{"id":23566,"date":"2023-10-02T16:30:06","date_gmt":"2023-10-02T15:30:06","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=23566"},"modified":"2023-10-02T16:30:06","modified_gmt":"2023-10-02T15:30:06","slug":"the-art-of-shin-taga","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/10\/02\/the-art-of-shin-taga\/","title":{"rendered":"The art of Shin Taga"},"content":{"rendered":"<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga11.jpg\" alt=\"taga11.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p>Ushering in the Spook Season with the dark and strange etchings of Japanese artist Shin Taga. Dark, strange, also meticulously detailed and erotic enough for his work to be featured at <a href=\"https:\/\/shungagallery.com\/shin-taga-artist\/\" target=\"_blank\" rel=\"noopener\">Shunga Gallery<\/a> where they draw fitting comparison with the eroto-Surrealism of Hans Bellmer. As is often the case with older Japanese artists\u2014Taga was born in 1946\u2014there doesn&#8217;t appear to be a dedicated website or even much information about the creator of these works. There are, however, a number of online galleries with decent reproductions, also catalogues, including one which presents a series of prints based on the stories of Japanese horror writer Edogawa Rampo.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga03.jpg\" alt=\"taga03.jpg\" \/><\/p>\n<p><em>Mask 01.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga04.jpg\" alt=\"taga04.jpg\" \/><\/p>\n<p><em>View with a Face.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga02.jpg\" alt=\"taga02.jpg\" \/><\/p>\n<p><em>Peerless.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga06.jpg\" alt=\"taga06.jpg\" \/><\/p>\n<p><em>Fish No. 19.<\/em><\/p>\n<p><!--more--><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga07.jpg\" alt=\"taga07.jpg\" \/><\/p>\n<p><em>Blorden.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga08.jpg\" alt=\"taga08.jpg\" \/><\/p>\n<p><em>Bejart by Be Jart.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga14.jpg\" alt=\"taga14.jpg\" \/><\/p>\n<p><em>Nostalgia.<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga01.jpg\" alt=\"taga01.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga09.jpg\" alt=\"taga09.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga10.jpg\" alt=\"taga10.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga12.jpg\" alt=\"taga12.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2023\/10\/taga13.jpg\" alt=\"taga13.jpg\" \/><\/p>\n<p><em>The World of Edogawa Rampo (1991).<\/em><\/p>\n<p>Elsewhere on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/themed-archive-pages\/the-etching-and-engraving-archive\/\">The etching and engraving archive<\/a><\/p>\n<p>Previously on { feuilleton }<br \/>\n\u2022 <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2007\/06\/25\/the-art-of-takato-yamamoto\/\">The art of Takato Yamamoto<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The World of Edogawa Rampo (1991). Ushering in the Spook Season with the dark and strange etchings of Japanese artist Shin Taga. Dark, strange, also meticulously detailed and erotic enough for his work to be featured at Shunga Gallery where they draw fitting comparison with the eroto-Surrealism of Hans Bellmer. As is often the case &hellip; <a href=\"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/10\/02\/the-art-of-shin-taga\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The art of Shin Taga&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,22,18],"tags":[2191,1337,13096],"class_list":["post-23566","post","type-post","status-publish","format-standard","hentry","category-art","category-horror","category-surrealism","tag-edogawa-rampo","tag-hans-bellmer","tag-shin-taga"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-686","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23566","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=23566"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23566\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}