Colin Sackett’s Uniform Books’ quarterly Uniformagazine is a joy. A 215mm x 145mm, 32 page, limited edition, offset litho wunderkammer.

Cabinets of curiosities (also known as Kunstkabinett, Kunstkammer, Wunderkammer, Cabinets of Wonder, and wonder-rooms) were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities. “The Kunstkammer was regarded as a microcosm or theater of the world, and a memory theater. The Kunstkammer conveyed symbolically the patron’s control of the world through its indoor, microscopic reproduction.” Of Charles I of England’s collection, Peter Thomas states succinctly, “The Kunstkabinett itself was a form of propaganda.” Besides the most famous, best documented cabinets of rulers and aristocrats, members of the merchant class and early practitioners of science in Europe formed collections that were precursors to museums. From

A sense of the content of Uniformagazine might be surmised from this quote from the forward to No. 3 written by Colin Sackett himself quoting from an essay called Numeracy, uniformity and structure (Dundee 1999):

“The language is distilled, precise and economical […]. The uniformity  of presentation highlights the variations and particularity of each combination of text and image – the singularity of each work is established by its relationship to other works.”

Uniformagazine is a magazine version of  liminal space – a place where the insignificant and the ignored combine and treasures can be found. It has a spare aesthetic, and poise. There’s an austerity to it, a functionality, yet a beauty too. A sense of balance. It demonstrates a wry fleetness of foot in its combination of b/w images and short text pieces that cover everything from listening to the view from a train (in No.3), to the landscape drawings of Geoffrey Hutchings (in No.4) via the handmade web (in No.5) and The Book of the Green Man (in No.2).

No. 6 will be published Spring-Summer 2016. I’d urge you to take a look.

(ps. if you happen to come across a copy of No.1 I’d love to see it as I missed out on purchasing the first edition!)


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