them.”
“During one of the expeditions I had engaged a German and an
Englishman. This was in the southern Sudan. They had an ancient Leni was fascinated to see the difference between the Nuba, who
car, an old VW van in bad condition. I talked them into taking me to had respect for women, and the Masai, for whom they had less value
the Nuba about 500 km (out of their way.) I offered them the last bit than a cow.
of money that I had.”
“But they could be disarmingly nice, and they even performed fights
For the four weeks she wanted to stay with the Nuba, the German for us.” (p. 496)
demanded fifteen hundred marks—payment in advance. When the
van finally arrived at “her” tree, the Nuba gathered round shouting When Leni returned to her home in Munich, her mother was horrified
“Leni—Leni giratzo” (“Leni’s come back.”) by her appearance. She had not been ill and felt immensely fit; only
her hair had been damaged by the sun, and she had lost a great
“The men and women hugged me, the children pulled at my deal of weight. What concerned her were the rolls of film she had
clothes,” Leni wrote. “Their jubilation was indescribable and I was sent back.
deliriously happy. I had wanted this kind of reunion and it surpassed
all my hopes.” (p. 482) “I gave them to a young man, a student I knew called Ulli, who was
to take them to my mother. The student exposed all the films.
Next morning, the German announced they would be moving in two Destroyed them all. Every one. I could never repeat them.”
days. Leni protested she had paid for four weeks. But the German’s
mind was made up. The Nuba, recognising the situation, simply Leni was shattered and could barely sleep or eat. She showed the
transferred her camp and lent her one of their huts. She was told that destroyed rolls to detectives. It turned out that for some unaccount-
a grand wrestling festival was to take place. able reason, Ulli had taken the films out of their capsules in broad
daylight and they were light-struck. The police found four undevel-
I asked Leni if she, a lone woman of oped rolls in his apartment, and when developed these turned out to
advanced years in the middle of the be flawless—they contained the shots of the Dinka. And fortunately,
the first consignment of ninety rolls with all the Nuba shots were safe.
African bush, felt fear. Leni offered them to the German magazines Stern, Bunte Illustrierte moment.” (p. 548) And he proved his ability by going to England,
and Quick and presumably due to her record as a film-maker during despite not speaking a word of English, picking up a Land Rover,
“I felt far safer than I would walking the Third Reich, they were turned down by all of them. Only Axel
Springer’s Kristall, whose editors were amazed by the pictures, were
despite a strike at the factory, and driving it nonstop from London to
Munich.
around the streets here on my own. willing to publish them—which they did in three editions. Leni took
I was never afraid.” the pictures on the lecture circuit and received excellent reactions “I didn’t film myself. I only photographed. Horst filmed (with a 16mm
from every audience to whom she showed them. Arriflex.) Oh, he was a great help. Especially when the car broke
“Wrestling was their life. For them, the most important thing after down. Changing a wheel was very exhausting for me. And besides it
death was wrestling. They started as babies. As soon as they could Ill fortune has ruthlessly dogged Leni but she has always had the was a very good feeling to have someone else to share all those
toddle they’d start wrestling.” resilience and courage to overcome it. And sometimes the ill-fortune beautiful things, a friend who could see and experience all that with
was followed by strokes of astounding good luck. me. For instance, if anyone were to doubt what I am telling you now,
Leni decided to go to the festival without informing the German. To there would be a witness who could confirm what I said. He thinks
her alarm, the distance proved to be enormous and in the fierce heat Revolution had broken out in the Sudan. But her old friend Ahmed the same way about the Nuba as I do.”
she passed out. A Nuba woman carried her the rest of the way in a Abu Bakr obtained permits for filming in the Nuba Hills. “The Nuba
basket on her head. greeted me—if it were possible—even more exuberantly than last After overcoming a series of almost insuperable difficulties, vividly
time,” she wrote. (p. 512) Everything seemed the same. The Nuba told in her memoirs, Leni reached her Nuba once more and again
The festival surpassed anything she had ever witnessed. While she seemed the happiest people in creation. received an ecstatic welcome. They had built her a house. But she
struggled through the crowd to photograph it, wrestlers nearly fell on was dismayed by the changes she saw.
top of her. Her Nuba friends escorted her to the spot where the best It was during a visit to the BBC in London in 1966 that I first met
wrestler of the Mesakin Nuba was to fight the strongest from the Leni; she came to the flat of Philip Jenkinson in Blackheath and to a

of an Araki retrospective, the fleshy pink cover of which is perfect

“After (five) years” absence when I came back they were suddenly all arms—(brass p. 592). No one had ever photographed them before. Germany awarded Leni a gold medal for the best photographic
dressed in rags. They were forced to—the Sudanese government achievement of 1975. There were antipathetic articles, as there had
No other tribe in the entire world fights with these (brass) rings. There
brought them clothing. They weren’t allowed to go about naked any is nothing like it anywhere else in the world. For me, as a photo- always been, but the general reaction to her pictures—from every
more. And that had changed them as well.” grapher, it was sensationale. And no other people in the world are as country that saw them—was amazingly enthusiastic. She was asked
gifted at painting masks. What the indigenous peoples do in New by a magazine to return, and in Khartoum received an award from
When Horst and Leni attempted to film a wrestling festival, they Guinea by comparison is primitive, but the Kau Nuba were artists. President Nimeiri, who praised her two pictures books, the form and
discovered that even the athletes were wearing trousers and carrying Their masks are art.” content of which allowed even Muslims to see the unclad Nuba with-
plastic bottles. Horst could not persuade the men to discard their out being offended. The Sudanese government gave several hundred
clothing; now they were embarrassed. The ritual had changed so She discovered these masks in another village, Nyaro. “A young boy’s copies of her books to foreign embassies at Christmas.
much that it was no longer worth shooting. More disturbingly, Leni body was fantastically painted, like a leopard, and his face reminded
heard that the Nuba had begun to steal. “What had caused this me of a Picasso. To my surprise, he raised no objections to being The changes to the Nuba were due not so much to tourism—the
change?” she wrote. “It couldn’t be the fault of tourists, for apart from photographed, and soon I discovered that he was not the only one changes to the Mesakin Nuba occurred before any tourists had
a British air hostess who had managed to advance this far with her painted in such an unusual way; young men came towards me from reached them—as to Arabization, and eventually war. By the time
father, no outsider had ever come here except for myself.” (p. 557) A everywhere, with faces like stylized masks.” (p. 593) Leni and Horst returned in 2000 for a reunion, virtually none of her
number of bad harvests had forced the young men to go to work in old friends were left. The idea behind this trip was to raise money for
the towns; they returned with clothes, venereal diseases and money. “Did they ever object to being photographed?” the Nuba, and to see how they had fared after so many years of war
in the Sudan.
“The first coin, the first piece of money of whatever currency they got “The Mesakin Nuba never. They were far better friends, anyway.
hold of changed the character of the Nuba. From that moment, they There was a big difference between the Mesakin Nuba and the Kau.
could buy something in the market. They grew cotton and sold it in Some of the Kau Nuba did refuse. The work with the Kau Nuba was “In Sudan, photographing
the market, and when they got the money for that and could buy
things, the others wanted money as well. Before there had been no
very, very difficult. No, what I saw I photographed. Everything was
forbidden anyway. Everything was a struggle at Kau.”
naked people is a very grave
difference between them. Without money, they were all equal. But
with the arrival of money, one would have more, the other one less In Khartoum, Ahmed Abu Bakr brought Leni to meet President
offence.”
and so all of a sudden something arose they hadn’t known before, a Nimeiri. In recognition of her services to the Sudan, she was pre- “When we’d been there for just five hours, the police came with ve-
certain competitiveness, a certain envy. And that changed their cha- sented with Sudanese citizenship. Leni became the first foreigner to hicles and we had to go back. The Bavaria Film Studios made a film
racter.” receive a Sudanese passport. It was, however, taboo to bring up the about my last visit there two years ago, a full-length documentary,
question of clothes. which is due out one of these days, and that shows everything that
happened to us there. The cameraman was hurt in the helicopter
Her return in 1974 was an even greater disappointment. The war- crash. Yes, our helicopter crashed.”
riors now wore shorts or Arab costumes. The Kau village was all but
deserted. At her camp, she and Horst had to cope with the explosion “Normally, you don’t walk away from helicopter crashes. What hap-
of a gas-canister—Leni’s clothes caught fire—and an hour later she pened to you?”
cracked her skull on a branch. Horst was just tending her injury when
two large vehicles arrived packed with tourists. Nothing could be “I broke some ribs. My lung was damaged and I was very ill. As soon
more guaranteed to dismay them. The tourists were a pleasant as it happened, I was brought back to Germany in a rescue plane,
enough group of Germans who had heard that Leni was there from and I was in hospital for three weeks.”
an indiscreet official. But since they saw no sign of painted Nuba,
they departed the following day. “What were you trying to film?”

