**!! TAXONOMY SHOP !!**

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Taxonomy’s first outing for a while = Small Press Zine Fair - Hobart, Sat 13th July 2013.  - Pip’s car broke down on the way, she made it eventually - some copies of ILK, some vinyl and print zines sold, lots of drawings made.

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Another Audio Interview with Taxonomy (Later Days 2012)

And later in 2012 leading up to our project at CAST we met with Paige Turner, Journalist, Radio Hostess, Blogger. To record a follow-up interview for ISLAND Magazine’s Blog, known as ISLET - http://www.islandmag.com/im/index.php?c=133

Catch the Audio at Title Link Above

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An Audio Interview w Taxonomy (Early Days 2011)

In 2011 shortly after TaxO’s release of Styrene Butadiene Co-Polymer we met with Paige Turner, Journalist, Radio Hostess, Blogger. To record an interview for ISLAND Magazine’s Blog, known as ISLET - http://www.islandmag.com/im/index.php?c=133

Catch the Audio at the Title link above.

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THE CATALOGUE ARRIVED! after a long wait the beautiful catalogue from CAST Gallery’s ‘Establishment’ Project has arrived. After a few months rest, some big news and moves in both our lives this is a nice little kick up the butt - Collaboration takes committment.
I’ll make some scans of the pretty thing tomoz.

THE CATALOGUE ARRIVED! after a long wait the beautiful catalogue from CAST Gallery’s ‘Establishment’ Project has arrived. After a few months rest, some big news and moves in both our lives this is a nice little kick up the butt - Collaboration takes committment.

I’ll make some scans of the pretty thing tomoz.

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The gif player « Crap = Good→ blog

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crapisgood:

Submitted by: Shruti  Chamaria

The Book as a stable and recognizable object of knowledge derives its authority from the stabilization of disciplines. And if the discipline happens to be law, this authority manifests itself in predictable hues of black and grey imbibing the object with a dusty gravitas. The “Siting Law”, the second Law and Social Sciences conference, a gathering of inter disciplinary scholars examining the law not merely as a set of positivist rules, but as a fertile site of enquiry into the social and cultural life of law, we were keen that this be reflected in the design of the book.
The conference was held at FLAME, a new college and India’s first liberal arts college committed to promoting inter disciplinarity. The unfinished architecture of the school evoked a sense of becoming rather appropriate for a field that has begun to ask the appropriate questions but had not yet found an answer.
The design captured the multidisciplinary and complexity of the conversations that the conference sought to facilitate. The use of geometric patterns, lack of a conventional cover, hand bound white pages interspersed with elegant and yet intriguing designs in green and red all gesture towards an unsettled zone emphasizing process over finality.





Original Article

crapisgood:

Submitted by: Shruti  Chamaria

The Book as a stable and recognizable object of knowledge derives its authority from the stabilization of disciplines. And if the discipline happens to be law, this authority manifests itself in predictable hues of black and grey imbibing the object with a dusty gravitas. The “Siting Law”, the second Law and Social Sciences conference, a gathering of inter disciplinary scholars examining the law not merely as a set of positivist rules, but as a fertile site of enquiry into the social and cultural life of law, we were keen that this be reflected in the design of the book.
The conference was held at FLAME, a new college and India’s first liberal arts college committed to promoting inter disciplinarity. The unfinished architecture of the school evoked a sense of becoming rather appropriate for a field that has begun to ask the appropriate questions but had not yet found an answer.
The design captured the multidisciplinary and complexity of the conversations that the conference sought to facilitate. The use of geometric patterns, lack of a conventional cover, hand bound white pages interspersed with elegant and yet intriguing designs in green and red all gesture towards an unsettled zone emphasizing process over finality.

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grupaok:

Joseph Beuys and Douglas Davis at documenta 6, 1977. As published in From Europe: Art Contemporary 9. Vol. 3 No. 1, 1977.
Clicking the photograph links through to Julian’s short essay for Mousse’s special issue on documenta, titled “Documenta, Stationary.” The editors’ challenge was to consider the history of documenta in general, which the essay does, more or less. Certain among its writerly peculiarities, however, will need to be attributed to the quirks of Mousse’s editorial process — starting with the title, which they’ve rendered as “Documenta Stationery.” I intended the title as a play on the title of Louise Lawler’s artwork Documenta Stationery (1982), in order to suggest that this exhibition, a so-called “archive in motion,” needed to be stilled, stopped, in order to be considered. But the distinction between “writing material” and “motionlessness” has been elided and the reference to Lawler’s work made regrettably literal. (Other such slippages dot the writing beyond.)
Still, I hope the essay retains some value, even if it requires that the reader “squint” to see the argument’s original form behind its somewhat inexact image.

grupaok:

Joseph Beuys and Douglas Davis at documenta 6, 1977. As published in From Europe: Art Contemporary 9. Vol. 3 No. 1, 1977.

Clicking the photograph links through to Julian’s short essay for Mousse’s special issue on documenta, titled “Documenta, Stationary.” The editors’ challenge was to consider the history of documenta in general, which the essay does, more or less. Certain among its writerly peculiarities, however, will need to be attributed to the quirks of Mousse’s editorial process — starting with the title, which they’ve rendered as “Documenta Stationery.” I intended the title as a play on the title of Louise Lawler’s artwork Documenta Stationery (1982), in order to suggest that this exhibition, a so-called “archive in motion,” needed to be stilled, stopped, in order to be considered. But the distinction between “writing material” and “motionlessness” has been elided and the reference to Lawler’s work made regrettably literal. (Other such slippages dot the writing beyond.)

Still, I hope the essay retains some value, even if it requires that the reader “squint” to see the argument’s original form behind its somewhat inexact image.

(via iwilltakeyoueverywherebianca)

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