Artists' Books in Crossett: Artists' Books by Structure

Othello--a bestiary (with floral additions)' is a wordless retelling of William Shakespeare's 'Othello' as an illustrated collection of common, rare and fabulous animals, hand-cut from paper by Ian Whitmore. In removing the text, Borbonesa presents a deconstructed version of 'Othello' in which the storyline is plotted by the guinea-hens, baboons, blind puppies, strawberries and figs that inhabit the speeches of Shakespeare's human characters. All faunal forms inhabiting the speeches of Shakespeare's human characters are shown. References to monsters and undefined creatures and beasts are marked with offcuts. The red dots represent devils. These faunal and floral forms are arranged in their original sequence so the structure of the play is visually revealed. Based (structurally) on a 1968 version of the play edited by Kenneth Muir and published by Penguin Books. 1 folded sheet 54 p. 10 x 864 cm, folded to 10 x 16 cm. Screen printed. Accordion.

"I Can Make You Love Me considers clothing and the single stitch as sites of memory. It explores the idiosyncratic and unreliable nature of confession and mark-making both in its content and its manner of production. Each book in the edition is typed separately on a Brother Charger 11 manual typewriter with the resultant errors 'x'ed out but persisting as a narrative palimpsest" This edition is printed on Stonehenge buff paper, Blueline rapidspeed diazo paper, vintage Sunworthy wallpaper samples and vellum, using silkscreen, a Brother Chrager II typewriter and a Xerox Phaser 6250 printer. Issued in an edition of 50 copies. Accordion Fold Book. 15 x 90 cm. folded to 15 x 15 cm. The pages of the book are accordion folded and have threads sewn into them at intervals. The book has a folding case which is held together with a ribbon secured by a safety pin.

The City Within is a kinetic bookwork exploring cartography and fantastical anatomy. Juxtaposing bird’s eye maps and hand-drawn street-level maps with a rib cage of text centered around Montreal’s downtown core, The City Within overlays the heart of a city with the interior body of a city dweller. Both a bookwork and a sculptural object, this multi-layered book is able to be read and explored through many pathways. Through bookmaking, Artist’s Book resident Natalie Draz investigates the structure of her body in relation to her urban surroundings. The sculptural pages of The City Within take readers on an adventure in cartography and fantastical anatomy via the streets of Montreal. Combining different bookmaking and printmaking techniques, clustered buildings and winding streets come alive, inviting readers to explore the correlation between interior and exterior spaces. 8 1/2” x 14” Paper: Rives Heavyweight and Mohawk. Printing method: Etching and Silkscreen. Structure: Moveable Book, Tunnel Book

An artist book inspired by images and articles published in the Illustrated London News during the Irish Famine in the mid-nineteenth century. Alexis Soyer, the celebrated chef de cuisine of the private Reform Club in London, often orchestrated many of these lavish banquets during the famine years, attended by the power and financial elite of the British Empire. In response to his concern about the Irish starvation, Soyer proposed a Model Soup Kitchen, to feed large numbers of people efficiently, and as cheaply as possible. Murrain contrasts the Illustrated London News coverage of M. Soyer’s Model Soup Kitchen (1847), with the extravagant banquets held in England. The ILN reporting for the soup kitchen and the banquets mirror each other - describing the seating arrangements, room layouts, dinnerware and menu. Accordion. Digitally printed. Paper: Strathmore cotton. Slipcase with image of potato plant tipped in on front cover of accordion board end and title foil stamped below. Tiziano black paper liner in slipcase with Zerkall Ingres light green as end paper. Signed edition of 20. Crossett owns number 2.

Based on a personal experience of loss, View is a bookwork that deals directly with ideas of coming to terms with mortality. This piece includes two books (Mise en scène and Afterimage) that are housed in a cream- and brown cloth-covered compartmented box. Letterpress printed using a combination of photopolymer plates, wood blocks, and pressure plates. 'Mise en scène' is a one-sided three-layer nested accordion; second layer contains text on individual strips; paper-covered boards trimmed in cloth with title and number 'I' onlaid on front cover. 'Afterimage' has concertina spine; pages folded at fore-edge and glued to concertina; text appears through mylar overlays visible through cut-outs on each page. Bare tree branch motif throughout pages; paper-covered boards trimmed in cloth with title and number 'II' onlaid on front cover. Hinged box top uses a magic wallet structure: opened one way it reveals the books in separate trays with ribbon pulls; opened the other way it reveals a miniature dreamscape. Housed in matching cloth-covered folding case. Limited edition of 100 copies.

"The Pennyroyal Caxton Bible was designed & illustrated by Barry Moser. It was composed & printed folio by Bradley Hutchinson. The typefaces are Galliard, Mantinia, & Mantinia Greek designed by Matthew Carter, based on models by Robert Granjon & Andrea Mantegna. Mr. Carter also designed several new decorative & typographic elements for his types specially for this work. The paper is Zerkall Bible. It was custom-made by the Zerkall Paper Mill in Zerkall, Germany. The illustrations were engraved in resingrave. The bindings are from the combined workshops of Claudia Cohen and Sarah Creighton. The bindings are full limp vellum with the title stamped in 24-carat gold on the cover and spine. Each signature was folded by hand and sewn on vellum tapes. The two volumes are housed in a fall-back tray-case. There are 233 illustrations in the Bible.

The text is a short story by Jorge Accame, printed on rectos of most leaves; related full-page images by Thorsten Dennerline appear on facing versos. One image is larger than full-page, extending into the facing page with the letterpress. There are 10 sections of text, marked with even numbers 2-20, and 11 illustrations, marked with odd numbers 1-21. Story and other letterpress are printed in black (Spanish) and red (English). The images are mounted archival-pigment digital prints of photographs on Kitakata paper, overprinted with drawings made on lithographic stones and printed from the stones. "The collaborative aspect of the work began in the fall of 2006 and continued until 2008 when the last texts and images were finished. The digital printing was by Derek Cracco at Ink to Paper in Birmingham, Alabama, on Kitakata paper. The drawings were printed from lithographic stones at the Frans Masereel Center in Belgium (Thorsten Dennerline), at Corridor Press in Otego, New York (Tim Sheesley), and one image was printed at Bennington College, Vermont (Thorsten Dennerline). The original Spanish texts were translated into English by Jonathan Pitcher. Daniel Keleher at Wild Carrot Letterpress in Hadley, Massachusetts, printed the letters on Arches Velin papers. Mark Tomlinson bound the edition. Edition of 40. Issued in red cloth-covered slipcase with small blind-impressed image on front.

In the spring of 2007, Doug Aitken: Sleepwalkers premiered as a monumental outdoor video projection onto seven facades of the Museum of Modern Art in midtown Manhattan. The silent story, told with exquisite imagery, chronicles the lives of five characters as they move through New York City. Taking its cue from multimedia artist editions of the past, this limited edition contains an assortment of media related to Sleepwalkers. "Really, the pivotal moment for me was deciding to address the city itself instead of creating an exhibition that remains the same and simply travels," Aitken explains in a conversation with Jacques Herzog included in the diary. "Like an archaeologist mining images, I wanted to try to dig under the surface of the city's outward image and expose the raw nerves that make this metropolis live and breathe." The die cut slip case box contains a 23-by-36-inch, double-sided poster; a 12-inch vinyl picture disc with unreleased tracks by Broadcast, as well as a live recording of Aitken's opera "the handle comes up, the hammer comes down;" a CD of the same, plus further tracks by acts including Canyon Country and Bibio; two flipbooks with sequences excerpted from the film; a DVD of Sleepwalkers and a street-level walkthrough; and a 96-page visual diary.

A selection of 13 letterpress prints, all in an edition of one, selected by the artist for their navigation of specific themes of status, excess, ego and connoisseurship. Brannon has selected text from two of the author’s seminal works, Less Than Zero and Lunar Park. Cheerful depictions of liquor bottles, Hollywood awards and 1980’s accoutrements screen-printed on full color pages act as a sympathetic companion to Ellis’s letterpress-laid excerpts. Offset and letterpress printed. Signed by the author and the artist and boxed in a screen printed slipcase designed by the artist. 10 1/4 x 7 1/2 x 3/8.

"I Can Make You Love Me considers clothing and the single stitch as sites of memory. It explores the idiosyncratic and unreliable nature of confession and mark-making both in its content and its manner of production. Each book in the edition is typed separately on a Brother Charger 11 manual typewriter with the resultant errors 'x'ed out but persisting as a narrative palimpsest" This edition is printed on Stonehenge buff paper, Blueline rapidspeed diazo paper, vintage Sunworthy wallpaper samples and vellum, using silkscreen, a Brother Chrager II typewriter and a Xerox Phaser 6250 printer. Issued in an edition of 50 copies. Accordion Fold Book. 15 x 90 cm. folded to 15 x 15 cm. The pages of the book are accordion folded and have threads sewn into them at intervals. The book has a folding case which is held together with a ribbon secured by a safety pin.

Esopus asked artist Robert Gober if he would consider creating a multiple for the publication. After several months of deliberation, Gober decided to create a piece that not only fit within the custom cardboard mailer we use to mail copies of Esopus; he actually made the mailer itself a part of the work. 5-color lithograph printed with light-fast, color-sensitive inks on acid free paper, mounted to archival board.

This book is a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. Flatbed offset plate lithography. Stone lithography and etching plates: Thorsten Dennerline with Adelia Sugarman. Letterpress: Daniel Keleher at Wild Carrot Letterpress and Arthur Larson at Horton Tank Graphics. Composition: Wild Carrot Letterpress and The Bixler Press and Letterfoundry. Binding: Mark Tomlinson. Accordion binding with cloth-covered boards, issued in cloth-covered slip case. Numbered and signed by the artist.