Later, the Nuba produced banknotes, given to them by the tourists, “I wanted to film the reunion with our Nuba. The reunion after so
and they began to expect payment for photos. Once unspoiled tribes- many years. No, I didn’t meet many. There had been a war mean-
Leni feared that the catastrophe which had overwhelmed the Native men had been plied with cash, said Leni, a photographer may as while and most of them were no longer alive. We were only there 24
American and the Australian aborigine would soon destroy the Nuba. well pack up and leave. (People of Kau, p. 16) hours altogether. We didn’t have much time to talk to them and only
As she wrote; “Whenever the dark side of civilization spreads out, three or four of our old friends were there.”
human happiness disappears.” (p. 558) “Did you not pay them for photographs?”

Back in Germany, her photographs of the Nuba were printed in Stern “If I had done that (in the beginning) I could never have worked
magazine in December, l969, and soon they appeared in an impres- there. All the Nuba, hundreds would have wanted money. It was a
sive book, published in America and France as well as Germany. She huge problem already with the glass beads we’d taken along. We
took the book to show the Nuba but when she arrived, she found had to stop that because they went mad, they all wanted beads. That
her paradise destroyed. The Nuba were as affectionate as ever, and was the trouble, you couldn’t give them anything because then all
their old friends much the same, but the others came asking for would have wanted it. The most we did was that I, and later Horst as
medicine, tobacco, beads, batteries, sunglasses... And they all wore well, would spend two or three hours every evening treating people
filthy, tattered clothes, “worse than the garb of beggars in European who were sick. At night, when it got too dark for our work, they’d
slums.” (p. 588) come queuing up, with open wounds on their legs—open wounds,
mainly—and pneumonia. We had a proper medicine chest, prepared
“When I showed them the pictures of what they’d looked like when for us by a doctor here.”
they were still wearing no clothing, they were suddenly ashamed.
They had been persuaded that this was bad.” Leni and Horst also set up a slide projector and showed the pictures
she had taken the previous year. This caused enormous excitement. Leni Riefenstahl had travelled from the 20th century to the Stone
On this expedition, Horst thought Leni mad; she was determined to “Their reaction to the pictures was indescribable… the Nuba seemed Age. She had seen people living in perfect harmony with nature. And
find a more distant Nuba tribe called the Kau, and despite lack of fuel to recognise everyone, even on the basis of a mere silhouette.” she had seen what “the plague of civilization” could do to them. One
and the fact that no maps existed for the area, they pressed ahead. (p. 614) great benefit of civilization, however, is the photograph, that frozen
The heat was furious, the journey uncomfortable, but they were moment of time. To receive such a record of Leni Riefenstahl’s jour-
rewarded by “an unusual and thrilling tableau” (p. 591) “The first slide I showed—a young mother from Kau wih her baby in neys is a priceless gift on the occasion of her centenary.
her arms—was greeted with a bellow of laughter which redoubled
“In the final rays of the setting sun,” wrote Leni, “very slender figures when I followed it with close-ups of the baby. The Nuba found it past Kevin Brownlow
moved in balletic grace to the beat of the drums. The girls were comprehension that a human head could be as large as it appeared
completely naked, oiled all over, and painted different colours ranging on the screen.” (People of Kau, p. 213)
from red to ochre and yellow. Their movements were seductive and
became wilder and wilder...The dancers hadn’t noticed me, since I This presentation made the Nuba far less inhibited and in the follow-
was concealed behind a tree trunk, photographing with long tele- ing days they arrived at the camp to show themselves to Leni, the
photo lenses...For me, this was the greatest visual experience I have young men elaborately painted.
ever had during any of my African expeditions.” (p. 591)
Back in Munich, Leni, who was, after all, seventy-two years old—an
They were also able to photograph a zuar (knife-fight); it was the age at which many are vegetating in old peoples’ homes—under-
hope of seeing one that led Leni to embark on this expedition in the went a physical collapse. However, she all but forgot her illness when
first place. she saw the high standard of the still pictures and Horst’s motion pic- N.B. Parts of this essay which are quoted from The Sieve of Time by
ture film. Stern and the Sunday Times published the Kau pictures Leni Riefenstahl (Quartet Books, London, 1992) are denoted by the
“The Kau don’t wrestle; it was more of a fight with blades on their and they were seen around the world. The Art Director’s Club of corresponding page numbers.

| 74 | packaging for the work of a man known mostly for his sexually
obsessive documentation of women.” —PLUK Magazine, London, on Araki
Allmann Sattler Alberto Campo Baeza Architects Waro Kishi Jean Nouvel Snøhetta Architects Wesley Wei
Wappner Coop Himmelb(l)au John Hejduk Kohn Shiner Architects Marcos Novak Julie Snow Williams + Tsien
Tadao Ando Neil Denari Steven Holl Rem Koolhaas NOX Jyrki Tasa Jean-Michel Wilmotte
Shigeru Ban Diller & Scofidio Hans Hollein Kengo Kuma Manolo Nunez- Bernard Tschumi
Behnisch, Behnisch Winka Dubbeldam Toyo Ito Lacaton & Vassal Yanofsky James Turrell
& Partner Jean-Marie Duthilleul Jakob + MacFarlane Greg Lynn [Link] UN Studio,
Bolles & Wilson Frank O. Gehry Michael Jantzen Richard Meier Pei Partnership Ben van Berkel
Simeon Bruner/Cott Sean Godsell Jones, Partners Samuel Mockbee Pugh + Scarpa Various Architects
& Associates Nicholas Grimshaw Rick Joy + Rural Studio Michele Saee Hendrik Vermoortel
Santiago Calatrava Heikkinen-Komonen Rei Kawakubo Morphosis Harry Seidler Makoto Sei Watanabe

Back
to the future
The quest for a new architecture

Architecture Now II Philip Jodidio

English/German/French / Flexi-cover, format: 19.6 x 24.9 cm (7.7 x 9.8 in.),
576 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

The fine line between art and architecture is rapidly becoming harder book represent the imagination of the planet’s most talented and cre- The author:
to perceive. With the aid of sophisticated computer programs, today’s ative architects. Philip Jodidio has written more than fifteen books on contemporary
most innovative architects are working on designs so conceptual they architecture, including monographs on Tadao Ando, Norman Foster,
could not be realized in the physical world. Nevertheless, these sorts For all the latest and most important architectural Richard Meier and Alvaro Siza. He has been the Editor in Chief of
of forward-thinking projects are an important influence on the archi- projects and trends, look no further than this new volume, Connaissance des Arts, the most widely distributed French art monthly,
tectural climate. At the dawn of the 21st century, architecture is ente- the follow-up to our popular and groundbreaking book since 1980.
ring a paradigm shift; no longer can it be completely distinguished Architecture Now!
from art. Be they built from bytes or bricks, the projects in this new Opposite page Eyebeam Atelier building, Manhattan, project from Diller + Scofidio

| 76 | “Lavishly produced, handsomely illustrated… Five of the program’s

surviving architects met at the MOCA in downtown LA, [where] TASCHEN hosted
Scandtastic!
From Aalto to Wirkkala, more than 200 outstanding Scandinavian
designers of the past century

Including:
DESIGNERS Verner Panton, Arne Jacobsen, Alvar Aalto,
Timo Sarpaneva, Hans Wegner, Tapio Wirkkala, Sigvard Bernadotte,
Stig Lindberg, Ingeborg Lundin, Finn Juhl….

COMPANIES Fritz Hansen, Artek, Le Klint, Gustavsberg, Iittala,

Fiskars, Volvo, Saab, Orrefors, Royal Copenhagen, Holmegaard,
Arabia, Marimekko, George Jensen….

