Artists' Books in Crossett: Artists' Books by Subject

Villa Savoye, designed by Le Corbusier and Pierre Jeanneret, is presented here in a selection of drawings by Nigel Peake inspired by his visit there in the Summer of 2017. Where the trees creaked as if doors, the shadows cast half an angle onto the columns, the pillar either made a void or started one, and the old Japanese ladies murmured as they looked. 38 pages. 17 x 23 cm. Perfect bound.

Twentysix Gasoline Stations is Michalis Pichler's homage to Ed Ruscha, who published his groundbreaking and highly influential Twentysix Gasoline Stations in 1962. Pichler's version offers a more modern update, examining twenty-six German gas stations all owned by the same company and all displaying the same signage and architectural elements. At first glance, all twenty-six images appear to depict the same pristine and brightly-colored generic structure. Only upon further examination, aided by Pichler's captions, does the reader get the full extent of the joke, which is punctuated by the book's final image: a disembodied hand holding an excerpt from a 1969 interview with Ruscha in which he explains "the eccentric stations were the first ones I threw out." 18 x 14 cm. Offset Printed. Edition of 600

Ed Ruscha's first artists' book. "Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History. Edition of 3000 unnumbered. Third Edition. 48-page book, 26 photographic illustrations, 7 1/16 × 5 1/2 × 3/16 in.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

The 25-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city’s landmark thoroughfare. 7 1/8 x 5 3/4 x 3/8 in. Open unfolded: 7 1/8 x 297 in. Off-set lithography.

"In June 1976, Michael Kenna first arrived in the United States, to work at the Heiden Hotel in the Catskill Mountains of upstate New York. It was to be an authentic “coming of age” summer for him. Since then, Kenna has documented the slow decline and eventual fall of the hotel. In June 2008, the crumbling structure burnt to the ground. Kenna drove ten hours with a ruptured appendix to make photographs of the remaining ashes." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 238.

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.

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

"This sketchbook was begun in Munich in 1999, when I was 29 years old. Like most sketchbooks it served as a portal between the real world and the realm of her imagination. Although it was never intended to be shared, nevertheless quite a bit of “work” came out of this particular book, including the installation ‘Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)’, which is in the collection of the Guggenheim Museum. That, however, is an exception to the rule. For the most part the pages in this sketchbook reflect uneasy, unrefined, unfinished thoughts and anxieties, written and drawn with no objectives, no ulterior motives, and no filters." - Kara Walker.
[212] p. 23 x 15 cm. Sewn Binding.

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.

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.

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.

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

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.

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.

The Color-Word Value Index (CWVI) is a taxonomy of colors, words, symbols, and numbers based on color theory in psychology, mysticism, and early modernism. The CWVI project (2008–ongoing) is designed to generate a series of interlocking bodies of work over time in a range of media: painting, drawing, video, artist’s books, and décor. All CWVI work imagines a cultic belief in the properties of the Index—44 word pairings; 10 colors; 5 suits; values of positive, negative, and neutral; and a relativism that evokes chance and reversals such as mirroring, flipping, and doubling. Double gatefold;16 pages; silkscreen and letterpress; 8 1/4 x 6 1/2 inches
Edition of 50. Crossett owns number 28

Ten rengas were written between 2:15 and 2:25 pm on Tuesday, February 20, 2018 in the Word & Image Lab at Bennington College by the PRI 4236 students Mira Darham, Raewyn Fairless, Bennett Grossman, Ferne Johansson, Bailey Kushinsky, James Mcbride, Emily O'Donnell, Zadie Ross, Chase Spearance, and Carmela Uribe. The rengas were composed with handset type and printed letterpress, also by the above. 11 unbound booklets. 22 x 23 cm, folded to 22 x 12 cm. Edition of 15.

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.

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.

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.

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. David Bunn’s small-format catalog, published on the occasion of a traveling exhibition that originated at Swarthmore’s List Gallery, provides documentation of and insight into the artist’s work with defunct card catalogs. Through installation photographs, reprinted text pieces, and essays by Ian Hunt and Jan Tumlir, the reader is introduced to three of Bunn’s projects from the 1990s: I feel better now, I feel the same way., an ongoing series of poetry books that include The Sea Is a Magic Carpet, and Here, There and Everywhere. 81 p. 17.5 x 12.5 cm. Perfect Binding. 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.

"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.