After completing The Americans in 1958, Robert Frank has worked almost exclusively with Polaroids, exploring the collage and assemblage possibilities of the instant photograph. Seven Stories brings together sequences of single images Frank has been compiling to create books of new work. As always the photographs and stories relate to Frank’s life and milieu, his homes in Mabou and New York, or a trip to China or Spain. This collection of small books is a new stage in the practice of this remarkable artist who continually challenges the limits of photography and film and strives to avoid repeating himself. 7 paperbound photobooks of reproductions of polaroid photographs by Robert Frank. 7 volumes in slipcase; 11 x 14 cm.

On the Other Side is a collaborative work between French artist Claire Fouquet and American book artist Patty Smith that addresses issues of emigration. The concept originated as a response to the fences built by the United States to keep out illegal immigrants and by the French government’s policy on immigration. The book is a two-sided accordion with the recto side listing the fears that might be experienced by the emigrant. The cut windows entice the viewer to turn the concertina inside out. The verso side describes potential advantages, opportunities, and joys that might lead one “to appreciate the unfamiliar”. The work is also a comment on internal anxiety that prevents us from moving forward in our personal lives. Some obstacles, seemingly threatening and impossible to surmount, may be the product of our fear of failure or the unfamiliar. These illusions, manufactured by uncertainty, can be transcended through personal resolve and collective effort. 4 " x 5 1/2 ". Edition of 50. Crossett own number 24. Folded paper enclosure. Silkscreen. Binding: Accordion.

An incomplete formal study of certain ornamental forms and their relationship to one another, combined with something like a journal of related ideas and questions. New four-dimensional and "impossible" ornaments are presented. Topics such as chirality, acupuncture, the helix, and consciousness are discussed. "A personal account of a group of questions which sprang up around a particular group of shapes. Topics such as chirality, gesture, Traditional Chinese Medicine and 4-dimensional space are discussed. Features a new "split blackletter" typeface." [158] p., 17 x 11 in. Digital printed. Bristol board case. Staple bound.

"This publication accompanies 'Rolywholyover, a circus' for museum by John Cage, organized by Julie Lazar at the Museum of Contemporary Art, Los Angeles." "Designed in consultation with Cage himself. The box contains an exceptionally wide range of materials, printed in different formats, often on translucent paper, which can be read in any order. The publication accompanies an exhibition ...conceived by Cage as a 'composition for museum.' The box includes reprints of texts that Cage found useful and inspiring, as well as important new essays. Also included are writings and letters by Cage, reproductions of works by Cage and others, musical scores, recipes, advice on healthy eating, and photographs" Issued unbound, in metal mirror-like box with removable lid. Approximately 50 loose leaves in container. 11.6 x 10.2 x 1.2 in.

White plastic clam-shell box contains a catalogue raisonné of prints by Gemini G.E.L and a commissioned multiple by Jasper Johns. The multiple, Target, 1970 is a two-color offset lithograph with watercolor pads and a brush, the multiple invites you to collaborate with Jasper Johns in creating your own version of his Target. With a facsimile signature. Edition of 22,500; 10 5/8" x 8 5/8" x 1 1/8" (closed box). Printing: Offset Lithography

A poem by Pablo Neruda translated by Elsa Neuberger illustrated with woodcuts by Antonio Frasconi. Tipped in frontispiece print on handmade Goyu paper and signed by Frasconi in pencil. Printed at the Spiral Press under the direction of Joseph Blumenthal; signed by Frasconi and Blumenthal in the colophon. Type: Emerson. Paper: Rives mouldmade. Slip case with label. Signed edition of 300. Crossett owns number 182.

"Paper Paper Film is a paper sculpture facsimile of a box set of educational films on Paper and Gravure Printing, published by Meridian Educational Films in 1983. The original box set was found in a storage closet within Carnegie Mellon University’s School of Art Print Studios. Through the creation of this laboriously handmade physical copy, the artist transforms an outdated tool for education into an art object in direct conversation with the power structures of how, why, and what is archived." 112 unnumbered pages; 7 x 11 cm + 4 paper sculptures (7 x 10 x 1 cm and 37 x 52 mm diameter) and 1 sheet (18 x 23 cm); Papers: handmade cotton paper, Colorplan (bright red and leather embossed) acetate, Rives BFK, Awagami Murakumo Kozo Select Natural Digital Inkjet Washi; Perfect Bound (adhesive); die cut; silkscreen and digitally printed.

The Black School, founded by artists Joseph Cuillier III and Shani Peters in 2016, is an experimental art school teaching radical Black history. The Process Deck is a tarot-style interactive methodology tool for brainstorming and designing creative activism projects. The cards are to be used in an art making capacity to help creatives, educators, and organizers explore how art can activate change on a local level. Through a series of questions and choices participants identify issues of primary significance to them, define the terms and context around those issues and design impactful projects to address them. Terms in this deck reference The Movement for Black Lives, Beautiful Trouble, Universidad de la Tierra, the Black Panther Party's 10 Point Program, various academic dictionaries, encyclopedias, and art education sources including The Tate Modern, Art21, and Armin Hofmann. Information from these sources is intermixed with the practices and working knowledge of The Black School's model, organizers, and advisors.

Artist's Book Ideation Cards was designed as an aid to the book artist. Barb Tetenbaum developed the original set of artist's book ideation cards for use in her teaching practice. This version was further developed and designed in collaboration with Julie Chen. Use the cards to jump-start a new project or inform one that is already in progress. There are two decks in the set: category cards and adjective cards. Start by separating the cards in Deck 1 into the seven categories [text, image, structure, paper, layout, technique and color]. Place the cards face down and choose one card at random from each stack. This will give you a basic 'recipe' for your project. Then choose five adjective cards at random from Deck 2. These will give you further information to use however you decide. If you want, you can exchange one category card and one adjective card. Wild cards are included in Deck 2 to offer additional challenges

There are no specific instructions for using this deck. Draw single cards or multiples. Shuffle, cut, throw them against the wall and see what sticks. Have an intention, or don’t. It’s a puzzle to be solved, a tool for igniting intuition, a pair of glasses to help you see, or a window into a mystical space beyond language. Find what you seek. The READINGS deck has 78 cards- 70 photographs, 7 colors, and one blank.

Trickster’s Journey reimagines the tarot by exploring its themes through the lens of Eastern mysticism, folklore, and spirituality. By renaming the Fool card to Trickster, a character based on the legendary Monkey King in Journey to the West, this archetype of the sojourner takes on new meaning—and new agency—as a seeker of truth and self-discovery. Created by artist Jia Sung, this fresh take on the classic figures in the Major and Minor Arcana uses symbols from Buddhism and ancient Chinese history to enliven this age-old divination practice once more.

This book relates the stories of Jake, a white male who transitions from female to male, and Ellen Craft, a 19th century black woman, who escaped slavery by passing as a white man. In photographing Jake’s transformation, Sligh explores society’s response to the act of changing one’s identity and re-examines her own fears of crossing the boundaries of gender, race and class. Edition of 46. 26 x 18 cm. Paper: Rives Heavyweight. Printing method: Screen print, digital. Typeface: Clarendon, Bodoni, Gill Sans Bold, Futura and Bookman Old Style. Binding: Case Bound. Signed by the artist.

“This artist’s book examines margin notes found in 12 copies of Walden, while providing commentary on the reading habits of strangers, assumptions about nature writing and learning, and the lingering effects of Thoreau’s classic work. By withholding the original text to focus solely on these marks, Walden Marginalia turns the same kind of close attention Thoreau inspired in his readers onto the readers themselves. Edition of 50. Crossett owns number 31. Printed from photopolymer plates on a Vandercook No. 3. Text hand-set in Scotch Roman and Bondoni types, the closest approximation to those used in the first edition of Walden. The paper is Zerkall Book Vellum. 24 x 15 cm. 70 p. 3 gate fold pages. Case Bound. Letterpress.

This book features a short text by the artist drawn from scientific research on lunar geology to poetically explore the idea of the Moon as a book. The text is set in Fox designed by Chad Kloepfer and letterpress printed on Magnani Arturo. Additional papers are Thai mulberry, hand-marbled Hahnemühle Bugra, handmade abaca, acid-free paper from scientific lab books and pages from a 1984 Polish electronics manual. The cover is letterpress on board. Pages from the lab books and the manual are inter-leaved within the pages of the book. Bound in tan and gray marbled paper over board; quarter-bound in dark brown cloth. End papers of dark brown and gray marbled papers. 23 x 15 cm. silkscreen, letterpress, cast handmade paper. Codex structure. Case bound. Signed edition of 50. Crossett owns number 35.

The Atlas of Punctuation displays the distribution of all end-of-sentence punctuation for 14 books. The punctuation for each book is consolidated to a single sheet, as if everything about the book, except the punctuation was removed, and then flattened to a single plane. The books contained in the atlas are representative literary classics that convey a quality of space and scale in the imagination. Letterpress printed on Mohawk superfine 80 lb. cover paper using Adobe Garamond and Avenir typefaces for informational text. Edition of 100. 25 x 22 cm. 29 p. Case Bound.

"Cultures and religions have among their basic tenants phrases that in the non-sectarian world are equivalent to the 'The Golden Rule'. This book looks at 13 golden rule texts. Upon opening the book, the reader is confronted with a blind embossing of the text in one of the original languages, followed by handwritten, slowly dissolving translation. Only after leafing through to the next page is one able to read the dictum. This is contrasted with newspaper clippings of petite crime and punishment." Issued in a limited edition of 45 numbered copies. Paper: Revere Book, UVII Ultra. Printing method: Letterpress, silkscreen, digital. Typeface: Book Antigua, Helvetica. Binding: Case bound. Structure: Codex.

