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BOOK ART OBJECT.
Jury, David (editor)
with a foreword by Peter Koch
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Book art object is a record of the first biennial Codex Book Fair and Symposium: "The Fate of the Art",Berkeley, California, 2007. The event showcased contemporary artist books and fine press and fine art editions produced by some of the worlds most esteemed printers, designers, book artists, and artisans.
The book includes transcripts of the following lectures: Sarah Bodman, Research Fellow, Centre for Fine Print Research, UWE, Bristol: "The hybrid lexicon: an overview of contemporary artists publishing in the UK"; Robert Bringhurst, poet, translator, and typographer: "Spiritual geometry: the book as a work of art"; and Felipe Ehrenberg, artist, Mexican diplomat, former publisher of the Beau Geste Press, London: "Cutting and pasting: metaphor of life." The volume is superbly illustrated in full color throughout.
David Jury is Head of Graphic Media at the Colchester Institute, School of Art and Design, UK. His numerous books include About Face: Reviving the Rules of Typography; Letterpress: The Allure of the Handmade; What is Typography?; and New Typographic Design. From 1996 to 2006 he was the editor of TypoGraphic (journal of the International Society of Typographic Designers). Jury designs and publishes limited edition letterpress printed books for his own Fox Ash Press.
The Codex Foundation was established in 2005 by Berkeley-based artist/printer/publisher Peter Rutledge Koch and other fine book printers, curators, and aficionados. It was founded to promote knowledge and appreciation of the book arts, and to organize a biennial international book fair and symposium in the San Francisco Bay Area. The non-profit Codex Foundation exists to preserve and promote the art and craft of the book. The mission is educational and, in the broadest possible context, to bring to public recognition the artisanship and the rich history of the civilizations of the book.
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KLIMSCHS JAHRBUCH
I(1900) - IV(1903), VI- XVI(1922-23), XVIII(1924-25)-XXXII(1939); subtitle varies (series ended with volume XXXIII (1940)). Lacks 3 of the 33 volumes (5,17,33). Annual review of the printing trade, containing "technical papers and reports about innovations in all areas of the graphic arts." This is the German equivalent of the British Penrose Annual. Ulrich & Kup, p.57. In addition to numerous articles (including a number by Friedrich Bauer and by Konrad F. Bauer) covering the history and current practice of printing, graphic design, typography, bookbinding, and the book trade, one quarter to nearly one half of each issue consists of examples of contemporary printing. Most of these specimens are labeled with the technique used and the name of the printer. The monochrome and multicolor samples (some of which fold out) illustrate the range of work produced by printers and range of techniques in use. They include, for example: a 1900 Photo-Algraphie plate depicting the story of "Scneewittchen" (Snow White) printed by Jos. Scholz in Mainz; a 1927 color engraving of a Lucas Cranach the Elder portrait produced by Albert Frisch in Berlin; a 1933 Bromsilber-Rotationsdruck image of Marlene Dietrich by Ross-Verlag in Berlin; a 1938 12-color offset plate featuring the uniforms and insignias of the German Youth organizations; and numerous samples of advertising and other jobbing printing, maps, excerpts from books and reproductions of artworks. There are specimens of marbling and of printing on foil, on cellulose (these have warped and deteriorated a little), and one on cloth. Most of the specimens are bound in, some are tipped-in (one tipped-in plate is missing--from 1932). Many articles and illustrations are devoted to the machinery of printing and technological innovations, including a 1902 discussion of the recently invented airbrush. Illustrations are often grouped to show comparisons of various printing techniques or stages of a process. Many of the issues include a list summarizing new patents. Other regular features include: a bibliography of recent writings relevant to the field; and examples of new fonts--from these years which were a highpoint in German type design. Among the articles are memorials to Otto Hupp (1934) and Rudolf Koch (1935). This collection also offers much for cultural historians: from the Art Nouveau printed covers and decorative endpapers of the early issues, through the commercial work that prompted Walter Benjamin's writings, to the visual culture of the Nazi era. The 1932 issue features a retrospective on the first twenty-five volumes. All of the volumes include tables of contents; the 1935 issue includes an index to volumes XXV-XXVIII. The covers of this set show minimal to moderate wear and soiling. Some scattered minor foxing is evident.
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