Mary Jo Bole create drawings for a commemorative book about Columbus, Ohio based on historical facts—and curiosities—from research in libraries and archives throughout the city where she has unearthed historical images of Columbus ranging from the profound and moving to the absurd and hilarious. Bole has distilled the research material into 36 drawings into an artists' book. 9 x 14 in. Edition of 1,100.

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.

A list of the artist’s fears, ranging from physiological angst, to interpersonal and social anxieties, animal phobias, environmental worries, and political concerns, written in pencil on scratch paper during a research trip to the Huntington Library in San Marino, California in Summer 2018. Publisher: Wendy's Subway. Pages [12] p.; 22 x 14.5 cm; Stitch Bound; Risograph. Edition of 125.

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.

In the late 1960s, Rita Donagh, wife of Roth’s longtime friend and collaborator Richard Hamilton, gave the artist a postcard of London’s famous Piccadilly Circus. This unremarkable image is the basis for one of the artist’s best-known series of artworks, 6 Piccadillies. Roth enlarged and reproduced the image as a doublesided photolithograph, then transformed it through various interventions: overprinting it in Day-Glo colors, sub-merging it in a fog of translucent white, and almost completely erasing it with a layer of iron filings. 96 Piccadillies reproduces the artist’s paintings on postcards picturing the same landmark; the reproductions themselves can be separated and sent as postcards.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

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

A field guide and handbook of thoughts, musings, observations, case studies, and histories (alternative, conventional, and otherwise) on the elevated structure formerly and now known as the High Line of Manhattan.

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.

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.

Mary Jo Bole create drawings for a commemorative book about Columbus, Ohio based on historical facts—and curiosities—from research in libraries and archives throughout the city where she has unearthed historical images of Columbus ranging from the profound and moving to the absurd and hilarious. Bole has distilled the research material into 36 drawings into an artists' book. 9 x 14 in. Edition of 1,100.

García photographed hundreds of New York street signs and then used language from his images to compose a poem-like list of text. A single line of text from one New York sign appears on each fold of the accordion book. The paper Garca selected for the book transitions from bright green to blue to orange to red to yellow -- creating a verse-like effect for text on each color of paper. It was created as part of an Artist-in-Residence program 2021 at Center for Book Arts, NYC and used and 45 metal type specimens from the Center for Book Arts collection. 91 p.; 21.5 x 346.7 cm.; Edition of 200 signed and numbered. Crossett owns number 30. Accordion Binding. Letterpress Printed.

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.

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. Silkscreen. Folded paper enclosure. Binding: Accordion.

Unfolding Practice: Reflections on Learning and Teaching is a conversation between two artist-educators. Flowing across five chapters, the double sided accordion book has been curated from ten years of recorded conversations, field notes, planning, sketches, reflection, and teaching. The front of the book weaves text, illustration, cutouts, and screen prints, journeying through artistic process and educational practice. The back of the book is a guide, expanding on the practice of using accordion books as a tool for capturing, visualizing, and building upon reflective thinking. The brown paper alludes to the craft paper that is ubiquitous in schools and captures process more than the preciousness of a final product. Throw out accordion in hard covers. 7.875 x 5.25 x .75 Edition of 60. Silkscreen, Digital, Laser-cut, Hand-cut. Helvetica Neue. Hard cover bound. Throw out accordion.

34 p. 20 cm. + 1 booklet. Edition of 38. Red Thread, Two Women is a collaborative poem, exploring human insight, discovery and personal growth. The book measures 8 x 8.5 x 2.5 inches in its slipcase and extends, when fully opened, to six feet. The design of the book has been inspired by the poem and evokes the experience imbedded in the writing. The string/thread acts like a drawn line and can be moved around by the reader to change the “drawing” and the experience. Throw out accordion.

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.

Based in Sweden, the Raketa collective describes itself as "a network of people running interdisciplinary, collaborate projects and experiments within art, design, architecture and digital media." With their book Frank Heron and the Rocket Girls, launched at the 2009 New York Art Book Fair, Raketa presents some of their recent projects in the guise of an academic study/personal recounting of Frank Heron, whose work with the Rocket Girls (or Raketa team) followed a series of "artscripts." The book's texts, written by Raketa member Roger Connah, offer a surreal chronicle of performances and projects undertaken in Los Angeles, Kaliningrad, Stockholm, Tokyo, and Chiangmai.

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.