This book explores the concept of an invisible mend, contrasting the mend of a garment with the attempt to mend a relationship. A darning stitch is a sewing technique used for repairing worn areas in fabric, an attempt to make the repair as neat and invisible as possible to restore a piece of clothing to its original state. Instructions and diagrams for darning are printed on overbeaten abaca paper, while on cotton paper are images of fabric alongside a narrative of a marriage. The cotton spreads are visible beneath the translucent abaca sheets, juxtaposing this story against the clear and straightforward instructions for mending clothing. The images of torn cloth are created using the blowout technique, further emphasizing the moments of damage and wear both within the fabric and within the relationship. [44] pages. 26 x 28 cm. Paper: handmade abaca and cotton paper. Printing: Silkscreen and letterpress. Binding: Case bound. Signed edition of 47. Crossett owns number 33.

The Tang of Height was inspired by Bluemel’s discovery of recurring appearance of box kites in the biographies of nineteenth-century scholars. Taking that shape as a metaphor for philosophical method and 20th century thinking, the artist ties together the lives of Ludwig Wittgenstein, Alexander Graham Bell, and Nan Shepherd through archival fragments—images and ideas that resonate. These details connect across disciplines, flickering between the abstract and the particular; the philosophical and the personal—a poetry of facts. The form of the book and graphic design conduct the reader and gesture towards alternate readings of reality. The screen-printed illustrations, as inserts, float freely of the text and reveal non-linguistic connections between the stories. The Tang of Height is coptic bound, with a wraparound board cover. 8 " x 7 3/4 " [80] pages. Edition of 49. Crossett Library owns number 7. Signed. Silkscreen & digital printing.

Frequently, the debate regarding gender equality becomes a clash of opinions, impeding any real inquiry. In The Veil is Seen Only When it is Lifted, the artist provides accumulated data as an instrument for breaching this impasse. Origoni visually restructures this conversation, arranging statistics with simple, playful design and breaking up the codex’s linear narration. The book is composed with two studies; their bindings fall on opposite sides of the book. A Coptic-bound section presents quantitative data and the spiral-bound section reports experience-based data. Viewers are invited to read these parts separately or simultaneously, pages can be overlapped in patterns that unveil new information. 32, 22 pages. 14 x 15 cm. Binding: Coptic and spiral. Printing: Silkscreen 4 color. Typeface: Frutiger LT Std 95 Ultra Black. Signed edition of 40. Crossett owns number 36.

Whereas, We Declare compiles the text from the Universal Declaration of Human Rights (UDHR), proposed to the United Nations by Eleanor Roosevelt in 1948, with drawn images and statistical information about immigration. These texts celebrate accepting immigrants to the USA as historically essential to defining the nation, both by enriching the cultural horizons and contributing significantly to science, industry, and the humanities. Themes of imposed boundaries and borders run throughout the book’s imagery; the inside covers are the UDHR preamble annotated by Roosevelt. [64] pages. 13"x9". Printing: Silkscreen and Digital. Paper: Somerset Book. Binding: Coptic. Signed edition of 40. Crossett owns number 13.

Inception is inspired by stories and journeys of the refugees. It is a bilingual codex in English and Arabic. The book is based on the twelfth-century Persian verse poem "The Conference of the Birds" written by Farid Aldin Al-Attar. The poem is about the search for truth and integrity, which is parallel to the refugee's quest to re-discover themselves. Birds meet to begin searching for their perfect king. Their leader, the hoopoe, encouraged and supported the birds to be confident, grateful, and honest. Only 30 bids complete the journey, eventually recognize that their king is each of them and all of them. The English text is adapted from Afkham Darbandi translation. The Arabic text is adapted from Badee Mohamed Gomaa Arabic translation “Manteq Al Tayr”. The bird images represented are from medieval Islamic artwork. Arabic Calligraphy is done by Abdul Karim and Sabri. 4.5" x 3.5"; thirty sections with four folios. 2" diameter x 0.75" miniature accordion books. Laser-cut Fabriano and tracing paper, plexiglass mirror, and wood. Coptic binding. Signed edition of 30.

Artist's book published on the occasion of an exhibition Oct 25, 1975 – Nov 27, 1975 at Pace Gallery. 3 ¾ x 3 ¾ inches New York. Pace Gallery. SAMARAS and Someothers/Matrix. 28 pages divided into two sections; one half is green silhouettes on red paper, the other is silver and copper images on black paper. 32mo, stapled wraps. 1975. Dos-a-dos binding. Saddle stitch. Offset printing.

"“The material world was a place fragmented and constantly changing; this changing aspect of the universe came to be called Samara. In modern parlance, samsara refers to a place, set of objects and possessions, but originally, the word referred to a process of continuous pursuit or flow of life. In accordance with the literal meaning, the word should either refer to a continuous stream of consciousness, or the continuous but arbitrary drift of passions, desires, emotions, and experiences. To visualize or perceive this hard to grasp idea in a book structure, 12 time based images of tree and water are set in a simple dos a dos structure that can be turned forever. Through the experience of holding this tiny book in a hand and turning the pages, I want to suggest the idea that there is no beginning or ending in the nature and nothing is stationary in the world." Edition of 400. 1.75 x 1.375"; 12 pages. Miniature. Inkjet printed with hand drawn images. Modified dos-dos structure. One sheet folded to form 12 pages. Edition of 400.

"In this diptych of poems, Stacy Szymaszek constructs a multiplicity of selves and desires in language that bends, stimulates, disorients, and satisfies, giving free reign to obsessions over identity, queerness, the broad landscape of corporeality that makes these obsessions possible, and with death—in particular, social death. A Reagan-era childhood looms in the “permission to have a story / denied.” Szymaszek’s “story” is a collectivity of narratives overlooked, rejected, and untold—a series of snapshots and moments, skirting linearity, bubbling beneath the surface." Chapbook; 64 pp, 5.44 x 6 inches. Binding: Hand-bound dos-à-dos binding

"What's Left is a limited edition artist's book which presents a collaboration between the artist and a group of her high school students who each immigrated to the United States as children. The artist interviewed each student and asked, "What is the most memorable object that you left behind when coming to the United States?" 13 unnumbered pages; 20 cm; font is Lato; Mohawk Superfine paper, letterpress printed hand carved woodblocks; Drum Leaf (adhesive) binding; Signed edition of 50. Crossett owns number 38.

where are we now is based on the artist’s memories in the aftermath of her mother’s passing in Los Angeles in 2009. Her family had immigrated from Korea a few years before. Images in the book depict moments in her struggle with grief, depression, and her father’s alcohol abuse. Repeated imagery reflects the recurrence of events – how the artist dealt with the frequency of her dad’s alcoholic behaviors; and the cyclical return of the memories after moving away from home. 35cm X 48.5cm Silkscreen, letterpress (photopolymer), relief (linoleum) printed; Alegreya Sans and Nanum Gothic fonts; Masa soft white, Stonehenge (black) paper; Drum Leaf (adhesive) binding; Signed edition of 50. Crossett owns number 15.

Flip book of 200 images about how to open and close a door and what it all means. Listed in Franklin Furnace Archive artists book bibliography, 1977-1979. Franklin Furnace Archive artists book bibliography. 13 cm, in box (14 x 9 x 9 cm). Printing: Offset. Binding: Post. Signed edition of 100. Crossett owns number 44.

1. Family of Four by Sara Petty 2. Booklings by Kathy Rose 3. Peepin' and a-Hidin' by Tony Eastman 4. Barrelhouse Bop by George Griffin 5. Wipes2 by Paul Glabick 6. Flowering by Roger Kukes. 6 volumes; 13 x 8 cm. Flip book. Perfect bound.

Eternal Sunset was developed when Son Ni was printing her book Travel - challenges of aligning the layers on the Risograph presented the artist with a flickering Sun oscillating on the page. Son says, ‘Like in the story of The Little Prince, he lives in a tiny planet, and he can watch the sunset all day long by just moving his chair’. Eternal Sunset is a poetic take of a lingering sun above the horizon, a continuous sunset in the form of a flip book. 100 unnumbered pages. 15.5 x 11 cm. Perfect binding. Risograph printing. Flip book.

Represents porn sites devoid of their occupants and presumably drained of desire. The human beings in the photographs have been removed using Photoshop leaving a hole in these fourteen interiors and removing any hint of ardor. Color Photographs edited with Photoshop. Japanese stab binding. Edition 5 of 10.

A workshop held in Montolieu. Over the course of six days, the writers, artists, and book artists jointly produced this letterpress volume. The theme of the book was both literal and figurative. Montolieu is situated between the Duré and Alzeau Rivers, so the work being created was grounded in place. At the same time, the two streams of expression—written and visual—provided creative tension and two sources of material for the book. Illustrated with five relief sandragraph prints rendered in red or gold inks. Binding: Japanese / Stab. Thai Mango handmade paper, Oriental-sewn with silk, front cover with printed paper label, endpapers of printed Japanese paper. Edition of 30. Crossett owns number 16.

Senior work by Adeia Thompson '01. Sheets with poems, hand-inked calligraphy in Chinese, fold down when wood toggle is unhinged, revealing the English translation. Letterpress and ink calligraphy. 5 leaves. 40 cm. Handmade paper. Japanese Stab binding. Signed.

Roberta Di Paolo, an Argentinian artist, compiled a series of 21 mysterious drawings created during the quarantine of 2020 into the book Extrañas Vacaciones (Strange Vacations.) Images of an inner trip that emerge from the depths towards the uncertain twilight of a forest inhabited by goblins that collect mushrooms, fairies that are friends with the flowers, insects of all kinds, spirits and shadows. A dreamlike and symbolic walk through the enchanted and haunted mountain, where in every corner magical creatures appear to tell us a story. 46 unnumbered p.; 17 x 22 cm.; Japanese Binding;
Risograph printed.

