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ARCOLOGY: The City of Man

ARCOLOGY: The City of Man

SOLERI, Paolo 122 double pages. Text in English. Full page illustrations (plans, diagrams, drawings) throughout in black and white. Plans, Oversize oblong book. Spiral binding. Black vinyl laminated softcover, with text printed in white. Name of previous owner and date of acquisition handwritten in red feltpen in the half-title page. The first Paolo Soleri's book, proposing a solution to the urban disaster. Arcology is an utopian city architectural concept, proposing a fusion between achitecture and ecology, offering a three-dimensional urban form, compact and dense in contrast to the urban sprawl of space, energy and time consumption. The OCLC Research: "An arcology is distinguished from a merely large building in that it is designed to lessen the impact of human habitation on any given ecosystem. It could be self-sustainable, employing all or most of its own available resources for a comfortable life: power; climate control; food production; air and water conservation and purification; sewage treatment; etc. An arcology is designed to make it possible to supply those items for a large population. An arcology would supply and maintain its own municipal or urban infrastructures in order to operate and connect with other urban environments apart from its own. Arcology was proposed to reduce human impact on natural resources. Arcology designs might apply conventional building and civil engineering techniques in very large, but practical projects in order to achieve pedestrian economies of scale that have proven, post-automobile, to be difficult to achieve in other ways. Soleri describes ways of compacting city structures in three dimensions to combat two-dimensional urban sprawl, to economize on transportation and other energy uses. Like Wright, Soleri proposed changes in transportation, agriculture, and commerce. Soleri explored reductions in resource consumption and duplication, land reclamation; he also proposed to eliminate most private transportation. He advocated for greater "frugality" and favored greater use of shared social resources, including public transit". Fine even with an unidentified stain on the rear cover.
  • $123
Moi aussi

Moi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose et réussir dans la vie. Cela fait un moment déjà que je ne suis bon à rien. Je suis âgé de quarante ans .

BROODTHAERS, Marcel Invitaion to the FIRST Marcel Broodthars' exhibition, at Galerie Saint Laurent, Brussels. Exhibition: April 10 - 25,1964. Private viewing: 10 April from 6 p.m. to 8 p.m. Offset. Printed in black on both sides of a double sheet of paper, pages from a women's magazine, with color illustrations from the magazine on one side. Folded in two. Folded: 25.2 x 16.8 cm. Unfolded: 25.2 x 33.6 cm. A event in the Art History: Michael Werner Gallery: After having practiced quite a few professions which did not bring in much, except for a tenacious form of bohemian freedom writer, poet, bookseller, exhibition guide, journalist and photographer Marcel Broodthars entered the world of art with a brilliant idea coupled with ironic pragmatism. A caustic art in conceptual form . Hence the text printed on the page of the magazine: Moi aussi, je me suis demandé si je ne pouvais pas vendre quelque chose et réussir dans la vie. Cela fait un moment déjà que je ne suis bon à rien. Je suis âgé de quarante ans. L'idée enfin d'inventer quelque chose d'insincère me traversa l'eprit et je me mis aussitôt au tavail. Au bout de trois mois, je montrai ma production à Ph. Edouard Toussaint le propriétaire de la galerie Saint Laurent (Bxl). Mais c est de l Art, dit-il, et j'exposerais volontiers tout ça. D'accord, répondis-je. Si je vends quelque chose, il prendra 30%. Ce sont, paraît-il des conditions normales certaines galeries prenant 75%. Ce que c'est? En fait des objets. ("I, too, asked myself whether I couldn't sell something and succeed in life. For a while now, I have been good for nothing. I am forty years old. Finally, the idea of inventing something insincere crossed my mind, and I set to work straight away. After three months, I showed my production to Ph. Edouard Toussaint, the owner of the Galerie Saint Laurent. But it's art, he said, and I would willingly exhibit all of this. All right, I replied. If I sell something he will take 30%. It seems that these are normal conditions, and that some galleries take 75%. What is it? In fact, objects". Marcel Broodthaers ). Mint.
  • $7,371
  • $7,371
Latent Images / Diary of a photographer. Third section of the Wonder Beirut project

Latent Images / Diary of a photographer. Third section of the Wonder Beirut project

HADJITHOMAS, Joana & JOREIGE, Khalil Artist's book. 1312 pages. 18 x 24 cm. Two editions: one in French and one in English. French edition: seventy five numbered and signed copies; English edition: seventy five numbered and signed copies. This copy is from the French edition. The two editions were printed in offset on 90gr Vega paper and 300gr Arcoprint paper for the cover. The photographs of the two letters are silver based and have been printed on a 250grs Fuji Frontier paper. The photographs of the reels which introduce each board are silver based and have been printed on a 220grs satiny Fujifilm paper. The Latent Images / Diary of a photographer book brings together 38 contact print photographs selected from the hundreds of films used and never developed, taken by photographer Abdallah Farah between 1997 and 2006. This book of 1312 pages, published in a limited edition - two editions of 75 numbered and signed copies, one in French and the other in English - offers an immersion to the very heart of these latent images. The description of the images replaces the photographs themselves; short fragments of text describe the invisible images while creating a new imagined space. The original photographs of two letters, also numbered and signed, open the book; one is written by Khalil Joreige and Joana Hadjithomas, the other by Abdallah Farah. This exchange of correspondence between the artists and photographer sets the scene for the ties and project that form a link between them. Each film is presented to be seen and read in the form of a chapter: an original photograph of these films appears at the head of the chapter in the same way as photographs in a family album. The reader can thus move around freely in this assembly of photographic fragments, invent his own situations through the history of Abdallah Farah, read the story in chronological order or haphazardly. The book as a support to creation and circulation thus offers a new space for discovering these latent images. Some pages, closed, do not allow the vision of the images they contain; the reader is given the freedom to keep them closed or to open them and this influence their reading. Abdallah Farah is a character imagined by Joana Hadjithomas and Khalil Joreige. Latent Images / Diary of a photographer is thus a project signed by Joana Hadjithomas and Khalil Joreige. As new.
  • $1,675
  • $1,675