This documents the events of the Sundown Salon,held at the Los Angeles home of Fritz Haeg, and shares participants reflections on the idea of salons and the nature of viewing and making art communally and for a domestic space. The text can be flipped through and read like a book, and the pictures can be unfurled to a 140 foot long art piece. The book has been conceived by Fritz in collaboration with Evil Twin Publications' Stacy Wakefield. Edition of 500. Each copy features a hand-screened cover in five different configurations by a different artist. Elastic vertical band. Accordion fold. 8.5" x 8.5" (one 140 foot long accordion folded sheet)

A Bullet for Buñuel: Fragments of a Failed Bullet documents Myers’ attempt to complete a project begun by the late filmmaker Luis Buñuel: to create a bullet possessing such a weak charge that it would simply bounce off the filmmaker’s shirt when fired at him. Consulting with the estate and sources ranging from online forums for bullet makers to a ballistics lab associated with the U.S. Secret Service, Myers sought to make the bullet and fire it at a shirt that had been worn by Buñuel. While trying to bring this absurdist endeavor to completion, he was met with a colorful cast of characters and failures at almost every turn. 116 pages. 6 x 9 inches. Perfect Bound.Paperback. Edition of 1000

The Color-Word Value Index (CWVI) is a taxonomy of colors, words, symbols, and numbers based on color theory in psychology, mysticism, and early modernism. The CWVI project (2008–ongoing) is designed to generate a series of interlocking bodies of work over time in a range of media: painting, drawing, video, artist’s books, and décor. All CWVI work imagines a cultic belief in the properties of the Index—44 word pairings; 10 colors; 5 suits; values of positive, negative, and neutral; and a relativism that evokes chance and reversals such as mirroring, flipping, and doubling. Double gatefold;16 pages; silkscreen and letterpress; 8 1/4 x 6 1/2 inches
Edition of 50. Crossett owns number 28

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich's poem "Diving Into the Wreck," and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs. The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world's apocalyptic imaginary into another, parallel, unrealized time. 184 p. 24 x 20.5 cm. Offset Printed. Edition of 1,000.

Ten rengas were written between 2:15 and 2:25 pm on Tuesday, February 20, 2018 in the Word & Image Lab at Bennington College by the PRI 4236 students Mira Darham, Raewyn Fairless, Bennett Grossman, Ferne Johansson, Bailey Kushinsky, James Mcbride, Emily O'Donnell, Zadie Ross, Chase Spearance, and Carmela Uribe. The rengas were composed with handset type and printed letterpress, also by the above. 11 unbound booklets. 22 x 23 cm, folded to 22 x 12 cm. Edition of 15.

This artist's book emerges from a joint project between writer/musician Richard Hell and painter Christopher Wool. It focuses on their mutual interest in experiences associated with reading. Hell & Wool create images using a selection of word pairings that are both conceptually estranged yet subliminally connected. The result is by turns a reading & a non-reading book which balances precariously between the world of rational ordered sense and the realm of polymorphous chaotic association. 128 pages. Edition of 1500.

Luis Corzo, Sue Ravitz and Keegan Mills Cooke present “Untitled (Cigarette Box) 2018,” a collaborative project featuring photographs, objects and this limited edition zine. Inspired by Ravitz’s collection of 1950-60’s cigarette boxes, photographer Luis Corzo sought to capture these vintage ceramic containers in a way that spoke to their unique ambiguity. Drawn to the inherent contradiction of a beautifully hand-crafted object made expressly to hold cigarettes, Corzo playfully reverses the intended function of these boxes by turning them into vessels of ‘healthy’ goods - blooming flowers, supple skin and vibrant fruits & vegetables. Designed and printed by Keegan Mills Cooke. Photographs by Luis Corzo.

Vol 2. No.4 August 1985 Collaged material includes matches, wallpaper, bandaids, dried flowers, photographs, and seeds. Edition of 100. Crossett own number 84.

"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.

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.

Nannucci explores the color green through photographing plants and assigning tones and scales to develop a "fundamental chromatic code". Text in English and Italian. One folded page, 34x11 cm. Off set printed. Edition of 1000.