Scandinavian Design Charlotte & Peter Fiell

English, German, French, Danish, Swedish and Spanish editions / Flexi-cover,
format: 19.6 x 25.2 cm (7.6 x 9.9 in.), 576 pp. / US$ 40 / £ 20 / 2 32 / ¥ 4.500

Scandinavians are exceptionally gifted in design. They are world larities and differences in approach between Norway, Sweden, in London. Peter M. Fiell trained with Sotheby’s Educational
famous for their inimitable, democratic designs which bridge the Finland, Iceland, and Denmark. Also included is a list of important Studies in London and later received an MA in Design Studies from
gap between crafts and industrial production. The marriage of design-related places to visit for readers planning to travel to Central St Martin’s College of Art & Design, London. Together, the
beautiful, organic forms with everyday functionality is one of the Scandinavia. Fiells run a design consultancy in London specializing in the sale,
primary strengths of Scandinavian design and one of the reasons acquisition, study and promotion of design artifacts. They have lec-
why Scandinavian creations are so cherished and sought after. The authors: tured widely, curated a number of exhibitions and written numerous
This all-you-need guide includes a detailed look at Scandinavian Charlotte J. Fiell studied at the British Institute, Florence and at articles and books on design and designers, including TASCHEN’s
furniture, glass, ceramics, textiles, jewelry, metalware and industrial Camberwell School of Arts & Crafts, London, where she received a Charles Rennie Mackintosh, William Morris, 1000 Chairs, Design
design from 1900 to the present day, with in-depth entries on over BA (Hons) in the History of Drawing and Printmaking with Material of the 20th Century, and Industrial Design A–Z. They also edited the
200 designers and designled companies, plus essays on the simi- Science. She later trained with Sotheby’s Educational Studies, also six-volume Decorative Arts series published by TASCHEN.

| 78 | a reception and book-signing... a rare and timely reunion. Audience members

… waited patiently in line for half an hour to get them signed.” —L.A. Times, Los Angeles
| 80 | “When it comes to something tastefully smutty to slip under your
“Case Study Houses : once you
hold it in your hands, you immediately
want to get a martini
and sit by one of the pools.”
—Literaturen, Berlin

“You need a California

workout to lift [it],
but the book, an exhaustive
homage to the houses,
is worth the effort.”
—The New York Times, New York
Case Study Houses Elizabeth A.T. Smith / Ed. Peter Gössel
English/German/French / Hardcover, format: 40 x 31 cm (15.7 x 12.2 in.),
464 pp. / US$ 150 / £ 100 / 2 150 / ¥ 20.000

The Case Study House program (1945–1966) was an exceptional, influence on architecture—American and international—both during The author: Elizabeth A.T. Smith, Chief Curator at the Museum
innovative event in the history of American architecture and remains its existence and even to this day. TASCHEN brings you a monumen- of Contemporary Art in Chicago since 1999, was formerly Curator
to this day unequalled in its uniqueness. The program, which concen- tal retrospective of the entire program with comprehensive documen- at The Museum of Contemporary Art, Los Angeles. She was Adjunct
trated on the Los Angeles area and oversaw the design of 36 proto- tation, brilliant photographs from the period and, for the houses still in Professor in the School of Fine Arts’ Public Art Studies Program
type homes, sought to make available plans for modern residences existence, contemporary photos, as well as extensive floor plans and at the University of Southern California in Los Angeles and has
that could be easily and cheaply constructed during the postwar sketches. published and lectured widely on a variety of topics in contemporary
building boom. The program’s chief motivating force was Arts & art and architecture.
Architecture editor John Entenza, a champion of modernism who “Lavishly produced, handsomely illustrated.... Five of the program’s
had all the right connections to attract some of architecture’s greatest surviving architects met at the Museum of Contemporary Art in The editor: Peter Gössel runs a practice for museum and exhibition
talents, such as Richard Neutra, Charles and Ray Eames, and Eero downtown Los Angeles, [where] TASCHEN hosted a reception and design. He previously edited numerous volumes on architecture for
Saarinen. book-signing... a rare and timely reunion. Audience members bought TASCHEN, such as Neutra, Architecture in the Twentieth Century,
Highly experimental, the program generated houses that were copies of the book and waited patiently in line for half an hour to Julius Shulman, and John Lautner.
designed to redefine the modern home, and thus had a pronounced get them signed.” —L.A. Times

coffee table, TASCHEN takes the proverbial coconut cream.” — Attitude , London
The making of an icon

KOENIG: You don’t see it in the picture—it all looks serene-but in the have been a little nervous about how I looked, or gone out and
background all hell is breaking loose. People are running around, and bought something new for the occasion. Yes, I was in a dress, but in
junk and trash is piled up. If l had a proclivity for an ulcer, I’d certainly 1960, you didn’t go out without wearing a dress. You would never
have had one. have gone out wearing jeans or pants.

JULIUS SHULMAN: l wanted to breathe some air into the house, not
to pose them with their faces in the camera necessarily, but to get a “Offers an in-depth look
feeling of natural activity, as well as using them for scale. After all,
architecture is for people. That’s when I said to Pierre, “Tell the stu- at the houses that came out of
dents to bring their girlfriends.” l always use people. the program, plans and ori-
JIM JENNINGS: Ann came up after school—we were engaged—
and she was dressed in teacher’s school clothes. l thought it would
ginal copy from the magazine,
be interesting for her to see. It was all new to her. She brought as well as glorious
large-scale photographs.”
Cynthia with her.

CYNTHIA TINDLE: They said, “Wear a dress—you might be in a pic- Nashville Scene, USA
The people who participated in that legendary photo- ture.” We all went together, like we were on a date. Nobody was living
graph (below right) met up again at the same place in in the house. The kitchen was empty. It was pretty wonderful—you SHULMAN: I built that flash exposure to combine with my already
2001: Julius Shulman, Pierre Koenig, Buck and Carlotta step out of your bedroom and you’re in a pool. It was just a casual exposed film for the exterior. It’s a composite. I altered them to stay
Stahl (on the patio from left to right) together with evening of fun. put for the quick flash, pose, and click!
Cynthia Tindle and Ann Lightbody (in the living room).
Mary Nelton of LA Magazine conducted the interview. ANN LIGHTBODY: I was just shocked that there was plaster dust STAHL: When anybody comes in the house for the first time, they
everywhere. We came up because Don and Jim were so in love with say, “Are you one of those girls?” Movie companies started seeking
CARLOTTA STAHL: Every weekend kids would be up here, cars were Pierre’s work. We were milling around because it wasn’t finished. The the house right away. The first was in 1962, this Italian movie called
parked up here-we knew what they were up to. We’ve always main- kitchen wasn’t a kitchen yet. There was no food. Did the guys take “Smog”. They were making fun of the “rich people” who lived in
tained that this was meant to be our lot, because we came over one us out for dinner afterward? Probably not. glass houses. One of the days they were shooting, the view’ was too
day to see it, and guess who was here? The owner. He had driven in clear, so they got spray and smogged the windows.
from La Jolla, and he was thinking about selling it. He said, “I’ll make SHULMAN: It was a warm night, and I was inside photographing the
it easy. I’ll carry the loan.” We set on a price, $13,500. We had friends house with Pierre. I happened to step outside and saw the view, and SHULMAN: My wife used to say. “After all, it’s only a glass box with
and family who just didn’t understand us—“Why are you doing this? here the girls were sitting through the glass, just having a conversation. two girls sitting in it.” But somehow that one scene expresses what
My assistant was setting some lights for me—we were doing an architecture is all about. What if I hadn’t gone outside to see the view?
You can buy a nice three-bedroom home for that price, or even less.”
interior photograph—and then when I saw what was going on, I quickly I would have missed a historic photograph, and more than that, we
came back in the house and told everyone, “We’re changing the would have missed the opportunity to introduce this kind of architec-
BUCK STAHL: Even my father said l was crazy. composition,” brought the camera outside, and readjusted the lights. ture to the world.