Artist's Book Ideation Cards was designed as an aid to the book artist. Barb Tetenbaum developed the original set of artist's book ideation cards for use in her teaching practice. This version was further developed and designed in collaboration with Julie Chen. Use the cards to jump-start a new project or inform one that is already in progress. There are two decks in the set: category cards and adjective cards. Start by separating the cards in Deck 1 into the seven categories [text, image, structure, paper, layout, technique and color]. Place the cards face down and choose one card at random from each stack. This will give you a basic 'recipe' for your project. Then choose five adjective cards at random from Deck 2. These will give you further information to use however you decide. If you want, you can exchange one category card and one adjective card. Wild cards are included in Deck 2 to offer additional challenges

Set of twelve postcards from Robert Jacks featuring his signature square hand-stamped compositions. 15.5 x 9 cm. Loose Leaves. Edition of 200.

This publication documents the history of one work of Chinese artist Xu Bing, titled Phoenix. The large-in-scale installation was first commissioned by a Chinese corporation to be put in the commercial area in Beijing. The work was created from the construction wastes left from the very construction site of the commissioning corporate party. The artist found it interesting to juxtapose the leftover of capitalist development within the capital itself. The motif of the phoenix corresponds to the idea of rebirth, which the artist saw fit to the context of this commission. 1 v. (unpaged) in envelope : ill. ; 27 x 34 cm.. In Chinese and English.

Published in conjunction with an exhibition of the same name held from Nov 10 - Dec 24, 2005 at Nyehaus. 32 black and white portraits ; 11 x 9 am. - 31 x 24 cm + 1 poster + 1 pamphlet (8pages; 24 cm)

An artist's book. Comprised of two folded sheets sewn together to form pockets containing eight booklets and one clear plastic strip (15 x 6 cm) printed with the title Strokephone brain phone interface. Issued in a black mesh sleeve with a spider-web design printed in silver. / Edition of 300 numbered and signed copies.

In the spring of 2007, Doug Aitken: Sleepwalkers premiered as a monumental outdoor video projection onto seven facades of the Museum of Modern Art in midtown Manhattan. The silent story, told with exquisite imagery, chronicles the lives of five characters as they move through New York City. Taking its cue from multimedia artist editions of the past, this limited edition contains an assortment of media related to Sleepwalkers. "Really, the pivotal moment for me was deciding to address the city itself instead of creating an exhibition that remains the same and simply travels," Aitken explains in a conversation with Jacques Herzog included in the diary. "Like an archaeologist mining images, I wanted to try to dig under the surface of the city's outward image and expose the raw nerves that make this metropolis live and breathe." The die cut slip case box contains a 23-by-36-inch, double-sided poster; a 12-inch vinyl picture disc with unreleased tracks by Broadcast, as well as a live recording of Aitken's opera "the handle comes up, the hammer comes down;" a CD of the same, plus further tracks by acts including Canyon Country and Bibio; two flipbooks with sequences excerpted from the film; a DVD of Sleepwalkers and a street-level walkthrough; and a 96-page visual diary.

"This publication accompanies 'Rolywholyover, a circus' for museum by John Cage, organized by Julie Lazar at the Museum of Contemporary Art, Los Angeles." "Designed in consultation with Cage himself. The box contains an exceptionally wide range of materials, printed in different formats, often on translucent paper, which can be read in any order. The publication accompanies an exhibition ...conceived by Cage as a 'composition for museum.' The box includes reprints of texts that Cage found useful and inspiring, as well as important new essays. Also included are writings and letters by Cage, reproductions of works by Cage and others, musical scores, recipes, advice on healthy eating, and photographs" Issued unbound, in metal mirror-like box with removable lid. Approximately 50 loose leaves in container. 11.6 x 10.2 x 1.2 in.

Keith Edmier’s Mother Mold brings together the 50 unique life-cast portraits of the artist’s work, Imagines; inspired by ancient Roman life-casts of the same name. Stemming from his years in Hollywood working as a special effects make-up artist, Edmier’s cast portraits connect in intimate ways: they portray the artist’s family, friends, heroes, and influences. The connection to Hollywood turns the permanence and memorial of the life mask into a starting point for the transformation to come. Michael Jackson–becomes a teenage werewolf, Jeff Goldblum–The Fly, David Bowie–a New Wave vampire, and Matthew Barney–a well-groomed Satyr. As in all of Edmier’s work, one can find familiar identities and structures reshaped and transformed. Each life-cast portrait is presented as a postcard; the reverse of which, written in Edmier’s own hand, provides interesting details about the individual casts. The set of postcards is presented in a hard-back ‘stone’ box-envelop, with white debossed text. 50 unnumbered p.; 21 x 15.5 cm. Loose leaf.

"“The material world was a place fragmented and constantly changing; this changing aspect of the universe came to be called Samara. In modern parlance, samsara refers to a place, set of objects and possessions, but originally, the word referred to a process of continuous pursuit or flow of life. In accordance with the literal meaning, the word should either refer to a continuous stream of consciousness, or the continuous but arbitrary drift of passions, desires, emotions, and experiences. To visualize or perceive this hard to grasp idea in a book structure, 12 time based images of tree and water are set in a simple dos a dos structure that can be turned forever. Through the experience of holding this tiny book in a hand and turning the pages, I want to suggest the idea that there is no beginning or ending in the nature and nothing is stationary in the world." Edition of 400. 1.75 x 1.375"; 12 pages. Miniature. Inkjet printed with hand drawn images. Modified dos-dos structure. One sheet folded to form 12 pages. Edition of 400.

An ode to the artist’s beloved grandma and her clock. This tiny book is based on a favorite family anecdote regarding the clock. 2 x 4 cm. Edition of 57. Screen print. Balsa wood. Slipcase is a grandmother clock facsimile of balsa wood (9 x 4 x2 cm.) Signed by the artist. Colophon printed on folded paper inserted in slipcase.

The words on the matchsticks describe former friends and lovers. As matches are removed the text changes. Catherine Michaelis began Old Flames Mismatched by looking at a matchbook, taking it apart, looking at the matches as pages that "turned" as they were used. Match layers made her think of a book with divided pages where images and/or text could mix and match. As one would use a match the words below would differ, altering the story. While the stories change, altering the "reasons," it suggests that perhaps relationships are not taken seriously enough to begin with, and finding the right match is a game we play. The matches are meant to be used. Just as in relationships we often get burned or burned out, feel used or used up, Old Flames Mismatched is meant to be a ritualized experience of that end of the romance feeling. A delightfully funny look at our past "loves" in this first in the series of "Old Flames" in the context 1.5 x 2" unused matchbook. Letterpress printed.

"Dress Code Strictly Enforced draws on the artist's experience as a Spanish interpreter in the U.S. courts. Wilson compares attorneys, defendants, judges, and people in other key roles to theatrical players, wearing predetermined costumes and participating in staged dialogue. The heads-bodies-legs mix and match structure of the book allows readers to create new combinations. Doing so, they redefine the fifteen characters and create absurd, contradictory messages. The postface quotes the song "There but for Fortune," reminding readers that the role played by any given person is governed by chance as they move through interlocking systems of power." [40] pages. 26 X 17 cm. Printing: silkscreen and digital. Binding: spiral. Paper: French Speckletone, French Construction, and Colorplan. Signed edition of 75. Crossett owns number 52.

Insult Toolbox is set up as a handy quick-reference book when one needs a pithy and sometimes raunchy epithet to hurl at an adversary. The flap-style book allows for thousands of combinations. On the back of some of the flaps, some real life situations are listed that require responses.
The book was published in a numbered edition of 100. The size is 3.25" x 7", has 100 pages, and is in a hand-bound double spiral binding, glued into a paper folder wrap with a metallic silver foil title.

Using the instructions from the book “Woven and interlocking Book Structures” Audrey Holden, assistant to Claire Van Vliet at Janus Press, created models of the books. This boxed set included the book and all the models.

"The Pennyroyal Caxton Bible was designed & illustrated by Barry Moser. It was composed & printed folio by Bradley Hutchinson. The typefaces are Galliard, Mantinia, & Mantinia Greek designed by Matthew Carter, based on models by Robert Granjon & Andrea Mantegna. Mr. Carter also designed several new decorative & typographic elements for his types specially for this work. The paper is Zerkall Bible. It was custom-made by the Zerkall Paper Mill in Zerkall, Germany. The illustrations were engraved in resingrave. The bindings are from the combined workshops of Claudia Cohen and Sarah Creighton. The bindings are full limp vellum with the title stamped in 24-carat gold on the cover and spine. Each signature was folded by hand and sewn on vellum tapes. The two volumes are housed in a fall-back tray-case. There are 233 illustrations in the Bible.

Short stories about gentrification in West Philadelphia and the artist's own history in the area. Five bound books inserted in the main book. The covers were screen-printed, text blocks were photocopied, multi-section case with removeable pamphlet stitch signatures.

Images originally drawn in India ink and printed in various shades of green. Printed from polymer plates prepared by Boxcar Press on a Vandercook Universal III Flat Bed Press. Type set in Garamond. Printed on Somerset Book paper. Pamphlet stitch binding. Erika Adams, assisted by Margot Ecke, printed and bound the edition of 100 numbered books at Smokey Road Press.

Who decides what we learn? This book offers a critical examination of the 1994 edition of the American Heritage Dictionary. Printing method: Silkscreen, photocopy Binding: Saddle stitch pamphlet. Edition of 100. 11 x 14 cm.

By graphically isolating words and lines from the August 26, 2001 obituary page of The New York Times, Judith Mohns creates new and nuanced readings of the page's existing text. Her textual manipulations explore the visible and underlying structures of obituaries, families, society, and the qualities of life and death itself, revealing both the cold commonalities and the very personal specifics of the lives of the deceased. Paper: French Dur-O-Tone newsprint paper. Printing method: Photocopy, offset. Binding: Pamphlet stitch. 16 x 16 cm. Edition: 400

"In the hot summer of '76, a fire removed a large area of surface vegetation from a blanket bog high up in the Black Mountains of Wales. The plants have never grown back and the exposed peat is like a huge scar on the landscape. Without its protective covering, the peat is gradually being eroded away by the wind and the weather." Edition of 50. 10.5 x 6"; 28 pages. Hand stitched, digitally printed codex interleaved with tissue paper. Printed with archival pigment inks on Gerstaecker 125 gsm paper. Cover is Arches 250 gsm rag paper.