The Color-Word Value Index (CWVI) is a taxonomy of colors, words, symbols, and numbers based on color theory in psychology, mysticism, and early modernism. The CWVI project (2008–ongoing) is designed to generate a series of interlocking bodies of work over time in a range of media: painting, drawing, video, artist’s books, and décor. All CWVI work imagines a cultic belief in the properties of the Index—44 word pairings; 10 colors; 5 suits; values of positive, negative, and neutral; and a relativism that evokes chance and reversals such as mirroring, flipping, and doubling. Double gatefold;16 pages; silkscreen and letterpress; 8 1/4 x 6 1/2 inches
Edition of 50. Crossett owns number 28

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

As a follow up of Reprint, this publication by renowned Dutch graphic designer Karel Martens contains a sequence of unique letterpress monoprints made between 2014 and 2016. The book comes in two different covers which is the result of a printing experiment by printing all the content of the book in 3 layers on top of each other. This particular print sheet was cut and folded into two different covers. "This publication contains monoprints made by Karel Martens between 2014 and 2016, reproduced at actual size, except for the two larger prints on page 24 (1992, 58 x 42 cm) and page 26 (2008, 56 x 38 cm), which features stenciled numbered printed in a 'magic square' configuration from Vedic mathematics." --Colophon.

Both an artist’s book and a would-be practical guide, this volume offers occult instructions for becoming invisible by meditating on the color spectrum. It draws on the literature of Rosicrucianism, theosophy and esoteric yoga to demonstrate how, through breathing exercises and visualization, the reader can learn to split light into its constituent parts, then recombine the seven colors of the spectrum to form a glowing white cloud that envelops its creator, rendering them invisible. Its author, London-based artist Ian Whittlesea known for his book works based on spiritual-physical exercises, notes in the preface: “These exercises are intended to allow you to become invisible. This does not, however, mean that you will physically disappear or dematerialize. Instead you will be hidden from view, concealed within a cloud of your own creation.” [50] p. 18 x 12 cm. Offset Printed. Edition of 2000.

RYB (red-yellow-blue) is a standard set of colors used in subtractive color mixing. By combining any two of these primary colors, a third color is created (the secondary colors: green, orange, or purple); by mixing equal amounts of all three, black is born. Jerry Seguin's 2015 book 100 XIV / 100 RYB uses this color theory as a starting point, working within--and against--its confines to examine the ways in which masculinity (in particular, queer masculinity) is represented or imagined. Photographs of naked or near-naked men, alone or with another, are printed in this limited palette, the colors never mixing to create their secondary counterparts. Seguin isolates these moments--the photographs are often snaps of men in action (walking on a beach, running on a soccer field, giving a blow job)--and rigidly layers them on top of abstractions (also in this limited palette), exposing the awkwardness of representation and the pleasure in tension at the same time. [100] p. 23.5 x 15.5 cm. Perfect Binding. Digitally printed.

"Text sourced from 1984 - George Orwell., black only printing on 176 gsm french paper with artist applied correction tape. Loop stapled binding.
Edition of 100. Crossett owns number 50. Signed.

Edition of 3. 4.25 x 4.25"; 8 pages. Modified accordion structure. Fabric painted linen. Cotton batik appliqué. Softcovers of batik accented with cotton embroidery thread and glass beads.

García photographed hundreds of New York street signs and then used language from his images to compose a poem-like list of text. A single line of text from one New York sign appears on each fold of the accordion book. The paper Garca selected for the book transitions from bright green to blue to orange to red to yellow -- creating a verse-like effect for text on each color of paper. It was created as part of an Artist-in-Residence program 2021 at Center for Book Arts, NYC and used and 45 metal type specimens from the Center for Book Arts collection. 91 p.; 21.5 x 346.7 cm.; Edition of 200 signed and numbered. Crossett owns number 30. Accordion Binding. Letterpress Printed.

"A poetry comic that follows the mythological hybrid as it enacts its roles of hunter, stalker, executioner, devourer." - Jia Sung. The Oxford Dictionary of Phrase and Fable describes a harpy as "In Greek and Roman mythology, a rapacious monster described as having a woman's head and body and a bird's wings and claws or (as in Virgil's Aeneid) depicted as a bird of prey with a woman's face; in extended usage, a grasping unscrupulous woman." Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. 7 unnumbered pages. 16 cm. Binding: Saddle Stitch / Staple.

For Projects 75, The Museum of Modern Art has published artist Laylah Ali's first book, a work composed entirely of her trademark green-headed, brown-bodied figures engaged in acts of violence. Stock characters such as security officers, sports figures, victims and oppressors that have been the subject of Ali's singular gouche pieces in the past now play out their aggressions in this hybrid comic / artists' book, an extended, nonlinear narrative designed by the artist to be a visual novelette.
40 p.; 18.5 x 24.5 cm.; Staple Bound; Offset Printed

The inventive and sophisticated master of the collage aesthetic, the artist Jess intermingles and juxtaposes images from wildly eclectic sources (Dick Tracy, Dürer, 19th century Scientific American line engravings, Beatles bubblegum cards, beefcake photos from Physique Pictorial, etc.) in order to re-assemble the meanings of our time. This volume brings to light collages, collage books, word poems, and altered comic strips that have been largely inaccessible or unavailable since their making. Originally published in small editions and hard-to-find journals, or made as singular artist's books, these works demonstrate the full range of Jess's extraordinary verbal and visual play.

