codex foundation (53 results)

Paperback. Condition: Very Good. It's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.

Trade Paperback. Condition: Good. Dust Jacket Condition: No Dust Jacket. No Statement of Printing. Highlighting. A Good copy (gift inscription) of this 54-page paperback. Yellow highlighting, particularly heavy in the Introduction. A reading copy only, but not ex-library. Book.

Soft cover. Condition: Fine. 1st Edition. Fine staple-bound paperback. Overall a bright and attractive copy. Number 2 in the CODE(X) + 1 series. 24 pp.

paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less.

Softcover. Condition: Near Fine. Near Fine 12mo 7 3/4" x 5 1/2" gray staplebound, black and red lettering to front and back, no visible shelfwear, sharp tips, tightly bound, and unmarked throughout. [2] 24 pp., no images, includes essay "In memoriam Luce Marinetti" by professor, writer, and former curator, Vincent Giroud, and Selective Bibliography. Beautifully produced small press volume focusing on how book design was impacted by the early 20th-century Italian art movement, Futurism, and its founder, Filippo Tommaso Marinetti (1876-1944). From the publisher (quoting Vincent Giroud, from Marinetti's Metal Book): "Futurism was also a revolution of the book, and there rests, in fact, one of its greatest artistic legacies. This revolution, as in many other -isms of the twentieth-century, began as a revolution of the word, an opening up of language to all kinds of hitherto unexplored possibilities. But Futurism was much more than a literary movement: as much as in the writing of the book and its contents, Futurist poets and artists were interested in its making its design, typography, printing, and final appearance." One of 500 printed. Heavy and oversized items may require additional shipping.

Soft cover. Condition: Very good. No jacket. Cover is lightly rubbed, lightly creased on edges, and creased along front edge of spine, but text and images are clear and bright. Binding is tight. Inside is clean and unmarked.

wrappers. 5.5 x 7.75 inches. wrappers. 16 pages. CODE(x)+1 Monograph #18. Number eighteen in the CODE(x)+1 monograph series. While conceptual complexities differentiate the artist book from the world of handmade objects, there is a similarity in reconciling ones vision for a project with its functionality. One of the truest lessons of craft practice is that it is not only difficult to foster innovation and creativity in the absence of constraints, the constraints give birth to them. Italo Calvino described this as escaping the pull of gravity that so stimulates the imagination. The book, a seemingly constrained form, should surely be exhausted by now. Yet it continues. And we continue making them. The books ineffable natureits sustainable, renewable, inexhaustible resourceis found in the potential of the imaginative mind informed by the work of the hand.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 28 pages. Number eleven of the CODE(X)+1 Monograph Series. Number eleven of the CODE(X)+1 Monograph Series. The Timeless Art of Allowing Books to Thrive is a dialogue between two theoretically and existentially divergent proponents of reading-executed in the manner of a conversation. Ulises Carrion's ground-breaking 1975 manifesto "The new art of making books" is here presented with interleaved remarks composed 40 years later by internationally renowned scholar, poet and typographer, Robert Bringhurst. "Carrion's kind of art has not lacked for proponents and exponents in the academy or in the art world, but much that has been written along these lines is intellectually murky and burdened with pompous jargon. Carrion himself, by contrast, was plain-spoken and full of real ideas. My own predilections are different from his, and so we disagree on many fronts, yet he is lucid and articulate - and therefore someone I can talk to, dead or alive." - from the preface by Robert Bringhurst This limited edition of 500 copies was designed and printed by Peter Koch with the assistance of Jonathan Gerken.

wrappers. 5.5 x 7.75 inches. wrappers. 24 pages. Number seventeen of the CODE(X)+1 Monograph Series. Number seventeen of the CODE(X)+1 Monograph Series. Following Marshall McLuhan's famous quote the medium is the message this article presents the Klingspor Museum in Offenbach/Main as a unique institution representing the genre of the artists book. The Klingspor Museum is more than simply a collection of book related arts because of its foundational idea of type- and bookmaking that put tremendous emphasis on merging these two domains. The leading personality of that history is Karl Klingspor. The practice of his type foundry revolutionised the ways that trade markets, literature, and culture in general traditionally separated until then came together in the foundry. From this beginning in the foundry, Klingspor developed a collecting ethos that brought together the arts of type, writing and the book, thereby promoting the process of creation itself. Because of this history, the museum inherits a specific responsibility to honor and promote the artists book. This profile is carried into the public and the city life of Offenbach, always communicating the different elements comprising the artists book. Especially in times of distance, the museum is looking for new ways to reach out to the citizens and potential visitors. In the words of Joseph Beuys: Everybody is an artist!