Edition of 40. A fine press book of a poem by artist/printer . The poem is split into ten parts and adjacent to each is a constellation printed in red. 6 x 9"; 28 pages. Printed from polymer plates prepared by Boxcar Press on Vandercook Universal III Flat Bed Press. Type set in Garamond. Printed on Somerset Book papers. Pamphlet stitch binding. Erika Adams, assisted by Margot Ecke, printed and bound the edition of 40 books at Smokey Road Press.

An artists' book on the subject of the honey bee decline. "Using pattern and decorative illustration, it brings to life phenomena that make bees wonderful and fascinating - the way they dance, kill, and work for love of the Queen. However this book also illustrates the terrible reality that the honeybee is disappearing from our lives. Each page is illustrated and designed by myself using a combination fineliner and digital techniques." Digitally printed onto Fabriano paper. Hand bound, saddle stitch. Hand cut details. Edition of 25. Crossett owns number 9. Signed.

Roald Amundsen was a Norwegian explorer of polar regions. He is known for leading the first expedition to reach the South Pole (1911) and the first to traverse the Northwest Passage (1903–06) in the Arctic. The Fog log collection; no. 1. 14 unnumbered pages ; 11 cm. Pamphlet stitch binding.

A 19-2 View depicts the artist's observations of the fifteen balconies she overlooked from her apartment in the east of Amsterdam. After a request to take a photograph and meet a neighbour went by without a single reply, she made up stories of the inhabitants and their surroundings: the things they might have told her had they accepted her offer.Through modular circles cut into the pages, readers get a glimpse of each balcony, beginning with all fifteen illustrations on the first page. Each subsequent page is dedicated to one balcony and its narrative. Letterpress printed from photopolymer plates on Mohawk 100 text paper. Blue cloth cover with title and decorative dots in gold. Digitally cut. 25.5 x 25.5 cm. Perfect bound.

Haunting concrete poetry made from splicing together fragments of plays. 11 x 17.5 cm. Perfect binding. 109 p.

A small Asian man, a giant white man, a house in Memphis, TN, and a cardboard cutout of Elvis – Tommy Kha’s autobiographical photography book uses a combination of bodily self-portraiture and performance to understand his complex experiences of identity and sexuality. The photographs respond to the need to hide and reveal both Kha’s Chinese ethnicity and sexuality in his hometown. Straying from heavy-handed depictions of cultural identity, he illustrates his alienation with an assemblage of visual poems that quietly capture a disruption between his projected likenesses and his own self-reflections. 80 p. Dimensions 25 x 20 cm. Paperback. Perfect Binding. Edition Size: 450. Crossett owns number 32.

"The Testament Project is an exploration and re-conception of the contemporary black experience in America. The first part of this series deals with black men, who are portrayed in the extreme- either as very rich or very poor, they are demonized, infantilized, ridiculed, idolized or hyper-sexualized; and within the art canon there is a noticeable scarcity of black male representation. I give control of the color and lighting to my subjects, in order to create a space that is participatory and empowered. By including my subjects in the creation of the scene in the use of color, I seek to create photographs that portray individuality in addition to their blackness. In the more traditionally lit studio portraits, the subjects are named for their professions to emphasize the depth of their identities, beyond race." Kris Graves. 64 p. Paperback.Perfect Binding. Edition of 200.

The Testament Project is an exploration and re-conception of the contemporary black experience in America. More often than not, black people are portrayed in the extreme—either as very rich or very poor, they are demonized, infantilized, ridiculed, idolized or hyper-sexualized; and within the art canon there is a noticeable scarcity of black representation. "In these glowing portraits, control of the colored lighting is given to my subjects, in order to create a space that is participatory and empowered. By including subjects in the creation of the scene and the altering of color, I seek to create photographs that portray individuality in addition to their blackness." Kris Graves. [52] p. Perfect Binding

The book “Watercolors” is documenting a one and a half year long correspondence (September 2011 and October 2012) in form of watercolors sent via email between Natalie Häusler and David Horvitz. Each e-mail's time and date were taken from David's computer, which is set to California time. The images were taken with cellphones, tablets, digital cameras, and laptops. Eberl Print GmbH 21 × 26 × 1 cm.128 pages. Softcover, perfect bound, large color photographs & illustrations. Edition of 500.

Edition of 150.5.25 x 8.25"; 148 pages. Perfect bound with English and Spanish text. Signed and numbered. Publishers description "This is a dramatic visual book about living on the Mexican side of the southwestern border. The text uses Spanglish to give a rap-like poetic response to daily life in the time of narco-terrorism. The blood-red images appear to be torn from the daily newspaper front pages. An intense and frightening book that ends up with a ray of hope for the future."

"I am a black woman. I am an artist. For many years I have been creating work to bring issues of social justice into the public discourse. This book evolved from a project for which I folded origami cranes from pages of white supremacist books for the exhibition: Speaking Volumes: Transforming Hate." In this work, historical elements are used as a framing device to construct the evolution of our shared identity. Illustrated paper wrappers with flaps. Housed in foldout die-cut box with gold foil origami crane inserted into cover slot. Book, cover and case designed by Susan Rhew Design, Inc. and printed by Blue Ridge Printing, both of Asheville, NC. Edition of 1000. Crossett own copy 277. Signed. Perfect bound softcover. Four-color offset lithography.

This book is an experimental exploration and illustration of the rules of book design. It can therefore be seen as a kind of skeleton book. The skeleton book is a Print on Demand publication. It was first printed in June 2011 and due to the nature of Print on Demand has changed over the years. Variations an be found in stock paper, printing quality, and small adjustments in the design. Each publication is therefore a reflection of a moment in time. Special edition super gold cover. Crossett owns number 8 of 11. Perfect bound. 5 × 8 in. 48 pages. Print on demand.

An homage to Polish sculptor Katarzyna Kobro (1898-1951). [44] p.19.5 x 14 cm. Paperback. Glue Bound, Perfect Binding. Risograph printed. Edition of 150. Crossett own number 18.

Humorous quasi-erotic short stories told in photographs with handwritten narratives as captions. Designed by John and Mary Condon. 64 unnumbered pages : illustrations ; 16 x 21 cm. Vellum. Perfect binding.

An album of illustrated short prose, experimental cartoons, anecdotes, parodies, and miniature essays, hand-lettered with accompanying collages and drawings. "Low-key friendly surrealism, but haunting"—Art Spiegelman. 23 cm. Perfect Binding.

"TOWNIES is a zine cataloging the lived experiences, stories, and imaginations of PoC and LGBTQIA+ folks // who live or have lived in pockets of suburban, rural, and small town America // that have culturally and politically been associated with and claimed by whiteness and bigotry. This is a new vision of Americana. On the fringes, in the heartland, we are here too." 32 pages. 27 x 21 cm. Perfect Binding. Digitally printed.

"What's Left is a limited edition artist's book which presents a collaboration between the artist and a group of her high school students who each immigrated to the United States as children. The artist interviewed each student and asked, "What is the most memorable object that you left behind when coming to the United States?" 13 unnumbered pages; 20 cm; font is Lato; Mohawk Superfine paper, letterpress printed hand carved woodblocks; Drum Leaf (adhesive) binding; Signed edition of 50. Crossett owns number 38.

An interactive book, wordless book in the pop up format. Its emphasis on visual detail -- and its absence of text -- makes it a source of simple pleasure and serenity. Consists of 10 folded sheets glued at the fore-edges to create an accordion-like book with a pop-up staircase at each inner fold. Linen boards blindstamped with author, title and publisher. Issued in a paper-covered board slipcase stapled together at the edge.

An inventive exploration of counting from one to 10 and back again. As the reader turns the pages, the numbers unfold and transform with breathtaking ingenuity. A series of flaps and pop-ups transforms one numeral into another as the reader counts from one to ten and ten to one.
Issued in a slipcase with die-cut "10" on one side and "01" on the other.

Each letter of the alphabet is introduced in the style of three-dimensional pop-up designs. Each of the 26 three-dimensional letters move and change before your eyes. C turns into D with a snap. M stands at attention. X becomes Y with a flick of the wrist. Die-cut. Pop up format. Plastic lenticular cover.

‘Grass, Kim Su-yong’ is a typographic artists' book in which a poem composed of letters is transformed into an image. Xianlu Yi reinterpreted a poem into the form of concrete poetry that freely constitutes the size and location of letters, and utilizing the forms of pop-up and accordion books to express the repeated rhythm of the poem in three dimensions. Kim Su-yeong is one of the most exceptional modern poets in Korea. He died at a relatively young age of 48 in 1968, but his poetry became a symbol of freedom and revolution during the democratization of Korea. His last poem ‘Grass’, was published posthumously. It can be viewed as symbolic of populist grass-roots movement interpreted the phrases from ‘Grass’ such as “lying down faster than the wind” and “rising faster than the wind,” as signifying the tenacious vitality of the masses. It can also be viewed from a humanist interpretation as a symbol of life itself. Edition of 50 copies. 11.3 x 13.5 cm. Wooden hardcover. Accordion binding. Pop up structure.

Pistol, Pistil: Botanical Ballistics examines the use of ordinary words in both botanical and military context. Single sheet accordion fold book (26 panels) attached front and back with screw and post binding with snakeskin hinges to wooden covers. Text and color illustrations on one side and illustrated endpapers and front cover. Five illustrated additions are handbound into folds of the accordion. Two are cards, one is a card with a pop-up, one is a glassine envelope containing a slice of dried squash, and one is made from handmade, illustrated, waxed paper with slices of mushroom incorporated into the paper. Silkscreen printed on Mohawk Superfine, UV Ultra, and handmade abacá fiber paper. Crossett Library copy: 85/100.