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.

"“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.

"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.

"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.

Unfolding Practice: Reflections on Learning and Teaching is a conversation between two artist-educators. Flowing across five chapters, the double sided accordion book has been curated from ten years of recorded conversations, field notes, planning, sketches, reflection, and teaching. The front of the book weaves text, illustration, cutouts, and screen prints, journeying through artistic process and educational practice. The back of the book is a guide, expanding on the practice of using accordion books as a tool for capturing, visualizing, and building upon reflective thinking. The brown paper alludes to the craft paper that is ubiquitous in schools and captures process more than the preciousness of a final product. Throw out accordion in hard covers. 7.875 x 5.25 x .75 Edition of 60. Silkscreen, Digital, Laser-cut, Hand-cut. Helvetica Neue. Hard cover bound. Throw out accordion.

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.

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.

A pocket size catalogue showing full views and detail images of Mark Grotjahn's work Untitled (Dancing Black Butterflies, Drawing in 9 parts). 18 p. Hardcover. Accordion. 3.25 x 4.75 inches. Edition of 1,500

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)

"Recently, for an exhibition in Los Angeles at Blum & Poe, I exhibited a row of glass vessels positioned on the floor of the gallery in an exact north-south line. Each vessel contained water from the Pacific Ocean that I collected by sailing to the longitude line that divides the Pacific time zone and the Alaska time zone, 127.5 degrees west of Greenwich, England. I wanted to materialize this imaginary line that determines spatial and temporal coordination, and to displace it by some 400 nautical miles. I imagine the line existing in neither zone, being outside of standardized time. The vessels are small enough to fit into your hand, so you can hold them--rather than the line holding you." 1 leaf (folded into 8 4 1/4 x 6 in. postcards)

"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.

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.

Catalogue for an exhibition at Gallery Krinzinger, in Innsbruck, Austria and Christian Hanussek, Frankfurt, Germany. [9] p. 22 cm. Accordion fold single sheet.

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich's poem "Diving Into the Wreck," and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs. The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world's apocalyptic imaginary into another, parallel, unrealized time. 184 p. 24 x 20.5 cm. Offset Printed. Edition of 1,000.

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

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.

"“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.

A delicate, but haunting series of portraits accompanies the reader through the search for self hidden in the pieces of the missing past. The absence and loss of family identity associated with adoption is explored through the method of devore printing that leaves a transparent imagery behind. 14 x 175 cm. folded to 14 x 12 cm. Edition of 100. Paper: Framed silk. Printing method: Letterpress, devore screen print. Accordion Fold

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

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.

"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.

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.

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.

In 2013, the War Resisters League, a pacifist organization active in the United States since 1923, put out a call in Critical Resistance’s The Abolitionist for stories of tear-gassing and pepper-spraying in prisons and jails. Hundreds of people sent in letters revealing the rampancy of human rights abuses in incarceration centers. Freya Powell’s When does I become We, based on her video On Fire like Hell Fire, gathers some of these harrowing accounts of prisoners’ exposure to chemical weapons into a polyphony of voices relating the injustices suffered through gassing and medical negligence and the lasting physical and psychological trauma resulting from these experiences. Published by Wendy's Subway. 28 pages; 19 x 12 cm. Edition of 125.

A companion to Jesse Chun's eponymous Karaoke video essay, this book centers on a 2,000-year old folk song, which South Korea and North Korea both registered as their own for the UNESCO Intangible Heritage list in 2012 and 2014, respectively. Featuring text documents from the validation process, translations and mistranslations of the lyrics, views of fragmented landscapes, Intangible Heritage disrupts the bureaucratic narrative underlying its subject matter. Publisher: Wendy's Subway. 36 pages; Saddle-stitched; Risograph. Edition of 125

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.

"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

"I hardly even knew what a garlic scape was when he gave a bunch to us, much less what to do with them. Everywhere on the internet said to sauté them in butter. We never say no to butter, so that’s what we did. It seemed too boring, too simple, so we took some balsamic that we rescued from some house at the end of term and doused the sautéed scapes just before we took them off the stove. We ate them, covered in sweet tar, and then cooked them over and over all through June." Sofie Sherman-Burton '12. Digitally printed. 48 pages. 11 x 18 cm. Perfect bound. Letterpress dust jacket. Edition of 75.