CARLOTTA STAHL: It took us four years to get it paid off. In the Julius Shulman: I happened to step TINDLE: It’s a beautiful house, and it’s overlooking Hollywood, which
Sunday papers, there used to be a section called the Pictorial, with is sensational—it couldn’t be a more well-known city. With Ann and
everything pertaining to homes. We saw one of Pierre Koenig’s outside and saw the view, and here the I, you can put into our conversation whatever you think we were
works. At the same time, we saw Craig ElIwood’s work. Buck called girls were sitting through the glass, talking about. We were young and about to start the adventure of life.
both of them, and three other architectural firms, to take a look. It There were a lot of places you thought you were going, and all the
was definitely Pierre. Some of the others didn’t understand, because just having a conversation. places you didn’t.
Buck kept saying, “l don’t care how you do it, there’s not going to be I quickly came back in the house
any walls in this wing.” We didn’t want to lose any view anywhere. and told everyone, “We’re changing the
BUCK STAHL: Several architects looked at the lot and said it’s just composition.”
impossible to do it.
TINDLE: I think Julius was taking some pictures with nobody in them.
PIERRE KOENIG: In class l was interested in steel, and my instructor Then he said, “Why don’t you girls sit over there?” They didn’t come
said, “No, Pierre, you can’t use steel on a house. It’s an industrial and pose us. They said, “Cynthia, you look out the window. Ann, you
material, and housewives wouldn’t like it.” For No. 22, the site was look at Cynthia. Just pretend you’re having a conversation.”
terrible. Nobody could build on it. I was trying to solve a problem.
The client had champagne tastes and a beer budget. SHULMAN: I told the girls to stay where you are, you’re in the perfect
position. I had one raise her elbow up—she was leaning back—and
CARLOTTA STAHL: We didn’t have the foggiest notion you could the other one was just sitting comfortably. I set the lights and adjust-
build with steel in homes. We figured that was for industrial buildings. ed a proper exposure. I came back in and said, “We’ve got a great
l have friends who say, “Why don’t you have some walls where you picture coming up here.” I turned off the house lights and replaced
hang pictures?” And I say, “I’ve got a picture out there that is perfect.” them with flashbulbs. With the house dark, the girls were just sitting
there talking. I said, “Don’t worry that they’re in the dark.” We would-
KOENIG: We’ve got to shoot, we’ve got to publish, we’ve got to go to n’t be seeing them. Then I exposed seven minutes of city night lights,
press. On Monday morning this has got to be done. Half the stuff because they were weaker than the light would be inside the house
isn’t done, it’s a bare yard, the furniture was supposed to be there when I took the flash. After I took that exposure I closed the shutter,
Friday. l called Van Keppel-Green, who were bringing the furniture. and my lights were set with flashbulbs. I went back into the house.
“Where’s the truck?” “We’re working on it, we’re tracing it now, but My assistant turned on the ceiling lights. I told the girls, “When I call
we have to stop at five o’clock because that’s the end of the day.” l to you from the camera, I’m going to say, ‘Hold still, keep your pose.’
said, “Give me the number, I’ve got to have that furniture.” l found the Just keep talking if you want to. At the appropriate time when I call
guy. He had driven from San Diego to L.A. via Kansas City to visit his you, a flash will go off”.
mother. l actually got him on the phone, and l said, “You haul your
ass out here.” l was using real army language. He drove all night and LIGHTBODY: We were just chatting. We only had dreams at that time.
got here. While Julius is setting up, the guys are moving the furniture
in. l went home and got my Architectural Pottery, which you see in TINDLE: What we were talking about? Probably Don and Jim. I didn’t
the photo, and l brought outdoor chairs up. l had my assistant, Jim think, “Oh, gee, I’m going to be in something famous.” I’m not a per-
Jennings up there. son who likes to have people looking at her. If I had known, I might

| 82 | “A scrumptuous, sumptuous, brilliant and beautiful look into the world of Billy Wilder’s
Skyscrapers
“Perhaps that’s the way
we too ought to see New York City.”
—The New York Times, on Reinhart Wolf’s New York

up close and personal

Reinhart Wolf (1930–1988) had the unique ability to make every A.W. You make New York look
picture essential. He approached each of his subjects, be they build- so different: all mixed-up.
ings, flowers, or people, with the same inimitable precision. Wolf’s R. W. New York is mixed-up!
face-to-face photographs of New York’s skyscrapers perfectly cap- The confusion of styles can
tured the stunning grandeur of the tallest city in the world. With texts even be mad and dynamic!
by Edward Albee and Sabina Lietzmann and an interview with Andy And it is exactly this which
Warhol, New York—originally published in 1980—is both a nostal- demonstrates the creative
gic homage to the awe-inspiring city and a superb photographic power of the city. And besides
document of New York’s most famous assets. Though the last two —something is really certain, I
decades have seen dramatic transformation in the city, especially as think: the people who erected
a result of the recent tragedy, one thing will never change: New York these buildings were all trying
is immortal. As a tribute to the city and a remembrance of a bygone for one thing: to defy the stars!
era, this book is being reprinted in its original, unedited form. It is a
testament to the New York we once knew and still love. A.W. Why did you do these
photographs? Was it an assign-
ment for a magazine?
R.W. Actually it was an assignment. It was the idea of a friend of right scared meeting us that early in the morning with what could
mine, Thomas Hopker, editor of GEO magazine. We were looking at easily~have been the latest thing in machine-guns. But once you
buildings from his office window on the 33rd floor on Park Avenue conquered all these obstacles and you got into position on the right
when he said: “Reinhart, just take a look at these delightful pinnacles, roof and your picture was there in front of you—in the right distance
and to think that hardly anybody ever even notices them! Why don’t with the right angle and the right sky,—it gave you such an over-
you photograph them for us?” And this I did. whelming feeling of achievement and success—downright joy! It
was like reaching the summit of Mount Everest.
A.W. Are these photographs for everybody or just architects?
R.W. For everybody, of course! I wanted to open people’s eyes, to A.W. Reinhart, these buildings make me think of money.
get them to look up. And I hope I’ve succeeded. Everybody who has R.W. Yor are right. It’s the good face of capitalism. It took time and
seen these photographs so far walks around New York trying to find money to build them. The men who erected Manhattan were the
more. People might begin noticing small details and also grasp the Medicis of America. They sponsored the best artists and craftsmen
whole in new and surprising ways. The beauty of all that architecture of their time and took adcantage of their talents. A marvellous and
really leads to discoveries, almost like new trips! useful way of spending big money.

A.W. It must have been very difficult to take these pictures. I don’t A.W. Reinhart, do you only take photographs of buildings?
think I could take them. R.W. No. I started by taking portraits of painters and sculptors in
R.W. Well, it was hard work. I used a big 8 by 10 camera so as to Paris. Then I went into advertising where I did everything from cof-
capture the smallest detail with the greatest possible precision, and I feebeans to airplanes. But I have always been interested in architec-
used a long focal-length lens supported by two heavy tripods, some- ture, coming from a family of architects. And then ten years ago I
times—when there was wind—even anchored in position with started to photograph buildings which came to be like human faces
Photo: Henry Wolf
rocks. In addition my assistant and I had to carry five heavy cases for me.
with all the necessary equipment However, the most difficult thing
Andy Warhol: Interview with Reinhart Wolf in New York, was to persuade people to let us on to their roofs, even to just have A.W. I think architecture and photography are the two big arts now.
April, 30 1980. a look. I spent hours, sometimes days convincing doormen, building All the kids we know want to be either architects or photographers
managers, superintendents and tenants that my intentions were leglti- —or models. Why didn’t you become an architect? Or a model?
A.W. Reinhart, why did you do New York instead of Hollywood? mate. And then the shock when I said 5 a.m.! That’s when we usually R. W. I like being behind the camera: I think it gives you more com-
I like Hollywood better. started setting up to catch the first rays of the beautiful morning light. mand. And as far as architecture is concerned, I would hate the idea
R.W. I can understand that, Andy, but you must admit that Holly- And the endress pleadings and checking that certain lights be turned of having to face my mistakes my whole life long! If I take a bad pic-
wood is sort of flat—and I like tops. I really feel that the tops of New on in the buildings heing photographed! And when the morning with ture, I can just tear it up.
York’s skyscrapers express the strength and the spirit of America. the right weather finalIy arrived and my sleepy assistant dropped me
New York inspires me—the skyscrapers are like phaIlic symbols of off and parked the car leaving me with all those cases and tripods in A. W. How did you pick the buildings, Reinhart?
fertility. I wanted to capture these buildings before they disappear. a totally deserted street, I just prayed I wouldn’t get mugged. And R. W. With binoculars. I was looking for power, wit, and—for want of
Now construction is going on everywhere I look. Many of the build- then on our difficult journey through revolving doors and into eleva- a better word—something a little camp.
ings I’ve wanted to photograph have already been demolished. tors we were always viewed with dark suspicion. People were down-
A. W. Did you shoot all day and all night?
R.W. No, Andy, but it certainly occupied my mind night and day. I
usually shot at dawn or dusk because I prefer the mood of the light
at these hours.