wrappers. 5.5 x 7.75 inches. wrappers. 16 pages. Number sixteen of the CODE(X)+1 Monograph Series. Number sixteen of the CODE(X)+1 Monograph Series. "The concept of Materialia Lumina [.] argues strongly for a synaesthetic approach to workmanship. Today, similar principles are being fruitfully combined with and vigorously informed by the conceptual daring and experimental nature of contemporary art practice to form, what is, in essence, a new vision of the book as a 'total work of art'.".

paperback pamphlet. 16 pages. paperback pamphlet. 5.5 x 7.75 inches. Number four of the CODE(X) Monograph Series. Number four of the CODE(X)+1 Monograph Series. This book discusses typography in relation to the fields of graphic design, applied art, and book design. With contents and text already in a book, the book designer has to choose the correct typography and a medium that provides the reader with easy access to the subject matter. This book discusses type face, type style, type weight, type size, kerning, tracking, spacing, leading, and line length.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number seven of the CODE(X)+1 Monograph Series. Number seven of the CODE(X)+1 Monograph Series. This book discusses the Italian art movement, Futurism, and its impact on book design. It focuses on the metal book Parole in Liberta Olfattive Tattili-Termiche, a collection of futurist Filippo Tommaso Marinetti's poetry, made by Tullio d'Albisola and Vincenzo Nosenzo in 1932. This limited edition of 500 copies was designed and printed by Peter Koch with the assistance of Jonathan Gerken and Max Koch. This title was previously listed as number one of the CODE(X)+2 Monograph Series.

Paperback. 5.5 x 7.75 inches. Paperback. 20 pages. Number fifteen of the CODE(X)+1 Monograph Series. Number fifteen of the CODE(X)+1 Monograph Series, commissioned for the sixth biennial CODEX Symposium, 6 February 2017. Illustrated in color. Artist, poet, and printer Johannes Strugalla writes about his bilingual typographic oddyssey and what it means to be an artist engagée. "As a human and an artist, I live with my eyes and my ears wide open in light of the distress and the horrible things happening in the world, but also for the colors and the beauty of life. All these feelings and emotions enter in my poems and in my artwork even when it is abstract. I need this labor for the health of my mind. It becomes a transcendental moment I can share through my work. It is possible to feel an ecstasy you are unable to find in the everyday life. The more the social and political events are cruel and detestable, the more all human beings need to be elevated by spiritual and esthetic values - they need the tonic against melancholy given by the Arts and the creativity against the spirit of death and destruction. -I want to be a contributor to this.".

Paperback. 5.5 x 7.75 inches. Paperback. 20 pages. Number fourteen of the CODE(X)+1 Monograph Series. Number fourteen of the CODE(X)+1 Monograph Series, commissioned for the sixth biennial CODEX Symposium, 6 February 2017. "Historians love pivot points, those times when energies converge and the future can unfold in stikingly different directions. Life seems so unknowable and chaotic on the near side of a shift, and then, ten years on, events seem to have aligned into the only possible outcome. I believe that the book arts are, once again, at such a pivot point." -- from the Introduction. The lecture examines selected recent works that nurture mind and body while reminding the reader of what we share in common, in the midst of our global screen culture. Illustrated in color. Designed and printed by Peter Koch Printers, with assistance by Dina Pollack.

