ARTBOOK LOGO

ARTBOOK BLOG

WHAT'S NEW?
EVENTS
BOOKS IN THE MEDIA
AT FIRST SIGHT
FEATURED IMAGES
EX LIBRIS
ARTBOOK INTERVIEWS
EXCERPTS & ESSAYS
FROM THE SHELVES

RECENT POSTS

DATE 4/29/2014

Lygia Clark: The Abandonment of Art

DATE 4/27/2014

Pirate Nightmare Vice Explosion: Inherited Remnants of an Amateur Dadaist’s Library

DATE 4/26/2014

The Way We Were: The Photography of Julian Wasser

DATE 4/25/2014

Katy Grannan: The 99

DATE 4/23/2014

Christopher Anderson: Stump

DATE 4/21/2014

Philip Guston: Late Works

DATE 4/21/2014

The NYPL Presents 'Art Is a Problem' with Joshua Decter

DATE 4/21/2014

Join ARTBOOK at Paris Photo 2014!

DATE 4/19/2014

Sigmar Polke: Alibis

DATE 4/17/2014

Sigmar Polke: Alibis 1963-2010

DATE 4/16/2014

'Richard Serra: Early Work' Launch Events at The Strand and NYPL

DATE 4/15/2014

Episodes with Wayne Thiebaud

DATE 4/13/2014

Trevor Winkfield

DATE 4/10/2014

'The Sick Rose' Lecture and Book Signing at Morbid Anatomy Library

DATE 4/10/2014

Reading Andy Warhol

DATE 4/9/2014

Show Time: The 50 Most Influential Exhibitions of Contemporary Art

DATE 4/7/2014

Eva Hesse: One More than One

DATE 4/4/2014

Abiding Architecture III: 10 days, 26 People, 4 Projects, 11 Languages and 1 site in Titanyen, Haiti: Us and Them

DATE 4/4/2014

Charles Traub: Dolce Via: Italy in the 1980s

DATE 4/2/2014

'Geometric Sociology' in Christoph Gielen: Ciphers

DATE 4/2/2014

Martin Creed: What's the Point of It?

DATE 4/1/2014

Metropolis Live! Susan S. Szenasy to Speak in Boston

DATE 3/31/2014

'Larry Sultan & Mike Mandel: Evidence' eBook Now Available from iTunes

DATE 3/30/2014

Soviets: Drawings by Danzig Baldaev & Photographs by Sergei Vasiliev

DATE 3/28/2014

Richard Serra: Early Work

DATE 3/27/2014

'Emilie Brzezinksi: The Lure of the Forest' Featured on 'Morning Joe'

DATE 3/27/2014

Sarah Jones

DATE 3/25/2014

Derek Ridgers: 78-87 London Youth

DATE 3/22/2014

Philip-Lorca diCorcia

DATE 3/19/2014

Susan S. Szenasy & Debbie Millman to Launch 'Szenasy, Design Advocate' with Conversation at Museum of Arts and Design, NY

DATE 3/18/2014

Xavier Guardans: Windows

DATE 3/18/2014

The King of Kowloon: The Art of Tsang Tsou Choi

DATE 3/17/2014

'Lutz Bacher: Snow' Launch at Greene Naftali

DATE 3/16/2014

Futurism and Dance

DATE 3/14/2014

Favelization: The Imaginary Brazil in Contemporary Film, Fashion and Design

DATE 3/14/2014

Italian Futurism, 1909-1944: Reconstructing the Universe

DATE 3/12/2014

Surrealism and the Dream

DATE 3/10/2014

Robert Heinecken: Object Matter

DATE 3/7/2014

'Maria Lassnig: The Location of Pictures' at ARTBOOK @ MoMA PS1

DATE 3/6/2014

Celebrate 'You Should've Heard Just What I Seen' with DJ set by Matthew Higgs Friday, March 7 at Gavin Brown's Enterprise

DATE 3/5/2014

Join ARTBOOK at The Armory Show, March 6-9

DATE 3/5/2014

Nancy Graves Project & Special Guests

DATE 3/3/2014

Major Exhibition of Austrian Artist Maria Lassnig’s Work Opens at MoMA PS1 This Sunday, March 9th

DATE 3/3/2014

Show Time: The 50 Most Influential Exhibitions of Contemporary Art

DATE 3/2/2014

Visit ARTBOOK @ Collective 2 Design Fair

DATE 2/28/2014

Keiichi Tanaami: Killer Joe's Early Times 1965-73

DATE 2/26/2014

Cuba in Revolution

DATE 2/25/2014

Tom Dixon Presentation & Booksigning February 27 at Twentieth Gallery, Los Angeles

DATE 2/24/2014

Looking East: Western Artists and the Allure of Japan

DATE 2/23/2014

Mostly Sunny, With a Sense of Menace: William Christenberry

DATE 2/21/2014

The Eye of the Storm: Gerhard Richter Catalogue Raisonné, Volume 3


FEATURED IMAGES

The collage Clam Twin Poster (1981) is reproduced from Tabboo! The Art of Stephen Tashjian, distributed for Damiani by ARTBOOK | D.A.P.
CORY REYNOLDS | DATE 10/19/2013