A.W. Reinhart, I think you’re an artist. Do you?

R. W. Let me put it like this, Andy: I took these pictures as an “ama-
teur” in the purest sense of the word, derived from the Latin
“amare”, to love: I loved what I was doing. Of course my many years
as a professional photographer have given me the skills, the patience
and the discipline neede to create these photographs; but to answer
your question: I think—perhaps—I am an amateur in love with art.

Photo: Geoff Juckes

Left The Twin Towers of the World Trade Center Top Right Emery Roth’s Look
Building, Madison Avenue

Reinhart Wolf—New York Reinhart Wolf / Sabina Lietzmann

English, German, French and Spanish editions / Softcover, format: 30 x 42 cm
(11.8 x 16.5 in.), 80 pp./ US$ 20 / £ 10 / 2 16 / ¥ 2.000

masterpiece of comic genius. Gorgeous in every respect.” — reader’s comment , [Link], on SOME LIKE IT HOT
| 84 | “Fotografieren ist wie ein Liebesakt. Den Penis nennt man dabei Kamera.
Und Liebe gibt es nur mit der Kamera.” —Araki in the Frankfurter Allgemeine Sonntagszeitung, Frankfurt a. M.
“This book reveals everything
about me.
It’s been a 60-year contract.
Photography is love
and death—that’ll be
my epitaph.”

* Limited edition of 2.500 copies worldwide,

XXL-Format: 34.5 x 50 cm (13.4 x 19.7 in.)
v
* each numbered and signed by Araki
* Interviews by Jérôme Sans

* Extensive bibliography and biography section

* All color illustrations are color-separated

and reproduced in Aniva, the finest reproduction
technique available today, which provides
unequalled intensity and color range. The duo-
tone illustrations are made with Novatone, a
special treatment for black and white images
that produces exquisite tonal range and
density

U
* Subscription price until July 1, 2002:
£ 850 / € 1.250 K
Outside Europe until September 1, 2002:
US$ 1.250 / ¥ 150.000

Araki
English/Japanese/German/French / Hardcover in a box, XXL-format: 34.5 x 50
cm (13.4 x 19.7 in.), 632 pp. / US$ 1.750 / £ 1.200 / 2 1.750 / ¥ 200.000
Subscription price until July 1, 2002: £ 850 / 2 1.250
Previous page Nobuyoshi Araki, Venice, 2002 Outside Europe until September 1, 2002: US$ 1.250 / ¥ 150.000

| 86 | “Araki’s gorgeously provocative flower studies...

The first title in our new TASCHEN limited series is Araki, an enormous Araki and comprise the ultimate retrospective collection of his work. women, Araki seeks to come closer to them through photography,
and unique book with a print run of only 2,500 copies. The subject Known best for his intimate, snapshot-style images of women often using ropes like an embrace and the click of the shutter like a kiss.
is Japanese photographer Araki, a man who talks about life through tied up with ropes (kinbaku, Japanese rope-tying art) and of colorful, His work is at once shocking and mysteriously tender; a deeply
photographs. His powerful œuvre, decades’ worth of images, has sensual flowers, Araki is an artist who reacts strongly to his emotions personal artist, Araki is not afraid of his emotions nor of showing
been pared down to about 1,000 photographs which tell the story of and uses photography to experience them more fully. Obsessed with them to the world.

exude sensuality in glorious technicolour.” — PLUK Magazine , London

| 88 | “Un ouvrage d’exception pour un artiste de génie !...
Un bien bel objet de collection.” — Japan mania , Paris, on Araki
 New! New
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Description de l’Egypte Dix Egypt

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Chronicle of the World—1493

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| 90 | “..a catalogue so hip, so huge, and so hungry for taboo that you see peo-
 Art —all titles
www HR Giger com Encyclopaedia Anatomica
HR Giger / Hardcover, 240 pp. / Museo La Specola, Florence / M. von Düring, M. Poggesi,
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French Impressionism Highlights of Art Hopper Japanese Prints

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New
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“Dear Philippi, thank you for the regards

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fantastic little stories for the image captions.”
—fax from Hundertwasser to TASCHEN vice
editor-in-chief Simone Philippi, 1998

Hundertwasser sent over 3,500 faxes during the

preparation of the book

Matisse Hundertwasser Architecture

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Hundertwasser
–his complete works Subscription price
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* Hundertwasser’s original layout design December 1, 2002:
* 1.792 pages and over 2.000 illustrations, documenting US$ 500 / ¥ 60.000
Hundertwasser’s life and œuvre from 1928 to 2000, with many
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* An original 24 x 20 cm color etching (9.4 x 7.9 in.),
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* Limited edition of worldwide 10.000 copies
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ple at Barnes & Noble make a beeline for the TASCHEN table”. —The New Yorker, New York
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“Bound to
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Art of the 20th Century Dalí. The Paintings

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Van Gogh – The Complete Paintings Impressionism 1860–1920 Picasso

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New New “... the definitive

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“... nine expert writers present over 900 pictures

analyses ranging from Giotto to Jean-Michel Basquiat,
born 1960.
The period from Gothic to the present is divided
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536 potted biographies in the appendix
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Sculpture Masterpieces of Western Art

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| 92 | “TASCHEN books are beautiful, original, unpredictable and—pay

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Monet or the Triumph of Impressionism Piranesi. The Complete Etchings The Portrait
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Renoir. Painter of Happiness Soutine – Catalogue Raisonné What Great Paintings Say Women Artists
Gilles Néret / Hardcover, 440 pp. / M. Tuchman, E. Dunow, K. Perls / Ed. Ingo F. Walther / Rose-Marie & Rainer Hagen / Hardcover, 500 pp. / Ed. Uta Grosenick / Flexi-cover, 576 pp. /
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“... Ce superbe ouvrage

présente les artistes les plus
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“Perhaps this year’s most A découvrir.”
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unusual book” “AAnyvastoneandof thebeguiling tome...

reproductions... could be
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New price:
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TASCHEN has reproduced the entire set of plates—449 in all—
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is to save up for a plate or two and chase round the auction rooms (...). most beautiful you are ever
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Scientist, everyone who spotted it offered to give it a home.”
—The New Scientist, London, on Cabinet of Natural Curiosities Fortean Times verdict:
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Albertus Seba. Cabinet of Natural Curiosities
Irmgard Müsch, Jes Rust, Rainer Willmann / Hardcover, 588 pp. /
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attention, because this is important—affordable.” —The Observer Life Magazine, London

 New!

All-American Ads of the 40’s All-American Ads of the 50’s All-American Ads of the 60’s
Ed. Jim Heimann / Flexi-cover, 768 pp. / Ed. Jim Heimann / Flexi-cover, 926 pp. / Ed. Jim Heimann / Flexi-cover, 928 pp. /
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“Spend hours laughing at the “... time capsules that

dumb innocence of the Yanks with
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the slowly dawning realisation of why
—Vogue, US Edition

you bought this book hits you.” “Compelling, erotic,

—The Kensington Times, London, on All-American Ads and, yes, stroke-worthy.”
—Artforum, New York

New
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The Book of Tiki 1000 Robots, Spaceships & other Tin Toys 1000 Extra/Ordinary Objects Exquisite Mayhem
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Gil Elvgren 1000 Pin-Up Girls 1000 Tattoos 1000 Record Covers
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“An illustrated history of

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New! Enjoy it while it lasts.”
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New!
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500 3D Objects Vol. I 1000 Game Heroes Computers. An Illustrated History Digital Beauties
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| 94 | “Les plus beaux livres d’art, et les plus originaux,

 Pop
culture/
Film
Leni Riefenstahl. Five Lives all titles
Ed. Angelika Taschen / Text: Ines Walk / Hardcover, 336 pp. /
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New!