Paperback. 5.5 x 7.75 inches. Paperback. 16 pages. Number thirteen of the CODE(X)+1 Monograph Series. Number thirteen of the CODE(X)+1 Monograph Series. "When I inaugurated Ninja Press in 1984 it never occurred to me that it would lead to the kind of investigative bookmaking that has become a steadfast companion in my approach to book design." "The Real World of Manuel Córdova is a long, single poem by W.S. Merwin consisting of forty-three fourteen-line stanzas. Upon reading it for the first time I knew I wanted to spend deep time working on it. The poem evokes the very essence of the mythological journey; of going for and coming back changed. It is an arduous journey, both through time and through terrain. The poem also describes an interior journey into the dream world. I flooded myself with information because what poetry does not impart is information. Poetry is a door to the ineffable. My job, however, was to make a container to hold that ineffability." The Real World of Manuel Córdova is an iconic example of the contemporary book as a work of art. In the essay Chasing the Ideal Book Carolee Campbell reveals her methodical and brilliant approach to investigative book making.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 20 pages. Number twelve of the CODE(X)+1 Monograph Series. Number twelve of the CODE(X)+1 Monograph Series. "Karel Capek, in his wonderful book on gardens, says that the art of gardening can be reduced to one rule: you put into it more than you take out. The same can be said of the art of libraries. But the libraries of our material world, however great their hunger, can only hoard existing volumes. We know that every book holds within all its possible readings, past, present and future, but its Pythagorean reincarnations, those wonderful forms which depend on readers to come, will not be found on our shelves.".

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number nine of the CODE(X)+1 Monograph Series. Number nine of the CODE(X)+1 Monograph Series. The Mechanical Word is an extended essay on the eponymous five volume artwork by the London based artist Karen Bleitz, a founding member of the ARC collaborative that grew out of Ron King's legendary Circle Press. It is illustrated throughout in black, white, and red, and contains four pages of full color photographs. "Whenever asked to talk about The Mechanical Word, I begin by saying, 'The Mechanical Word is a series of books in which I constructed a mechanical language composed of cogs, cranks, levers and gears.' I have learned, however, that as soon as I say 'mechanical language', I am immediately bombarded with a thousand questions such as, 'What's a mechanical language? What does it look like? How does it work? What's it for anyway?' At the time that the project began, I had been looking at various properties of language. I was particularly interested in its power to define, and through definition create, the things, people, and events that take place in the world. In the hands of the media, I could see that words had the power to turn a cloned sheep from a miracle - to a monster - and back into a miracle within the space of a page." - Karen Bleitz This limited edition of 500 copies was designed and printed by Peter Koch with the assistance of Jonathan Gerken.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 32 pages. Number two of the CODE(X)+2 Monograph Series. Number two of the CODE(X)+2 Monograph Series. This book is a photographic reproduction of the metal book Parole in Liberta Olfattive Tattili-Termiche, a collection of futurist Filippo Tommaso Marinetti's poetry, made by Tullio d'Albisola and Vincenzo Nosenzo in 1932. It contains photos of every page, the covers, and the slipcase. The photographed copy is held by The Beinecke Rare Book and Manuscript Library, Yale University. This title was previously listed as number two of the CODE(X)+2 Monograph Series.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number five of the CODE(X) Monograph Series. Number five of the CODE(X)+1 Monograph Series. Russell Maret explores the future of the private press and the division between the private press and the fine press. The fine printer, often a commercial outfit, leaves proportion, legibility, and craftsmanship as secondary principles, where as the private press printer is possessed with an irrepressible need to make books, containing characteristics of iconoclasm and reverence. Richly illustrated with color images, the book was designed by Russell Maret and printed in an edition of 500 copies at Peter Koch Printers. The cover was printed from antique wood and metal types in the Koch collection.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number six of the CODE(X) Monograph Series. Translated from the French by Jonathan von Zelowitz, with an Introduction by Timothy Young. Number six of the CODE(X)+1 Monograph Series. Didier Mutel is a synaesthetic printer focused on the bite of acid on metal, of the metal plate on paper, and of the printed words on the mind. This book discuses the acide brut manifesto and the definition of acide brut, and how acide brut has affected communication, art, war, and love and tenderness. This book was printed in an edition of 777 copies on the Heidelberg cylinder press at Peter Koch, Printers for the CODEX Foundation.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number three of the CODE(X) Monograph Series. Number three of the CODE(X)+1 Monograph Series. Loney's essay discusses his thoughts on both the physical value as well as the textual value of books and libraries. This book was designed and printed in an edition of 500 copies on a Heidelberg cylinder press by Peter Koch assisted by Jonathan Gerken and Shanna Mahan for the CODEX Foundation. The cover was printed from antique wood and metal types in the Koch collection. Alan Loney is a poet/printer living in Melbourne, Australia, where he runs Electio Editions.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number two of the CODE(X) Monograph Series. Number two of the CODE(X)+1 Monograph Series. Includes several essays and notebook entries by Peter Koch related to the craft of making books. This book was designed and printed in an edition of 500 copies on a Heidelberg cylinder press by Peter Koch assisted by Jonathan Gerken for the CODEX Foundation. The cover was printed from antique wood and metal types in the Koch collection. Peter Rutledge Koch is a printer living in Berkeley, California.