Tabboo! The Art of Stephen Tashjian


BOSTON YEARS
By Jack Pierson


"The first time I laid eyes on Stephen Tashjian was about thirty-two years ago, probably to the day. It was my first day of art school in a class called the Studio for Interrelated Media, which one would loosely define as 'performance.' I was awestruck, astonished, and instantly smitten with his physical beauty, as well as his incredibly articulated style. He wore: red wide wale corduroy pants and a sort of zoot suit cut, a rust colored '50s shirt with a vertical striped marcella front tucked in with perfect skinny belt; and very worn red wind breaker a la James Dean in RWAC, although I'm sure that was not a reference he was hoping to make. He is a superb colorist and the clash of many different reds could have been horrible but instead it was marvelous. What held it all together were his Persian features and jet-black hair in a burst of full ringlets on the top, but short on the sides, what may have been called a poodle cut. It sounds unfortunate now, but he made it work. He also used an eyebrow pencil to further smudge his face into what looked like an Emil Nolde painting come to life. I thought he was the most incredible thing I ever saw. The shoes were black and very pointy, not exactly Beatle boots but Beatle shoes, slip-ons without a Cuban heel. He shuffled, as opposed to walked, giving him a cartoonish quality, like how they walked in cartoons. To reference yet another genius akin to his own, you might also picture Charlie Chaplin. Yes, he may have artily mismatched his socks, but the combination exploded rather than irritated. He was amazing at a radical yet comfortable looking presentation. I was rather less so. Fresh from the suburbs I might have actually been wearing Britannia jeans and a white button down shirt with some piece of 'masculine' jewelry and a black jacket, hoping to affect pictures I had seen of Patti Smith. Stephen was, albeit a few years ahead of me, so self assured and un-needing of outside affirmation that it made all his moves bold and fascinating. I fell under his thrall. Although, I can't imagine I dared approach him—not that he was cool or aloof, just that I was painfully shy and sort of, as I said, enamored. But I do remember that we connected on that day and were off, as the saying goes, to the races.

Stephen rarely gets sentimental until you actually die. I suspect, though he didn't ever return my ardor, he was joyful to have such a receptive dauphin. Speaking of dolphins and poodles, I remember at that moment they were powerful archetypes for Stephen. The first performance I saw him do, I say, although I'm not sure, was called 'Dolphins are Homosexual.' Unless the first was actually, 'Gig Stevens' Incredibly Hot Drag Review.' Who knows.

In any case, it very likely proceeded along these lines: Stephen would struggle into a strapless, '50s tulle prom gown, no wig, now makeup. At that time those contrivances were anathema to him, indications of some old Combat Zone drag queen lip-synching in a bar. By eschewing those conventions, he was able to transform with a pair of pink vinyl spike heels, into a ginchy New Wave visionary. The performance essentially consisted of him changing records and costumes over and over with a horrendous scrape of the needle across the record each time, at a frantic pace. Then he might twirl around and declaim, 'Did you know dolphins are homosexual? It's true!' The effect was both horrifying and enchanting. I wonder what he meant to express.

Here's another anecdote Jimmy Paul suggested I tell, and it does speak to the interconnectedness that artists hope to achieve by being creative. Stephen had a job in the admissions office at Mass Art. Get into that sentence for a moment why don't you? Sometime after we had become friends, he realized that he had 'made a case' a year earlier for my portfolio to the admissions officer. I applied as a graphic designer, and, it being 1980, most of what I submitted was color Xerox collage with a rock and roll feel. One of them had a typewritten Roxy Music lyric and a homoerotic postcard. Stephen, never prone to over-zealous compliments, told me he thought: 'Well, this is at least something different, might as well get him in here.' And switched mine from the 'reject' to 'accept' pile. In a weird way I guess, I owe him my life."

Tabboo! The Art of Stephen Tashjian

Tabboo! The Art of Stephen Tashjian

DAMIANI
Hbk, 9.5 x 12 in. / 224 pgs / illustrated throughout.

$50.00  free shipping

DATE 4/25/2014

Katy Grannan: The 99

DATE 4/19/2014

Sigmar Polke: Alibis

DATE 4/13/2014

Trevor Winkfield

DATE 4/10/2014

Reading Andy Warhol

DATE 3/27/2014

Sarah Jones

DATE 3/22/2014

Philip-Lorca diCorcia

DATE 3/16/2014

Futurism and Dance

DATE 2/26/2014

Cuba in Revolution

DATE 2/9/2014

Lightopia

DATE 2/5/2014

Mernet Larsen

DATE 1/30/2014

Julian Hoeber

DATE 1/17/2014

Anders Petersen

DATE 1/14/2014

Leonora Carrington

DATE 11/12/2013

Home Truths

DATE 11/6/2013

JH Engström

DATE 10/21/2013

Christopher Wool



ARTBOOK LOGO
 
 

the artworld's favorite source for books on art and culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
155 Sixth Avenue
New York NY 10013
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 Broadway
Los Angeles CA 90812
Tel   213 888 7957

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2013 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com