Angelika Taschen and Leni Riefenstahl, Frankfurt, 2000

Movies of the 80s Movies of the 90s
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Benedikt Taschen, Billy Wilder and Helmut Newton at the Chemosphere

House, Hollywood, 1999. Photo: June Newton
Billy Wilder’s SOME LIKE IT HOT
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doing in choosing the most famous work of a
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Invest in TASCHEN’s book—but make sure the bookshop
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“The book is a joy and almost

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 “TASCHEN is trail-blazing,” says Joel Rickett,
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40 Architects Under 40 Building a New Millennium

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New! New New

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Architecture Now! Architecture Now II Carlo Scarpa Frank Lloyd Wright

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Great Leap Forward

Harvard Design School Project on the City & Rem Koolhaas /
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| 96 | “We were truly bowled over by TASCHEN’s take on the Case Study
 Architecture
& Design
all titles
The classic TASCHEN textbook is back with a vengeance. This up- The chronologically organized chapters put it all into perspective, illus-
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Architecture in the Twentieth Century
Peter Gössel, Gabriele Leuthäuser / Flexi-cover, 448 pp. /
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classically elegant,
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Julius Shulman, Cologne, 2000

Richard Neutra. Complete Works
Barbara Mac Lamprecht / Ed. Peter Gössel / Preface and editorial
assistance: Dion Neutra / Hardcover with wooden finish, 464 pp. /
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could easily replace the bulk
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Case Study Houses Modernism Rediscovered Julius Shulman
Elizabeth A.T. Smith / Ed. Peter Gössel / Hardcover, 464 pp. / Pierluigi Serraino, Julius Shulman / Ed. Peter Gössel / Architecture and its Photography
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programme.” —wallpaper*, London

Decorative Art 1930s & 1940s Decorative Art 1950s Decorative Art 1960s Decorative Art 1970s
Ed. Charlotte & Peter Fiell / Flexi-cover, 576 pp. / Ed. Charlotte & Peter Fiell / Flexi-cover, 576 pp. / Ed. Charlotte & Peter Fiell / Flexi-cover, 576 pp. / Ed. Charlotte & Peter Fiell / Flexi-cover, 576 pp. /
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New! New
edition!

Design Classics 1880–1930 scandinavian design sixties design Furniture Design

Torsten Bröhan, Thomas Berg / Hardcover, 176 pp. / Charlotte & Peter Fiell / Flexi-cover, 576 pp. / Philippe Garner / Hardcover, 176 pp. / Klaus-Jürgen Sembach, Gabriele Leuthäuser /
US$ 20 / £ 10 / 1 20 / ¥ 3.000 US$ 40 / £ 20 / 1 32 / ¥ 4.500 US$ 20 / £ 10 / 1 20 / ¥ 3.000 Flexi-cover, 256 pp. / US$ 20 / £ 13 / 1 16 / ¥ 3.000

New
edition!

“Ein lustig-informatives und

kulturelles Buch, das viel Spaß
macht und als Einkaufsgrundlage
für den nächsten Geburtstag
unentbehrlich ist.”
—Designbooks, Cologne

Design of the 20th Century Industrial Design A-Z Modern Chairs

Charlotte & Peter Fiell / Flexi-cover, Klotz, 768 pp. / Charlotte & Peter Fiell / Flexi-cover, Klotz, 768 pp. / Charlotte & Peter Fiell / Flexi-cover, 160 pp. /
US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 20 / £ 13 / 1 16 / ¥ 3.000

“This concise guide is a must-have

for anyone in the
entire scope of design.” —City Magazine, USA, on Design of the 20th Century

1000 Chairs 1000 Extra/Ordinary Objects

Charlotte & Peter Fiell / Flexi-cover, Klotz, 768 pp. / Ed. Colors Magazine / Flexi-cover, Klotz, 768 pp. /
US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 30 / £ 17 / 1 24 / ¥ 3.800

| 98 | “TASCHEN has design all figured out. They know what’s good, has
 New
edition!

Architecture
& Design
Piranesi. The Complete Etchings Moorish Architecture
all titles
Luigi Ficacci / Flexi-cover, 800 pp. / Marianne Barrucand, Achim Bednorz / Flexi-cover, 240 pp. /
US$ 40 / £ 20 / 1 32 / ¥ 4.500 US$ 20 / £ 13 / 1 16 / ¥ 3.000

New New
edition! edition!

Antoni Gaudí. The Complete Buildings Art Nouveau

Rainer Zerbst / Flexi-cover, 240 pp. / Klaus-Jürgen Sembach / Flexi-cover, 240 pp. /
US$ 20 / £ 13 / 1 16 / ¥ 3.000 US$ 20 / £ 13 / 1 16 / ¥ 3.000

New! New! “... Designing the 21st Century

is like no other book of its kind.
Crack the book to see how
their revolutionary ways of thinking
take shape.” —Style Monte Carlo, Monaco

The Wood Book Fashion Designing the 21st Century

Facsimile of The American Woods (1888–1913) by Collection of the Kyoto Costume Institute / Ed. Charlotte & Peter Fiell / Flexi-cover, 576 pp. /
Romeyn B. Hough / In a wooden box, Hardcover, 864 pp. / Ed. The Kyoto Costume Institute/ Flexi-cover, 736 pp. / US$ 40 / £ 20 / 1 32 / ¥ 4.500
US$ 75 / £ 50 / 1 75 / ¥ 10.000 US$ 40 / £ 20 / 1 32 / ¥ 4.500
Philippe Starck, Cologne, 2000

Philippe Starck
Texts: Sophie Tasma Anargyros, Ed Mae Cooper, Elisabeth Laville /
Flexi-cover, 448 pp. / US$ 40 / £ 20 / 1 32 / ¥ 4.500

“Félicitation! Les éditions

TASCHEN, c’est la démocratisation
de l’art! Et vive l’édition auda-
cieuse et toujours innovatrice.”
—Patrick, Canada, March 2002, reader’s comment

value, lasts, engages, indulges, uplifts, and is new.” —reader’s comment, [Link]
 Photo: Tony Vaccaro
Tony Vaccaro. Entering Germany,
Photographs 1944–1949
Hardcover, 192 pp. /
US$ 30 / £ 17 / 1 24 / ¥ 3.000

New! New
edition!

Asia Grace 20th Century Photography New York Helmut Newton. Work
Kevin Kelly / Hardcover, 320 pp. / Museum Ludwig Cologne / Flexi-cover, Klotz, 760 pp. / Reinhart Wolf / Softcover, 80 pp. / Françoise Marquet, June Newton / Ed. Manfred Heiting /
US$ 40 / £ 20 / 1 32 / ¥ 4.500 US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 20 / £ 10 / 1 16 / ¥ 2.000 Hardcover, 280 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000

New! New New

edition! edition!

Bernard of Hollywood 1000 Dogs 1000 Photo Icons Edward S. Curtis. The North American Indian
The Ultimate Pin-Up Book Raymond Merritt, Miles Barth / Hardcover, Klotz, 576 pp. / George Eastman House, Rochester, NY / Hardcover, Klotz, Hans Christian Adam / Flexi-cover, Klotz, 768 pp. /
Photo editorial and introduction by Susan Bernard / US$ 19.99 / £ 9.99 / 1 12.99 / ¥ 2.500 768 pp. / US$ 19.99 / £ 9.99 / 1 12.99 / ¥ 2.500 US$ 30 / £ 17 / 1 24 / ¥ 3.800
Hardcover, 360 pp. / US$ 40 / £ 20 / 1 32 / ¥ 5.000

“I love it when books from

TASCHEN come through the post.
Not only are they reassuringly
big and weighty, they are always
fantastic to look at.”
—Theme Magazine, Stockport

Uwe Ommer, Cologne, 2000

| 100 | nana, Japan, April, 2002: I always buy TASCEN’s book. low price and
 “This beautifully produced book
is a must-have for anyone
with an interest in fashion and
modern culture, and doubles as
an essential and absorbing guide
to the last two decades.”
—Vision Magazine, Ireland

Pierre et Gilles Smile i-D. Fashion and Style Photography

—all titles
Dan Cameron, Bernard Marcadé / Hardcover, 356 pp. / Ed. Terry Jones / Introduction: Dylan Jones / Flexi-cover,
US$ 40 / £ 20 / 1 32 / ¥ 4.500 608 pp. / US$ 40 / £ 20 / 1 32 / ¥ 4.500

New
edition!