Available presents images of real estate opportunities punctuated by pictures of realtors from listing websites. The photographs of spaces are all taken through the windows of storefronts. The discrepancy between the melancholy yet curiously beautiful places for sale or lease and the peppy agents reflects the gap between dereliction and prosperity apparent in many aspects of American culture in the year 2010. 8.125 x 12"; 24 leaves. Post binding. Edition of 6.

This is a facsimile edition of the Italian Futurist artist and designer Fortunato Depero's 1927 monograph. Called Depero Futurista, or “Depero the Futurist,” it is also known as The Bolted Book, because it is bound together by two large industrial aluminum bolts. Filled with bold typographic experimentation, daring layouts, it is a landmark avant-garde example of the “book as object.” Scholarly essays and material from the Fortunato Depero archives is included in a Reader’s Guide companion volume. 32 cm x 24.2 cm. Binding: Open on four sides, cover and all pages hole-drilled for bolt binding and fastened with aluminum bolt, nut, and cotter pin. Digitally printed. Textured, colored cardstock. 4 tissue (glassine) pages and 1 two-panel gatefold. Post binding.

Referenced in Franklin Furnace Archive artists book bibliography, 1977-1979. [41] p. 28 x 11 cm. Post binding.

"The Sun Is Shining, But I Don't Trust It dialogues a year of news in the era of Trump, beginning November 2017 and ending after the historic 2018 midterm election as a record-breaking number of women were elected into the U.S. Congress. Source images are front webpage screen captures collected from four major U.S. news sources: CNN, MSNBC, FOX NEWS, AND NPR. Monoprint layers combined with brash headlines and noisy imagery are meant to mimic the pace of the exhausting 24-hour news cycle." Silkscreen printed. Masa Soft White paper. Font is Henderson Slab. Screw Post Binding. Signed edition of 50. Crossett owns number 37.

The book consists of altered photographs on two folded leaves.Two 1865 newspaper articles from New York Times and the Richmond Whig report on General Robert E. Lee being photographed by Matthew Brady. The slipcover is a facsimile of a newspaper dated Monday, April 10, 1865 with the headline "Surrender of Lee and his whole army!".; 2 folded leaves; 23 cm.An artist's book consisting primarily of enlarged and altered photgraphs of General Lee with accompanying text, printed offset. Two folded sheets forming eight unnumbered pages with two fold-outs are saddle-stitched into a red paper wrapper, laid into a paper wrapper printed with facsimile images of a newspaper.

ENCOUNTERS is a collection of photographs taken by Dean Sameshima between 1993-2001 throughout Los Angeles, California, at varying “tearooms”. Tearooms are public spaces, mainly public restrooms, where men meet for anonymous sex. Sameshima began a documentary photography series titled WONDERLAND in 1993 while an undergrad at CalArts. At this time he felt an urgency to start documenting public sex spaces in Los Angeles as a way of recording an important part of his history and Los Angeles gay history. These tearoom drawings were especially interesting to him because they were the most temporary form of communication and many were painted over/erased by his subsequent visits. While working on this project, many of the tearooms were being policed, raided and eventually shut down. 28 p. 20 x 13 cm. Paperback. Binding: Staple Bound. Risograph. Edition of 250.

Native Tongues is based on a series of collages made from coloring books and explores social taboos, the subconscious, and gender with familiar commercial iconography. 16 p. Paperback. Binding: Staple Bound. Offset Printed. Edition Size 1000

Artist's book published on the occasion of an exhibition Oct 25, 1975 – Nov 27, 1975 at Pace Gallery. 3 ¾ x 3 ¾ inches New York. Pace Gallery. SAMARAS and Someothers/Matrix. 28 pages divided into two sections; one half is green silhouettes on red paper, the other is silver and copper images on black paper. 32mo, stapled wraps. 1975. Dos-a-dos binding. Saddle stitch. Offset printing.

Animals vs. Furniture, illustrated by Jesse Hawley, recounts the life-or-cushions struggle between the eponymous creatures and household objects, as witnessed by a seemingly hapless narrator. Saddle-Stitched.

From the Alfa flag (in its muted version representing Marissa Alexander, sentenced for firing a warning shot at her husband when he attacked her) to the Zulu flag (representing Ousmane Zongo, unarmed but killed by a NYC officer during a 2003 warehouse raid), this list of mostly unremembered casualties represents part of the everyday reality for people of color. "Stripping the maritime alphabet of its primary colors and replacing them with muted browns and blacks, Mourning/Warning highlights the relationship of Americans of the African diaspora to water, maritime trade, and the need for an alternate means of communication in times of emergency and duress. How do you send a warning call that hatred comes constantly in waves? M/W serves as a method of honoring, mourning, and remembering the slain and wronged as well as teaching our children and ourselves to be vigilant and wary in hostile terrain, where your skin color makes you an easy target." Tia Blassingame. 8.5 x 11"; 32 pages including wrappers. Digitally printed in Josefin Sans typeface. Saddle stitch binding. Signed and numbered. Edition of 26. Crossett owns number 6.

"In the early 1980s, Merril Mushroom wrote Bar Dykes, a one act play about the gay bar culture of the 1950s. In 2016, editors Faythe Levine and Caroline Paquita, collaborated with Merril to properly publish the play, accompanied by related ephemera, and a current interview with her concerning her unique and radical life as a “back to the land,” womonwriter. A longtime resident of Dowelltown, Tennessee, Merril has an enduringly rich herstory both locally within her neighborhood and the larger world. The area in which she has spent the last forty years has an extensive history of collective land projects established specifically for gays/queers/gender nonconforming people. Merril is an iconic fixture with her sharp wit and casual no nonsense attitude—a respected elder, she is an inspiration to many." 8.5" X 6.75", 32 pages, staple saddle stitched, four color Risograph printed. Second edition printing of 300.

Transparency Reflection Light Space: A Response was created as a response to a 1971 exhibition catalog interview with the artist, Larry Bell. Prior to the publication of the catalog, Bell removed the vowels from his answers. Leah Mackin read Bell’s obfuscated responses as inherently gendered in the context of the masculine art historical legacy of Minimalism. They are defiant, brusque and, when read aloud, Bell’s words are unpronounceable, guttural noises. Her response to the work presents the remaining vowels, as a sort of harmonic vocalization, since vowels give shape and rounded-out sound to the English language. 20.5 cm x 20.5 cm. Letterpress, photocopy and laser printed. 38 pages. Saddle stitch pamphlet in hard covers. Signed. Edition of 63. Crossett owns number 44.

A Patternbook of Parades and Pageants. Bread and Puppet Theater. 10 pgs. Saddle Stitch / Staple binding

Bread & Puppet Theater. Contains excerpts from The Radicality of the Puppet Theater. Third printing, 2013. Saddle Stitch / Staple binding.

Roland Topor was an illustrator, painter, writer and filmmaker from France, known for his surrealist and his association with the collective Panic Movement, inspired by and named after the god Pan, and influenced by Luis Buñuel and Antonin Artaud's Theatre of Cruelty, the group concentrated on chaotic and surreal performance art, as a response to surrealism becoming mainstream. Saddle stitch / staple binding.

A product of Cabin Time's 2014 art & nature residency off the grid in northern Idaho, the recipes in this vegetarian cookbook were prepared over the course of a week on wood stoves in an outdoor kitchen for 12-16 guests. 2 Color risograph printed. Saddle Stitch / Staple bound. 4" x 5" First edition of 300. Crossett owns number 182.

Vanessa Graham’s comics function as puzzle-like intersections of image and text that carve out rituals through personal iconographies. Her bold sense of design and composition allow each spread to stand alone, weaving graphic elements together and apart across its curious vertical layout, which references the turnings of a calendar, measurements of the interminable and ritualistic passage of time. The book opens with a warning—“It’s a very very very narrow world”—accompanying its visual table of contents, or “Spell Index.” The titles listed seem to resonate with the spreads but don’t quite correspond with them; their subtle disjunctions give the sense of putting something together, making thematic connections that may not be entirely there. The graphic motif of the contents is answered in the figure of a woman painting her face with the phrase, “You’re going down.” Indeed, the book is an inexorable plummeting downward, the motion mirrored in the composition and the action enacted in the page turnings. But the bleakness of the theme here is a far cry from the tone of the visuals, whose soft color and intimate linework are inviting and at times even comforting. 28 unnumbered pages. 28 x 21 cm. Staple Bound. Risograph printed.

Courtelis creates the “paper Frankensteins” in this book by cutting up old stamps depicting the likenesses of kings, queens, and dictators from around the world and collaging them into new, composite visages. The complement and contrast of muted, aged colors and culturally disparate iconography on the stamps induces a sense of pastness gone haywire.
22 x 15 cm.; Staple Bound; Offset Printed

In 1990, American conceptual artist David Bunn acquired the Los Angeles Central Library card catalog in its entirety when the LACL transferred to an on-line filing system. The catalog contained roughly seven million cards. The slim booklet Double Monster (2000) provides the perfect introduction and general context for Bunn’s seven volume epic Double Monster Box Set, an expansive book collection for which he drew upon both the LACL card catalog and that of the Physicians Library and Mütter Museum, a 19th century medical museum of pathological specimens, wax models, medical equipment and curiosities, ordering scans of said cards into provocative, and often funny groupings. 21 p. 17 x 24 cm Saddle stitch / staple bound with yellow paper wrapper. Digitally printed.

