F rom home-goods stores to hip bars, the Tate

Modern to the most conservative of décor

magazines, taxidermy is everywhere. And, a far cry

from traditional mounts, today’s “rogue” taxidermy

skews toward the stunning, provocative, and fanciful

(think a jewel-encrusted piglet, a bionic fawn, or a

polar bear balancing on a floating refrigerator). In

this collection of contemporary taxidermy art, author

Robert Marbury makes for a friendly (and often funny)

guide, addressing the three big questions people

have about taxidermy art: What is it all about? Can I

see some examples? and How can I make my own?

TAXIDERMY GONE

ROGUE

THE BOOK INCLUDES

• A brief history of taxidermy (and

what sets artistic taxidermy apart)

• Stunning pieces from the most

influential artists in the field

• Illustrated how-to lessons to get

readers started on their own work

• Sources for taxidermy materials and

resources for the budding taxidermist

CLOCKWISE FROM TOP LEFT: La Fragilité, Les Deux Garçons; Fixed Fawn,

Lisa Black; L’Heure de Vérité, Les Deux Garçons; “Untitled” Female Bust 3, Kate

Clark; Crying Out Loud in the Age of Stupid, Rod McRae; Rattus, Julia deVille.

ROBERT MARBURY is the director and cofounder of the

Minnesota Association of Rogue

Taxidermists. He is a multidisciplinary

artist working in fabric, photography,

and fur. In addition to creating his

own art, he cohosts and judges the

annual Carnivorous Nights Taxidermy

Contest in Brooklyn and launched the

taxidermy biennial at La Luz de Jesus

Gallery in Los Angeles. Marbury lives in

Baltimore and lectures internationally

on Rogue Taxidermy.

ABOUT THE AUTHOR

Two-headed Chick, Sarina Brewer

OPPOSITE: Mama’s Little Helper Monkey, Sarina Brewer

Wolfgang, Jessica Joslin

OPPOSITE, ABOVE: Canto & Silva, Jessica Joslin

OPPOSITE, BELOW: Aria & Sola, Jessica Joslin

This Seat Is Taken, The Idiots

OPPOSITE: Orcus, Julia deVille

Gâteau, Julia deVille

Genetic Branding (YSL), Peter Gronquist

OPPOSITE: Operation Foxtrot, Rod McRae

12

13

For the budding Rogue Taxidermist, nothing compares with a

squirrel for your first taxidermy lesson. They are plentiful and

considered nuisance animals in most urban spaces, so they

are pretty readily available. In addition, they have more articulation

than other common small mammals, like mice and guinea pigs.

There are a variety of techniques for mounting a squirrel. You

might find that you prefer to do some of these steps out of order, or

to substitute materials.

SKINNING•Latexgloves•Cardboard,newspaper,orbutcher

paper•Rulerortapemeasure•Penorpencil•Scalpelwithno.22blades•Wirebrush•Borax(availableinmostgrocery

storesasanaturalwashingsoap)*•Clothespinorcommercialtailstripper•Fleshingbeam(optional)•Handheldbeam(optional)•Paintbrush(optional)•Leatherneedle(circularandsuture

workwell)•6-lb.fishinglineorstrongthread•Dishdetergent•Bucket•Hardwoodsawdustor

corncobgrit

*Note: If youareplanningonhavingadoublefeatureandwanttoeattheanimalyouskinned,donotuseborax.Anymeat that borax touches needsto be disposed of. Also, do not useboraxifyouplanontanningtheskin,sinceboraxraisesthepHintheskinandwillresultinlossofhair.

MOUNTING•Premadefoamform•Sandpaper•StrongknifeorDremeltool(optional)•Two-partepoxyclay•Air-dryclay•Latexgloves•Woodworkingtoolorsmall,sharp

screwdriver•Glasseyes•Scalpel•Wirecutters•Wire(16-gaugeisgoodforasquirrel)•Grinderorelectricaltape•Hidepaste,LiquidNails,orlatex

caulk(100percentlatexwithnosilicone)

•Pliers•Leatherneedle(circularandsuture

workwell)•6-lb.fishinglineorstrongthread•Cotton(optional)•Hairbrush•Toothpick(optional)•Insectoreuropins•Cardstock•Paperclips•Hairdryer•Touch-uppaintandpaintbrush

(optional)•Accessories,suchasamonocle/

banjo/porkpiehat(optional)•Baseformounting(premade,or

makeyourown)

WHAT YOU’LL NEED

SQUIRREL LESSON 1 When you’re ready to begin skinning your squirrel, prepare a clutter-free space that is more than twice your animal’s body length. Cover the work

surface in cardboard, newspapers, or butcher paper. It might be best to figure out your music mix and turn off your phone—squirrel guts and borax can do wonders to electronics, especially ones you put to your face.

SKINNING

2 Measure the squirrel’s body from head to base of tail and around the widest part of the ribs. These measurements will help you pick the proper

size form.

3 Decide if you would like to position the squirrel stomach down (with its four paws on a branch, for instance), or stomach out (like it’s reaching for a

piece of pizza). Cut on the side that is least visible (so if the stomach is visible, make an incision on its back; if not, make an incision across the stomach).

4 Create a guide for your cut by parting the fur down the center of the body with a wire brush. Be careful to retain as much of the fur as you can, since

this will hide the stitches.

To be published in October 2014

The copy in this brochure is not final. Please contact the publicist before running any image or excerpt.

PRESS CONTACTAllison McGeehon 212-614-7705 allisonm@artisanbooks.com

SPECIFICATIONS• More than 100 color photographs

and 60 illustrations • 240 pages, 6¼" x 8½"• Paper-over-board• $18.95 • ISBN 978-1-57965-558-7• No. 85558• ART / CRAFTS

TO ORDERPhone 1-800-722-7202Fax 1-800-521-1832

A division of Workman Publishing, Inc.225 Varick StreetNew York, NY 10014-4381artisanbooks.com

Front cover: Untitled, Peter GronquistBack cover: Hangjongeren, The Idiots

Design by Kara Strubel

Photographs by Robert Marbury except for Untitled (Ernest Stoddard), Rattus, Orcus, and Gâteau (Terence Bogue), La Fragilité (Sanne Linssen), Fixed Fawn (Daniel Gordon), L’Heure de Vérité (Marijn Vanderheijden), Crying Out Loud in the Age of Stupid (Grant Fraser), This Seat Is Taken and Hangjongeren (The Idiots), and Genetic Branding (YSL) (Jeremiah Alley).

Illustrations by Teagan White

Printed in Singapore

• National and regional feature coverage in art, decorating, and men’s magazines

• Social media buzz campaign focusing on Facebook and Instagram

• Cross-promotion with galleries and museums

MARKETING & PUBLICITY