Leni Riefenstahl. Five Lives Wolfgang Tillmans

Ed. Angelika Taschen / Text: Ines Walk / Hardcover, 336 pp. / Reprint of the 1st and 2nd Tillmans book by TASCHEN in one
US$ 40 / £ 25 / 1 32 / ¥ 5.000 volume / Flexi-cover, 336 pp. / US$ 20 / £ 13 / 1 16 / ¥ 3.000
William Claxton and Benedikt Taschen, Chemosphere House, Hollywood, 1998
Photo: June Newton

“Everything we think, know

and think we know about the lives
of jazz musicians we have
learnt from the photographs
of William Claxton.”—GQ Magazine, London, on Jazz seen

Jazz seen. William Claxton

Don Heckman / Ed. Armando Chitolina / Hardcover, 288 pp. /
US$ 40 / £ 25 / 1 32 / ¥ 5.000

Eye to Eye. Frans Lanting Jungles. Frans Lanting

Ed. Christine Eckstrom / Hardcover, 252 pp. / Ed. Christine Eckstrom / Hardcover, 260 pp. /
US$ 40 / £ 25 / 1 32 / ¥ 5.000 US$ 40 / £ 25 / 1 32 / ¥ 5.000

Frans Lanting, William Claxton and Julius Shulman, Chemosphere House, Hollywood, 1999 Uwe Ommer and Frans Lanting, Publishing House, Cologne, 2000

many pictures are very well. — reader’s comment , [Link]

 Benedikt Taschen with the first dummy of Helmut Newton’s Sumo,
Los Angeles, Winter 1997, Photo: © Helmut Newton

June Newton, editor of SUMO, selecting the final pictures

for the layout, Monte Carlo, 1998

Philippe Starck, working on the design for the table

which is supposed to carry SUMO, Paris, 1998

Helmut Newton at the Frankfurt Bookfair, 1999

World record for the most expensive

book published in the 20th century:
SUMO copy #1, autographed New price: January 1, 2003:
by all living celebrities featured US$ 3.000 / £ 2.000 /
in it, went for US$ 304.000 € 3.000 / ¥ 330.000
at a benefit auction in Berlin
in April 2001.

TASCHEN booth at the Frankfurt Bookfair, 1999

June and Helmut Newton with Horst Neuzner

of TASCHEN’s Production Department, Cologne, 1998

Helmut Newton’s SUMO

Ed. June Newton / Limited edition of 10.000 copies
worldwide, signed and numbered by Helmut Newton /
Format: 50 x 70 cm cm (20 x 27.5 in.), 30 kg (66 lb.),
480 pp. / US$ 2.500 / £ 1.650 / 1 2.500 / ¥ 275.000

Helmut Newton at the Frankfurt Bookfair, 1999

Anybody who wants to get a new cover for the SUMO book can get it
by contacting us at contact@[Link] for US$ / € 25 including shipping via fedex.

Helmut Newton signing SUMO,

Monte Carlo, 1998

A 300-ton press is needed for The first book blocks after Printer checking sheets with
embossing the name of the rounding the spine on a a color proofer at EBS,
artist in relief on the front and specially made machine, Verona, 1999
back bars of the table, Milan, 1999
June and Helmut Newton, surrounded by the TASCHEN team involved in the production of SUMO, Cologne, 1999
Crespano del Grappa, Italy, 1999

| 102 | Jer, Babylondon, UK, May, 2002: Ah, Taschen. A shining beacon of honesty & sensuality in an otherwise
 New!

* Worldwide limited edition of 20.000 individually

numbered copies

* Tucked into an enlarged facsimile of de Dienes’s Kodak

film box are:
—an extra-large format, 240-page hardcover book
featuring a vast selection of sumptuous photographs
and excerpts from de Dienes’s memoirs, printed on
150g matte stock

Photography
—a 608-page softcover facsimile of de Dienes’s
complete Marilyn memoirs and his Marilyn composite

—all titles
book (which includes the complete set of nearly
1000 Marilyn photos in contact-sized prints)
—a brochure containing all 24 of Marilyn’s magazine
covers shot by de Dienes

* With some notable exceptions, the vast majority of

these images—especially those in color—have never
been seen before

Monroe
Ed. Steve Crist and Shirley T. Ellis de Dienes / Included in a
presentation box: Hardcover, format: 31.2 x 39 cm (12.3 x 15.4 in.),
240 pp. / Softcover, format: 17.1 x 22 cm (6.7 x 8.7 in.), 608 pp. /
US$ 200 / £ 135 / 1 200 / ¥ 25.000
New!

“TASCHEN, the publisher

of those dreamy oversize picture
books that are neatly
stacked on all the best coffee
* XXL-Format: 34.5 x 50 cm (13.4 x 19.7 in.) tables…”—Empire Magazine, USA
* Limited edition of 2.500 copies worldwide,
each numbered and signed by Leni Riefenstahl

* Interview by Kevin Brownlow

* Extensive bibliography and biography section
* All color illustrations are color-separated and
reproduced in Aniva, the finest reproduction
technique available today, which provides
unequalled intensity and color range. The duotone
illustrations are made with Novatone, a special
treatment for black and white images that produces
exquisite tonal range and density

* Subscription price until November 1, 2002:

£ 850 / € 1.250 Angelika Taschen and Leni Riefenstahl, Pöcking near Munich, 1999
Outside Europe until January 1, 2002:
Africa. Leni Riefenstahl
US$ 1.250 / ¥ 150.000
Ed. Angelika Taschen / Hardcover in a box,
format: 34.5 x 50 cm (13.4 x 19.7 in.), 580 pp. /
US$ 1.750 / £ 1.200 / 1 1.750 / ¥ 200.000

New!

* XXL-Format: 34.5 x 50 cm (13.4 x 19.7 in.)

* Limited edition of 2.500 copies worldwide,

each numbered and signed by Araki

* Interview by Jérôme Sans

* Extensive bibliography and biography section

* reproduced in Aniva, the finest reproduction

All color illustrations are color-separated and

technique available today, which provides

unequalled intensity and color range. The duotone
illustrations are made with Novatone, a special
treatment for black and white images that produces
exquisite tonal range and density

* Subscription price until July 1, 2002:

£ 850 / € 1.250
Outside Europe until September 1, 2002:
US$ 1.250 / ¥ 150.000

Araki
Interview by Jérôme Sans / Hardcover in a box,
format: 34.5 x 50 cm (13.4 x 19.7 in.), 632 pp. /
US$ 1.750 / £ 1.200 / 1 1.750 / ¥ 200.000

dim world. Bless you, for all your representations of the human experience. — reader’s comment , [Link]
Busy hands “There exists an ordinariness in
Kern’s images that is disconcerting and
that ultimately undermines any

are happy hands...

masturbatory potential or intent.”
—Artforum, New York

“Thanks to TASCHEN, arts publishing

has never been so damned dirty.” —Attitude, London

New
edition!

Richard Kern, Chemosphere House, Hollywood, 1999

Erotica Universalis Vol. I Erotica Universalis Vol. II Richard Kern. Model Release
Gilles Néret / Flexi-cover, Klotz, 756 pp., 719 ills. / Gilles Néret / Flexi-cover, Klotz, 768 pp. / Lucy McKenzie / Flexi-cover, 192 pp. /
US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 20 / £ 13 / 1 16 / ¥ 3.000

New
edition!

Forbidden Erotica. The Rotenberg Collection 1000 Forbidden Pictures The Male Nude 1000 Nudes
Mark Lee Rotenberg, Laura Mirsky / Flexi-cover, 512 pp. / Mark Lee Rotenberg, Laura Mirsky / Hardcover, Klotz, 768 pp. / David Leddick / Ed. Burkhard Riemschneider / Flexi-cover, Klotz, Uwe Scheid, Michael Koetzle / Flexi-cover, Klotz, 756 pp. /
US$ 40 / £ 20 / 1 32 US$ 19.99 / £ 9.99 / 1 12.99 / ¥ 2.500 768 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.800 US$ 30 / £ 17 / 1 24 / ¥ 3.800

“My photo needs

and my sexual
needs are one and
the same.”
Natacha Merritt. Digital Diaries
Hardcover, 256 pp. / US$ 30 / £ 17 / 1 20

“Nothing more to say that

it’s really the most exciting book
I’ve met in the 21st century!
Thanks to you Natacha.”
—Didier Borg, Paris

Natacha Merritt and Helmut Newton,

Chemosphere House, Hollywood, 1999

| 104 | James Armstrong, Ireland, January, 2002: Your books are outstanding. Your prices make
 New
edition!

