Theo Crosby

Date d'édition : 1958
Ancien(s) ou d'occasion / Soft cover / Quantité : 1
Vendeur Indexbooks/Peter Gidal (london, Royaume-Uni)
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Date d'édition : 1958

Reliure : Soft cover

Etat du livre : Near Fine

Type de livre : Arts Magazine

Description :

"All 5 issues 1958-62, editions vary from 500 to 1500, 5 ½ x 7 inches. Complete rare set in near fine condition. Some info: "Whilst Crosby is renowned for his work at AD and later the architectural practice of Pentagram, he was also to edit the little-known arts magazine Uppercase, published between 1958 and 1961. ??The final fifth issue includes the first analysis in English of the work of Tomas Maldonado and the Hochschule fur Gestaltung at Ulm, the innovative architectural successor to Bauhaus. It is also important in that its pages reproduce Roger Mayne's famous photographic series of Southam Street in London. For issue nr. 3, which contain Schwitters material as well, Crosby had invited Duchamp in 1958 to contribute. "It was an opportunity to research the typographic problems in a concrete way and specify some experimental proofing – a trial run for the typotranslation itself. As George Heard Hamilton put it, the 1932 typeset Green Box by Jakob Bronowski for This Quarter, September 1932, implies rather than manifests and convey complexity. "(There) we have to glean it via a cluster of footnotes Here Hamilton insisted the print form had to embody and enact the original its jostle of variant words, crossed out phrases, bits scribbled over, other left hanging in the air . a synergetic system – more than the sum of its parts, a semantic excess. Print form would have to relive this effect, not curtail it. Duchamp greeted the Uppercase piece warmly: "I can't tell you how pleased I am to see the first pages in their final stage. The setting keeps in pace with the inner spirit of the original writing and I am sure the complete translation will lend itself to a perfect understanding of the French." Duchamp in fact read and revised the translations three times, with scrupulous attention to the meaning and weight of every word" according to GHH. Duchamp also changed a lot, against GHH’s will, to have exact replication, " he wants a new order " The redone bits began to speak about the original ones, opening up a gap between what he had in mind when the pieces were first written and his later thinking – so much so that the translation begins to function as a commentary on the original, throwing a searchlight onto it." So for Duchamp the final product was, as written on Nov 26,1960, a monster of veracity, a crystalline transubstantiation." Sahat Maharajah, October (1999)"The Duchamp Effect." Uppercase’s various illustrations, articles, typographizations, all were made in this spirit of invention and experiment. An essential journal, included the following: Paolozzi, Notes from a 1957 lecture (incl stills and a lithograph), Kurt Schwitters by Richard Matthews (with dozens of fantastic illustrations), Edward Wright Notes and drawings, Nigel Henderson photos, Alison and Peter Smithson maps, essays, foldouts, William Turnbull Sculpture, Patrick George on the drawn line, Roger Mayne’s classic London "Portraits of Southam Street" photographs, Maldonato on semantic and non –semantic orientation, including the mint as-new ultra-thin red tissue sheets bound in over Pepsi Cola ads in 1961 (pre-Warhol). All foldouts perfect. " Complete rare set in near fine condition. N° de réf. du libraire 289

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Description de la librairie : No Store but issue catalogues every three years, just finished Index Books Catlg. 8, with 350 items described in great detail, including rare james joyce and duchamp, not to mention fluxus, signed artists books, rare warhol ephemera, conceptual and concrete art, samuel beckett to gertrude stein, and much else...from £20 to £50,000