A natural shoreline, infused with the ethereal plumes of artificially colored smoke, meets a diminutive white cube, in which the artists navigate the relation between their bodies and the physical surround. Entanglements mediating the body and the environment, the object and the subject, manifest in Seitz and Downey’s movement, revealing relations of mutual care, interdependence and shared process through measured choreography. With an essay by Christian Camacho-Light. Publisher: Wendy's Subway. Pages: 28. Size: 19 x 12.5 cm. Saddle-stitched, 28 pages; Printed on Risograph; Edition of 125

"This is the second book in a body of work, titled, PRIMORDIAL COOCH. It was created and printed while doing a mini-residency/hangout at Extrapool/Knust in Nijmegen, Netherlands, in December 2016. It’s a mini (a single sheet of paper that folds into a book) celebrating feminine/vaginal/fertility representations, throughout time and different cultures. It was birthed from the toxic U.S. political climate of this past election and all the hatred that came spewing from it. While there is much work to be done in the coming years, after the election I needed to tap into some GODDESS/EARTH energies and charge up for the battles to come. To remember where we all have come from, no matter what color our skin is, what nationality we are, or how we identify sexually (only a few of the many ways we are taught to separate ourselves from one another). We all spent months in utero and have a common “home,” a place known as the “COOCH!” Used here as a broad sweeping word for all things feminine + for female reproductive organs, the COOCH used to be considered all powerful and something that people used to celebrate, rather than denigrate. Through my years of doing Risograph printing, I’ve become friends with the folks who are part of Extrapool (a longstanding artist space), who also run Knust Press, a world renown Risograph studio. I was able to work with them and use their A2 machine, which prints a whopping 16.5″ X 23.4,” compared to my machine that prints as large as 8.5″ X 14.” It was a joy to make this limited edition mini with them, which is also double sided—on the reverse side, there is a full size poster as well." Caroline Paquita. Risograph printed at Knust Press, Nijmegen, Netherlands. Fluorescent pink, blue, green, and orange. Folded: 5.75 X 8. Single sheet.

A cross flexagon book in a folded red paper sleeve. A surreal and rhythmic view of getting pulled over by the police while driving. Letterpress printed from handset Univers type and photopolymer plates onto Lenox 100 paper. Paper sleeve has window cut-out, Mylar "windshield" sandwiched between the layers, and printed white rule on the front, letterpress print on the back. Pull at the four rotating faces to tell the story: stay on course to get back to the beginning. 7" x 7". Library copy 5 of 36 and signed by author and illustrator.

"In 2010, I began the Brain Washing from Phone Towers Publishing Initiative. Our first production was a pamphlet on the History of Pie, published to coincide with a small-scale Pie Contest. This small-scale publication combined text (found, handset) and image (carved in wood or linoleum) produced via obsolete technology (letterpress)." letterpress and linoleum on paper 9.5″ x 14″ single folded sheet

Do you know someone who needs hours alone every day?Who has to be dragged to parties and then needs the rest of the day to recuperate? Who growls or scowls or grunts or winces when accosted with pleasantries by people who are just trying to be nice? This Informational Pamphlet aims to help introverts research and enjoy New Leisure Activities. Included are a wide variety of possible New Leisure Activities, as well as an outline of the habits of Introverts, and a centerfold map representing introversion in the U.S. 1 v. : ill. ; 16 x 12 cm. folded. Woodcut and handset type and rule, printed letterpress on Zerkyll Ingres.

What would you do if the unexpected happens? The third in this series of Informational Pamphlets outlines the dangers inherent in heartthrob-dom: the tragedy, the comedy, ups, downs, car crashes, roof collapses, sweaty palms, estranged wives of American Sports Stars, and the endless cycle of self-doubt and self-destruction. Brain Washing From Phone Towers is a series of informative and entertaining Informational Pamphlets produced by hand on a seasonal basis. These small-scale publications combine text (handset in metal type) and image (carved in wood or linoleum) produced via obsolete technology in editioned works which are distributed at will to a chosen audience. The content of the series aims for historical interest, commemorative intent and a healthy dose of humor.

"The concept of "woman" addressed by design and advertising consists of cultural fantasies as well as demographic facts. It is our roles as artists to make the spectator see the world our way, not his way." Emily Tareila '10. 1 folded sheet. 28 cm. Digitally printed.

Edition of 100. 4.75 x 6.25"; 6 pages. Single sheet book made from cotton paper made on a Tim Moore laid mould with watermarks hand-cut using Sure Stamp. Letterpress printed by Diane Jacobs. Unfolds to display four large watermarks. Held in a transparent paper slip with colophon printed in black. Helen Hiebert Studio: "This is the first in a series of instructional pamphlets on modern day watermarking. Look for upcoming editions on fabric paint watermarks, wiremarks, and computer generated watermarks. Introduction: In this pamphlet, you will learn how to create your own watermarks – those mysterious images hidden within sheets of paper, often invisible until lifted to the light. With this low-tech method and simple materials, you can create unique images in your handmade papers while using an age-old papermaking technique.

"A meditation on earthly pleasures by Chicago-based illustrator Clay Hickson. Though more of a celebration of pleasure than of pain, Hickson's Vice plays out like a movie montage of a weekend bender's climactic peak just before everything goes all wrong." 41 cm (folded to 21 cm) Risograph printed. Edition of 200.

"Dress Code Strictly Enforced draws on the artist's experience as a Spanish interpreter in the U.S. courts. Wilson compares attorneys, defendants, judges, and people in other key roles to theatrical players, wearing predetermined costumes and participating in staged dialogue. The heads-bodies-legs mix and match structure of the book allows readers to create new combinations. Doing so, they redefine the fifteen characters and create absurd, contradictory messages. The postface quotes the song "There but for Fortune," reminding readers that the role played by any given person is governed by chance as they move through interlocking systems of power." [40] pages. 26 X 17 cm. Printing: silkscreen and digital. Binding: spiral. Paper: French Speckletone, French Construction, and Colorplan. Signed edition of 75. Crossett owns number 52.

El muro by Eduardo Hernández Santos is ten triptych photographs documenting the Cuban LGBTQ community. "Working in the dark of night he printed them on expired photo paper and with exhausted chemistry, in his bedroom-turned-darkroom in Centro Habana. Hernández then adhered lines of poetry by the late Cuban poet and playwright Virgilio Piñera to the photographs of the wall, metaphorically breaking down the mortar that supports the hateful edifice of heteronormativity that confines his subjects to the edge of the city. Also included is a bi-lingual translation of the lines by poet Virgilio Piñera and the individual letters Hernandez added to the photographs of the wall, which are abbreviations of pejorative terms used in Cuba to refer to homosexuals. Wire-o binding opening to 20" so the triptychs may be viewed in full. Edition of 1200. 9 x 14; 18 leaves (2 pink free end sheets, 1 pink divider, 10 photograph fold outs, 5 text pages). Ten black and white triptych photographs, two bilingual essays, and a glossary. Printed by duotone offset lithography on Shine, a luminous mica-coated acid-free paper, with three sheets of translucent magenta paper separating the photographs and essays.

Active in New York City from 1991 to 1995, fierce pussy was composed of a fluid and often-shifting cadre of dykes. Core members included Pam Brandt, Nancy Brooks Brody, Joy Episalla, Alison Froling, Zoe Leonard, Suzanne Wright, and Carrie Yamaoka. Adamantly low-tech, fast and low-budget, fierce pussy relied on modest resources: old typewriters, found photographs, their own baby pictures, and whatever material they could get donated. Much of the work was produced using the equipment at their day jobs. Emerging during a decade steeped in the AIDS crisis, activism, and queer identity politics, fierce pussy brought lesbian identity directly out into the streets in a manner characterized by the urgency of those years. Published on the occasion of the collective's 2008 exhibition at Printed Matter, this poster book reproduces 16 classic posters from fierce pussy in an over-sized format with spiral binding. Offset Printed. Edition Size 1000. Pages
17 p. Dimensions 43.5 x 28 cm.

Insult Toolbox is set up as a handy quick-reference book when one needs a pithy and sometimes raunchy epithet to hurl at an adversary. The flap-style book allows for thousands of combinations. On the back of some of the flaps, some real life situations are listed that require responses.
The book was published in a numbered edition of 100. The size is 3.25" x 7", has 100 pages, and is in a hand-bound double spiral binding, glued into a paper folder wrap with a metallic silver foil title.

"The paradox of militarism and domestic life is presented through fragmented collage and text: In this friendly, freedom-loving land. The text is paired in different combinations, with images of soldiers as well as a happy couple, leading the reader to question the relationship of the two in our land." Paper: Vellum. Printing method: Offset Lithography. 22 x 22 cm.

"“It Wasn’t Little Rock” was the response that black students in Arlington, Virginia often gave when asked about their experiences in the newly racially desegregated public schools of the 1960s. It was short-hand for we might have problems but we are not being subjected to the unspeakable hatred that was showered on black students when they integrated Central High School in Little Rock, Arkansas in 1957. White students spat on, beat up, yelled insults, destroyed black student lockers, threw flaming paper wads at them in the bathrooms, and even threw lighted sticks of dynamite at and sprayed acid in the eyes of a female black student. To Arlington students, Central High in Little Rock provided the standard for what they might face when integrating their county’s formerly all white schools." As a high school student, the author was named lead plaintiff in Clarissa Thompson et al. v. County School Board of Arlington County (June 1956), a school desegregation class action suit filed in U.S. District Court. 8 x 11 in., 74 p. spiral bound. Edition of 150.

"On the occasion of Ray Johnson's first major retrospective at the Whitney Museum from January to April 1999, The Fake Picabia Bros. issue a personal contribution to the late artists' legacy. We call the following chapters a miscellany, because these separate writings were composed at different periods without thought to their compilation. On the face of it, these essays bear little relationship to one another. This does not trouble us. The lesson we learned from Johnson is that free association has its own rewards; that meaning can be found in apparently disparate items. Readers bring their own creativity to the table, forming structure from their own experience. We have no doubt that there are enough clues provided in this Miscellany to enable others to draw closer to an enigma." - Introduction. Essays include The New York Correspondence School Spit for Dadaland, The Rubber Stamps of Ray Johnson, Dropped, and Ray Johnson and the Mail Art Show. Rubber stamp on cover reads "Dear Whitney Museum, I hate you. Love, Ray Johnson. 28 x 21 cm. [96] p. Spiral Bound. Edition of 50.