“Bulging biceps
and crotches from
Tom of Finland
—the ultimate edition
of the master.” Adults only
—life-foundation, Stockholm
—all titles
Tom of Finland
Hardcover, 352 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.500

New! New!

Come n’ get it
The classic Kroll title is back (to tease your pants off)

New
edition!
Modern Amazons Motel Fetish
Bill Dobbins / Hardcover, 168 pp. / Ed. Eric Kroll / Hardcover, 240 pp. /
US$ 40 / £ 20 / 1 32 / ¥ 4.000 US$ 40 / £ 20 / 1 32 / ¥ 4.000

Eric Kroll’s Fetish Girls

Eric Kroll / Hardcover, 200 pp. /
US$ 30 / £ 13 / 1 20 / ¥ 3.000

Eric Kroll, Mexico, 1997

culture affordable and collectable. Congradulations. —reader’s comment, [Link]

Idle hands
are
the devil’s
workshop!
The ins and outs
of XXX-rated culture.
Everything you
ever wanted to know
about sex!

The Christy Report

Kim Christy / Texts: John Quinn, Dian Hanson / Hardcover,
608 pp. / US$ 50 / £ 30 / 1 45

Vanessa del Rio, New York, 2002

Cameron Jamie,
Chemosphere House,
Hollywood, 2001

Exquisite Mayhem
Theo Ehret / Roland Barthes / Ed. Cameron Jamie, Mike Kelley /
Hardcover, 488 pp. / US$ 60 / £ 40 / 1 45 / ¥ 7.500
Spectacular wrestlers, Theo Ehret Angelika Taschen and Mike Kelley, Chemosphere House, Hollywood, 2001

| 106 | saitta, USA, February, 2002: Taschen is the best publishing house ever! The Encyclo-
 Adults only
—all titles

Erotoscope. Tomi Ungerer

Preface: Michel Houellebecq / Introduction: Tomi Ungerer /
Hardcover, 416 pp. / US$ 70 / £ 30 / 1 45 / ¥ 6.500

“Greetings from [Link]!

This is a notice to let you know that we
were unable to post the cover art
image for ‘Erotoscope. Tomi Ungerer’
due to strong sexual content in the
image. Please let us know if you have
any other questions or concerns.
Best regards.”
—Book Catalog Department, [Link]

Tomi Ungerer, Ireland, 2000

“Sex is of great importance to the

publishing house, and also to the publisher
himself.
To the American magazine Vanity Fair,
he said of Roy Stuart’s ‘hot’ photos that a book
over which he masturbated 10 times in one week
should be shared with the public.
True?
‘It wasn’t ten times in one week, but in one
weekend,’ he replied.” —Le Monde, Paris

Roy Stuart, Paris, 1999 Paris, 1999

“This book is about sex,

with no taboos . . .
Perhaps it should be slipped
into the desk drawer.
It may well make the odd day
easier to get through.”
—Herlinde Koelbl, manager magazin, Hamburg,
on Roy Stuart, Volume II

Roy Stuart, Vol. I Roy Stuart, Vol. II Roy Stuart, Vol. III
Jean-Claude Baboulin / Hardcover, 200 pp. / Dian Hanson / Hardcover, 240 pp. / Alison Castle / Hardcover, 240 pp. /
US$ 40 / £ 20 / 1 32 / ¥ 4.000 US$ 40 / £ 20 / 1 32 / ¥ 3.500 US$ 40 / £ 20 / 1 32 / ¥ 3.500

pedia Anatomica is one of the most wonderful books I own. —reader’s comment, [Link]
 “Luxury for less” —art, Hamburg

“The TASCHEN empire, or the art

of making beautiful books available to everyone.”
—Numéro, Paris

New!

Berlin Interiors California Interiors Country Interiors Indian Interiors

Ed. Angelika Taschen / Diane Dorrans Saeks / Ed. Angelika Taschen / Diane Dorrans Saeks / Ed. Angelika Taschen / Diane Dorrans Saeks / Ed. Angelika Taschen / Photos: Deidi von Schaewen /
Hardcover, 304 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 Hardcover, 304 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 Hardcover, 304 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 Texts: Sunil Sethi / Hardcover, 320 pp. /
US$ 40 / £ 25 / 1 32 / ¥ 5.000

London Interiors Moroccan Interiors Provence Interiors Tuscany Interiors

Ed. Angelika Taschen / Jane Edwards / Hardcover, 304 pp. / Ed. Angelika Taschen / Lisa Lovatt-Smith / Ed. Angelika Taschen / Lisa Lovatt-Smith / Ed. Angelika Taschen / Paolo Rinaldi / Hardcover, 300 pp. /
US$ 40 / £ 25 / 1 32 / ¥ 5.000 Hardcover, 320 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 Hardcover, 300 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 US$ 40 / £ 25 / 1 32 / ¥ 5.000

“TASCHEN is the one to watch out

for if you like your material presented
succinctly and beautifully
without gushing or extraneous filler.”
—reader’s comment, [Link]

Seaside Interiors
Ed. Angelika Taschen / Diane Dorrans Saeks / Hardcover, 304 pp. /
US$ 40 / £ 25 / 1 32 / ¥ 5.000

Angelika Taschen, Paris, 1999

| 108 | Natasha Kaczmar, Costa Rica, March, 2002: Hi Taschen!!!!! I love you and what you have
 Savoir vivre
—all titles

The Roses. Pierre-Joseph Redouté The Garden at Eichstätt Leonhart Fuchs: The New Herbal of 1543
Petra-Andrea Hinz, Barbara Schulz / Hardcover, 256 pp. / Klaus Walter Littger, Werner Dressendörfer / Klaus Dobat, Werner Dressendörfer / Flexi-cover, 960 pp. /
US$ 40 / £ 20 / 1 32 / ¥ 5.000 Hardcover, 464 pp. / US$ 50 / £ 30 / 1 45 / ¥ 6.800 US$ 40 / £ 20 / 1 32 / ¥ 4.500

New! New! New! New!

Pomona Britannica Living in Greece Living in Ireland Country Kitchens & Recipes
Uta Pellgrü-Gagel / Gotthard Brandler / Werner Dressendörfer / Ed. Angelika Taschen / Barbara and René Stoeltie / Ed. Angelika Taschen / Barbara and René Stoeltie / Ed. Angelika Taschen / Barbara and René Stoeltie /
Hardcover, 200 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.000 Hardcover, 200 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.000 Hardcover, 200 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.000 Hardcover, 200 pp. / US$ 30 / £ 17 / 1 24 / ¥ 3.000

New! New! New!

Gardens of Provence The Hotel Book. Great Escapes Europe Cheap Hotels Living in Syndey
Ed. Angelika Taschen / Text: Marie-Françoise Valéry / Shelley-Maree Cassidy / Ed. Angelika Taschen / Daisann McLane / Hardcover, 192 pp. / Antonella Boisi / Hardcover, 200 pp. /
Photos: Deidi von Schaewen / Padded cover, 176 pp. / Hardcover, 400 pp. / US$ 40 / £ 25 / 1 32 / ¥ 5.000 US$ 20 / £ 10 / 1 16 / ¥ 2.500 US$ 30 / £ 17 / 1 24 / ¥ 3.000
US$ 30 / £ 13 / 1 16 / ¥ 3.000

Get them New

while they’re hot! edition!

Two Interiors bestsellers in a new format for half the price

New York Interiors Paris Interiors
Ed. Angelika Taschen / Beate Wedekind / Hardcover, 288 pp. / Lisa Lovatt-Smith / Hardcover, 320 pp. /
US$ 20 / £ 10 / 1 16 / ¥ 3.000 US$ 20 / £ 10 / 1 16 / ¥ 3.000

New
edition!

done for the world of art in general… I am only 21, I live in the beautiful
Vintage graphics to brighten
your days!

ZigZag-Diaries 2003: India! India! & Cars of the 50s

English/German/French / Format: 17 x 32 cm (6.7 x 12.6 in.), 110 pp. /
US$ 25 / £ 17 / 2 25 / ¥ 3.000

| 110 | country of Costa Rica… Thank you for enabling my imagination to

run wild. — reader’s comment , [Link]
[Link]