Hardcover. Condition: Very good. Dust Jacket Condition: Very good. Great condition. Jacket is lightly scuffed, but binding is tight and inside is clean and unmarked.

CODEX (illustrator). 6.75 x 8.5 inches. Smythe sewn, letterpress printed wrapper. 144 pages. First edition. A fine copy. The inaugural issue of The CODEX Papers, an annual journal dedicated to bibliographic and art historical research and opinion in the field of contemporary book arts. The journal is edited by Gerald Cloud and Peter Koch, and the editorial brief is to publish articles that promote a clear understanding of the enormously complex and historically rich field of the book arts, including scholarly articles, artists perspectives, photo essays, interviews and profiles, reviews, letters and opinion. Contributors to this issue include: Robert Bringhurst, Gerald W. Cloud, Kate Contakos, Johanna Drucker, Crispin Elsted, Jerry Kelly, Peter Rutledge Koch, Mark Livingston, Kitty Maryatt, Marcia Reed, Gaylord Schanilec, Veronika Schäpers, Paul Van Capelleveen, Richard Wagener, and Lesya Westerman. From the Editor's Note: "As the Codex Foundation prepares to celebrate its fourteenth year and host its seventh biennial book fair and symposium it was determined that a journal of some sort was due. As an organization dedicated to promoting the book as a work of art, CODEX has made regular formal efforts to document and disseminate the content it has generated over the years, including Book Art Object and Book Art Object 2; a monograph series, CODE(x)+1, which recently published its fifteenth title; and our assemblings Alchimie du Verbe and Mapping the Cosmos, two carefully curated collections of printed works from some of the finest book artists and printers in the world. Yet, there was a sense among the Directors that the Foundation could do more, that it could generate a periodical that would offer a more frequent occasion for CODEX to engage in dialog with its supporters, collaborators, and fellow travelers. "The inaugural number of the CODEX Papers is a first shot over the bow, a clarion call for members of the book arts world to put pen to paper with an aim to articulate their observations, opinions, and critical analysis of the book, the artist book, and the book arts as they are practiced today, and perhaps, as they ought to be practiced in the future. "The CODEX Papers will give its readers an informed view on whats happening with the CODEX Foundation, and all that it seeks to support. We hope that our readers and members of the book arts community will consider submitting proposals for future articles; our interests include: scholarly, bibliographical, and historical perspectives; research, reports, and critical articles on contemporary book arts; photographic essays documenting studios, ateliers, bookshops and libraries; interviews and profiles; book and exhibition reviews and publishing perspectives; collecting contemporary book arts; letters to the editors, opinion, and travel, and other dispatches from the global perspective." Smythe sewn, letterpress printed wrapper.

paperback pamphlet. 5.5 x 7.75 inches. paperback pamphlet. 24 pages. Number five of the CODE(X) Monograph Series. Number five of the CODE(X)+1 Monograph Series. Russell Maret explores the future of the private press and the division between the private press and the fine press. The fine printer, often a commercial outfit, leaves proportion, legibility, and craftsmanship as secondary principles, where as the private press printer is possessed with an irrepressible need to make books, containing characteristics of iconoclasm and reverence. Richly illustrated with color images, the book was designed by Russell Maret and printed in an edition of 500 copies at Peter Koch Printers. The cover was printed from antique wood and metal types in the Koch collection.

