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First Edition. First Edition. Russell Maret [printer, designer, and afterword]; Nina Schneider [bibliographic descriptions]; Carolee Campbell [commentary]; Harry Reese [foreword]; Annie Schlechter [photography]. One of the 77 numbered copies that includes tip-ins of original material. A lovely catalogue raisonné of the work of Carolee Campbell and the Ninja Press. Russell Maret writes of her: "It takes a special kind of person to know that what one is working on is not ready to be discussed. It takes someone.who unhurriedly allows her books to germinate in her lizard brain until they are ready to be dispatched into the world. With each new book Carolee teaches the rest of us how it should be done - not how to make books like hers , but like her, to make books the way the books want to be made." The heavily annotated bibliography includes books, broadsides, commissions and collaborations, ephemera, reviews, criticism, and writing. The annotations include comments by Carolee on the making of each book or broadside. "Imagine this movie: A self-possessed teenager in Los Angeles, brought up by a grandmother because of her mother's infirmities and her father's alcoholism, flees to New York City after high school to pursue a dream. Working first as a hatcheck girl in a famous nightclub, and then waiting tables in Mafia restaurants, she reinvents her life from the inside-out in classes taught by elite drama teachers and is offered a bit part on daytime television. Avoiding temptation and putting everything at risk again, she evolves into a television star and eventually a soap opera queen. Meanwhile, she exhibits photographs in New York galleries, practices Japanese martial arts, and competes with her team in Japan. She wins an Emmy for a dramatic role, but abruptly quits acting, returns to California, and takes up whitewater rafting in the Southwest. Nearly fifty, she turns her back on every success she ever knew to start all over again as an entry-level art student in a program she has to explain. Twenty years later, she gains recognition as one of the most accomplished, distinctive, and influential printer-publishers of her generation." [foreword]. Tight, bright, and unmarred; folder bright and clean. Quarterbound, green leather spine, green printed paper boards, gilt lettering, color photographic frontispiece tipped in. Narrow fo. 129pp. Illus. (color and b/w plates, tipped in photos, etc). Numbered limited edition, this being 20 of 77 plus hors commerce bringing total to 102. Signed by all involved. Laid in copy of An Arguement for Lying Fallow / The Habit of Risk.

Hardcover. Condizione: Fine in Fine Archival Box. Limited Edition. Limited Edition. Hardcover. "The artist's book 'Raising the Supine Dome' depicts the visionary architect Buckminster Fuller's first attempt to construct a geodesic dome with a class of students at the experimental school, Black Mountain College, in 1948. The actual construction was a failure because the dome did not rise, but Fuller saw each failure as a way of getting closer to true understanding. The book presents the event as a stripped down, schematic tableau of figures on a white field amidst sinuous red strips of construction material, emphasizing the beauty and poetry of the failed event. The red lines become drawings in space, sprawling and expressive, unwilling to coalesce into the tidy geometry of Fuller's built universe. The figures attempting to erect the dome are physically cut out of the paper, revealing a triangular grid beneath, representing the point at which individuals lose their unique characteristics when working together as a group toward a specific goal. The text contained within the book is a found poem, taken from a variety of primary sources and edited, altered and combined to give the reader a sense of time and place as well as a basic narrative of the event. The writings of Buckminster Fuller and excerpts from the poem about Fuller 'The Praises' by Charles Olson combine with anecdotes from Fuller's class at Black Mountain by Elaine de Kooning. The text is placed along the bottom edge of the book in a subtle and sloping downward arc, echoing the shape of the supine dome that refuses to arc upward. The accordion book's stiff leaves can be paged through as a codex or can stand upright and extend out fully and be viewed from both sides as the play of light and shadow interacts with the cut figures." (artist's catalogue). Tight, bright, and unmarred. Accordion fold on structurally significant stock, hand-set metal type, images from photopolymer plates, laser-cut siloettes; dropspine archival box. 8vo. np (14pp). Ilust. (mono prints). Numbered limited edition, this being 19 of 20.