60 pages, 36 black & white photographic illustrations; spiral bound. 23.9 x 15.7 cm. 3rd edition, 2000 copies. In Royal Road Test, Ruscha painstakingly documented himself dropping a vintage typewriter from a speeding Buick.

"Sadly, as people of color we experience discrimination everyday. It's exhausting. And when it happens, we often question ourselves, thinking: Did that just happen? Am I being too sensitive? And when we can identify that it is discrimination and speak to it, we're often questioned and others often don't believe us or brush us off, calling us too sensitive or angry. The burden falls on us to prove that we are being discriminated against. This book is here for you to take detailed logs of your everyday aggressions so that you can show off your receipts--proof." Aram Han Sifuentes. [65] p. 20.5 x 15.5 cm. Spiral Bound. Digitally printed. Edition of 100.

Catharine Maloney has combined and recorded her interest in men, outer space, and play in her photographic series Teleplay, Part I. The book is filled with playful men, bright-makeshift costumes, and backdrops. Her photographs are helter-skelter constructions, manipulated by hand or crudely on the computer, in order to create a strange place. "Notable for their curiously unsettling shabbiness, Catharine Maloney’s photographs are clearly testament to the author’s laissez faire attitude to perfection and technical mastery. By shooting with a medium format camera, scanning in the film and routinely tinkering with the images in Photoshop, the Texan-born artist then gets prints made cheaply and either draws on them or creates collages. They combine the coarse ingenuity of mixing and layering various media with an ambiguous and uneasy decontextualisation of objects and subjects. Peopling the images, figures can often appear multiple times within the same work, and superimpositions, doublings and reflections are all commonplace. So too are distortions in scale and perspective. All the long-held notions of space and temporality appear to collapse revealing photography’s limits and inherent contradictions." Spiral bound. 15×20 cm. 62 pages

Frequently, the debate regarding gender equality becomes a clash of opinions, impeding any real inquiry. In The Veil is Seen Only When it is Lifted, the artist provides accumulated data as an instrument for breaching this impasse. Origoni visually restructures this conversation, arranging statistics with simple, playful design and breaking up the codex’s linear narration. The book is composed with two studies; their bindings fall on opposite sides of the book. A Coptic-bound section presents quantitative data and the spiral-bound section reports experience-based data. Viewers are invited to read these parts separately or simultaneously, pages can be overlapped in patterns that unveil new information. 32, 22 pages. 14 x 15 cm. Binding: Coptic and spiral. Printing: Silkscreen 4 color. Typeface: Frutiger LT Std 95 Ultra Black. Signed edition of 40. Crossett owns number 36.

This third volume in Karma’s 11-volume facsimile edition of Lee Lozano’s Private Book project is primarily a calendar of Lozano’s personal, artistic and “chemical” interactions in 1969–70. A prolific writer and documenter of both her art and her relationships, the painter Lee Lozano (1930–99) kept a series of personal journals from 1968 to 1970 while living in New York’s SoHo neighborhood. In 1972 she rigorously edited these books, thus completing the project. Eleven of these private books survive, containing notes on her work, detailed interactions with artist friends and commentary on the alienations of gender politics, as well as philosophical queries into art’s role in society and humorous asides from daily life. Spiral bound. 3 x 5 in.

Spanning 500 years of colonial destruction, human trafficking and blood sucking, Nosferasta is a Rastafarian vampire film by Adam Khalil, an artist, filmaker, and member of the Ojibway tribe, and Bayley Sweitzer, a filmaker, and Oba, a Trinidadian artist and musician living in Brooklyn. Interspersed with Oba’s literacy diaries, this publication features critical essays, speculative fiction and visual contributions that expand on the exhibition at Gasworks, London with contributions from Peggy Ahwesh, Lou Cornum, Sabel Gavaldon, Alex Esco, Austin Sley Julian, Mutabaruka, and Laura Vallés. 176 p.; 14.8 x 11.5 cm; Spiral Bound; Offset Printed;
Edition of 1500.

The City Within is a kinetic bookwork exploring cartography and fantastical anatomy. Juxtaposing bird’s eye maps and hand-drawn street-level maps with a rib cage of text centered around Montreal’s downtown core, The City Within overlays the heart of a city with the interior body of a city dweller. Both a bookwork and a sculptural object, this multi-layered book is able to be read and explored through many pathways. Through bookmaking, Artist’s Book resident Natalie Draz investigates the structure of her body in relation to her urban surroundings. The sculptural pages of The City Within take readers on an adventure in cartography and fantastical anatomy via the streets of Montreal. Combining different bookmaking and printmaking techniques, clustered buildings and winding streets come alive, inviting readers to explore the correlation between interior and exterior spaces. 8 1/2” x 14” Paper: Rives Heavyweight and Mohawk. Printing method: Etching and Silkscreen. Structure: Moveable Book, Tunnel Book

The City Within is a kinetic bookwork exploring cartography and fantastical anatomy. Juxtaposing bird’s eye maps and hand-drawn street-level maps with a rib cage of text centered around Montreal’s downtown core, The City Within overlays the heart of a city with the interior body of a city dweller. Both a bookwork and a sculptural object, this multi-layered book is able to be read and explored through many pathways. Through bookmaking, Artist’s Book resident Natalie Draz investigates the structure of her body in relation to her urban surroundings. The sculptural pages of The City Within take readers on an adventure in cartography and fantastical anatomy via the streets of Montreal. Combining different bookmaking and printmaking techniques, clustered buildings and winding streets come alive, inviting readers to explore the correlation between interior and exterior spaces.

Paper folds into the shape of a pyramid; words printed on slivers of paper inserted into a tea bag.
" ... Universal Declaration of Human RIghts printed with edible coloring, on edible paper and pulped. Tea, natural flavouring. Store in a dark and dry place." Issued in a limited edition of 300 copies, signed by the artist. Text in English and French

An ode to the artist’s beloved grandma and her clock. This tiny book is based on a favorite family anecdote regarding the clock. 2 x 4 cm. Edition of 57. Screen print. Balsa wood. Slipcase is a grandmother clock facsimile of balsa wood (9 x 4 x2 cm.) Signed by the artist. Colophon printed on folded paper inserted in slipcase.

A pioneer of kinetic sculpture, Jean Tinguely worked in the Dada tradition, satirizing industrial society’s overproduction of material with his complex assemblages of metal and machinery. In the mid-1950s Jean Tinguely began production of a series of generative works titled Métamatics: machines that produced art works. This book includes an original mechanical "meta-matic" felt tip pen drawing made on Meta-Matic No. 8, by Björn Springfeldt and signed by Tinguely. Fold outs and printed vellum overlays throughout. Hardcover binding with a folding flap and catch in the form of a briefcase. Edition of 500. Crossett owns number B 117.

The words on the matchsticks describe former friends and lovers. As matches are removed the text changes. Catherine Michaelis began Old Flames Mismatched by looking at a matchbook, taking it apart, looking at the matches as pages that "turned" as they were used. Match layers made her think of a book with divided pages where images and/or text could mix and match. As one would use a match the words below would differ, altering the story. While the stories change, altering the "reasons," it suggests that perhaps relationships are not taken seriously enough to begin with, and finding the right match is a game we play. The matches are meant to be used. Just as in relationships we often get burned or burned out, feel used or used up, Old Flames Mismatched is meant to be a ritualized experience of that end of the romance feeling. A delightfully funny look at our past "loves" in this first in the series of "Old Flames" in the context 1.5 x 2" unused matchbook. Letterpress printed.

Designed so that the reader/viewer interacts with text that has been communicated through "word of mouth", in a symbolic way of "hanging out the dirty laundry." Contains twelve sheets of unbleached muslin (12 x 8 cm), with text printed in black; 12 wooden spring clothes pins; 1 piece of string (148 cm). Objects, along with information leaf, rest within a brown cardboard box. Silkscreen. "On The Line is a collection of stories, rumors, little known facts, and folk tales about well-known artists relayed through word of mouth. The book is designed for the viewer to interact with the piece in a symbolic way of hanging out the dirty laundry of stories and rumors."

A Shropshire Lad combines elements of folding and collage to create an artwork at the intersection of book and sculpture.

Until Death Do Us Part focuses on the unexpected role cigarettes play in some Chinese weddings. As a token of appreciation, it is customary for the bride to light a cigarette for each and every man invited. The bride and the groom are then invited to play some cigarette-smoking games. This publication pays homage to a tradition in which love and death walk hand in hand. These photos come from the Beijing Silvermine project, an archive of half a million negatives salvaged over the years from a recycling plant on the edge of Beijing. 5.3 x 8.3 x 2.1cm 108 p. Hardcover with a real cigarette box. Edition of 1000.

"Paper Paper Film is a paper sculpture facsimile of a box set of educational films on Paper and Gravure Printing, published by Meridian Educational Films in 1983. The original box set was found in a storage closet within Carnegie Mellon University’s School of Art Print Studios. Through the creation of this laboriously handmade physical copy, the artist transforms an outdated tool for education into an art object in direct conversation with the power structures of how, why, and what is archived." 112 unnumbered pages; 7 x 11 cm + 4 paper sculptures (7 x 10 x 1 cm and 37 x 52 mm diameter) and 1 sheet (18 x 23 cm); Papers: handmade cotton paper, Colorplan (bright red and leather embossed) acetate, Rives BFK, Awagami Murakumo Kozo Select Natural Digital Inkjet Washi; Perfect Bound (adhesive); die cut; silkscreen and digitally printed.