6.75 x 8.5 inches. Smythe sewn, letterpress printed wrapper. 144 pages. The inaugural issue of The CODEX Papers, an annual journal dedicated to bibliographic and art historical research and opinion in the field of contemporary book arts. The journal is edited by Gerald Cloud and Peter Koch, and the editorial brief is to publish articles that promote a clear understanding of the enormously complex and historically rich field of the book arts, including scholarly articles, artists perspectives, photo essays, interviews and profiles, reviews, letters and opinion. Contributors to this issue include: Robert Bringhurst, Gerald W. Cloud, Kate Contakos, Johanna Drucker, Crispin Elsted, Jerry Kelly, Peter Rutledge Koch, Mark Livingston, Kitty Maryatt, Marcia Reed, Gaylord Schanilec, Veronika Schäpers, Paul Van Capelleveen, Richard Wagener, and Lesya Westerman. From the Editor's Note: "As the Codex Foundation prepares to celebrate its fourteenth year and host its seventh biennial book fair and symposium it was determined that a journal of some sort was due. As an organization dedicated to promoting the book as a work of art, CODEX has made regular formal efforts to document and disseminate the content it has generated over the years, including Book Art Object and Book Art Object 2; a monograph series, CODE(x)+1, which recently published its fifteenth title; and our assemblings Alchimie du Verbe and Mapping the Cosmos, two carefully curated collections of printed works from some of the finest book artists and printers in the world. Yet, there was a sense among the Directors that the Foundation could do more, that it could generate a periodical that would offer a more frequent occasion for CODEX to engage in dialog with its supporters, collaborators, and fellow travelers. "The inaugural number of the CODEX Papers is a first shot over the bow, a clarion call for members of the book arts world to put pen to paper with an aim to articulate their observations, opinions, and critical analysis of the book, the artist book, and the book arts as they are practiced today, and perhaps, as they ought to be practiced in the future. "The CODEX Papers will give its readers an informed view on whats happening with the CODEX Foundation, and all that it seeks to support. We hope that our readers and members of the book arts community will consider submitting proposals for future articles; our interests include: scholarly, bibliographical, and historical perspectives; research, reports, and critical articles on contemporary book arts; photographic essays documenting studios, ateliers, bookshops and libraries; interviews and profiles; book and exhibition reviews and publishing perspectives; collecting contemporary book arts; letters to the editors, opinion, and travel, and other dispatches from the global perspective." Smythe sewn, letterpress printed wrapper.

8vo, 23pp, illustrations. A very good stapled paperback copy. . Limited edition of 500 copies.

hardcover. Codex (illustrator). 12.4 x 9.6 x 1.38 inches. hardcover. 392 pages. First edition. Small bump to the bottom corner of the front board, else a fine copy. Published by the Stanford Libraries and the CODEX Foundation in conjunction with the traveling exhibition Materialia Lumina - Contemporary Artists' Books from the CODEX International Book Fair . Materialia Lumina has extensive full color images and essays by Martin Antonetti, Betty Bright, John A. Buchtel, Paul van Capelleveen, Gerald Cloud, Mark Dimunation, Jan & Crispin Elsted, Susan K. Filter, Viola Hildebrandt-Schat, D. Vanessa Kam, Peter Rutledge Koch, Sandra Kroupa, Marie Minssieux-Chamonard, Susanne Padberg, David Paton, Marcia Reed, Ruth R. Rogers, Stefan Soltek, and Roberto G. Trujillo. Consisting of seventy-five exemplary books curated from among the thousands of artists books that were exhibited at the CODEX International Book Fair over the past fifteen years. Outstanding examples of work by some of the worlds most accomplished masters have been selected. A scholarly and descriptive catalog co-published by Stanford University Libraries, the CODEX Foundation, with support from the Boston Athenæum, and edited by Paul van Capelleveen of the National Library of the Netherlands. This substantial hard cover book designed in the Netherlands includes essays and articles from an array of outstanding academic scholars, preeminent museum curators, and heads of major collections.