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.

A combination of appropriated images and text. The images are of historical prints of animals. The text is taken from Rev. J. G. Wood, "The Boys Own Book Of Natural History" and addresses the edibility of the various animals. Pamphlet stitch binding. Offset printed. Edition of 125. Crossett owns number 54.

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.

Feminist Ships, at its core, is a history lesson, celebrating the lives and achievements of women on the water. It begins chronologically, and fittingly, with an Inuit boat called the umiak, nicknamed the “women’s boat” because it was paddled by women to transport people and belongings. The book continues to move across centuries and around the world, including the ships of notorious female pirates like Grace O’Malley and Ching Shih; Molly Kool, the first licensed female sea captain in North America; Sisters Under Sail, a sailing education program for young girls; and Women on Waves, an organization that provides abortions and women’s healthcare in international waters exempt from restrictive laws. The last page features the rowboat built by writer Julia Holmes who takes solo expeditions retracing an ancestor’s journey from New York to New Orleans. Edition of 50. The font is Mrs Eaves, created in 1996 by Zuzana Licko. 9 3/8 " x 9 3/8 " Paper: Colorplan 135 gr. Silkscreen printed. Accordion fold.

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.

Primordial Cooch is an exploration of anasyrma, which is the gesture of showing one's genitals in order to bring about laughter, fear, and/or to let go of sadness. A somewhat complicated term, it differs greatly from other exhibitionist behavior such as flashing. Not done with the purpose of sexual arousal, it's only for the effect on the onlookers. It's connected often with ancient rituals, magic, eroticism, and all around bawdy humor between women. If you want to learn more about anasyrma, read about the Greek mythological character, Baubo. A visual exploration and homage to women, Primordial Cooch combines imagery of ancient sculptures, vintage photography, text, and Paquita's drawings. 28 p. 15.5 x 9.5 cm., sewing machine binding, with rounded corners. Risograph printed using a mix of gold and burgundy ink. Third edition of 200.

RYB (red-yellow-blue) is a standard set of colors used in subtractive color mixing. By combining any two of these primary colors, a third color is created (the secondary colors: green, orange, or purple); by mixing equal amounts of all three, black is born. Jerry Seguin's 2015 book 100 XIV / 100 RYB uses this color theory as a starting point, working within--and against--its confines to examine the ways in which masculinity (in particular, queer masculinity) is represented or imagined. Photographs of naked or near-naked men, alone or with another, are printed in this limited palette, the colors never mixing to create their secondary counterparts. Seguin isolates these moments--the photographs are often snaps of men in action (walking on a beach, running on a soccer field, giving a blow job)--and rigidly layers them on top of abstractions (also in this limited palette), exposing the awkwardness of representation and the pleasure in tension at the same time. [100] p. 23.5 x 15.5 cm. Perfect Binding. Digitally printed.

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.

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

Accounting' was designed, printed and bound by Maureen Cummins in the year 2011 in honor of the centennial anniversary of the Triangle Factory Fire. All first-person survivor accounts used in this book were excerpted from Leon Stein's classic text The Triangle Fire. Half bound with black cloth spine and tips and brown paper sides. The title "Accounting" tooled in gold on front board. Image of factory building on lining papers. The pages are divided and dated like a ledger book with handwritten text recounting the stories of survivors of the fire. Along the bottom of the pages is the text of the management's report of losses from the fire. Based on meticulous research, the artist listed over a dozen items ranging from “480 sewing machines” to “500 dozen shirtwaists,” before ending with: “146 workers—mainly girls.” Cummins allowed the original marks on the pages of the diary—handwritten lists of daily expenditures that were crossed through, then Xed out with great physicality—to serve as a chilling counterpoint to the text. Limited edition of 30 copies, numbered and signed by Maureen Cummins. Crossett copy number 19. Silkscreen and letterpress. 60 pg. 14″ x 4″ x 1/4″

"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.

"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.

"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.

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.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

Accounting' was designed, printed and bound by Maureen Cummins in the year 2011 in honor of the centennial anniversary of the Triangle Factory Fire. All first-person survivor accounts used in this book were excerpted from Leon Stein's classic text The Triangle Fire. Half bound with black cloth spine and tips and brown paper sides. The title "Accounting" tooled in gold on front board. Image of factory building on lining papers. The pages are divided and dated like a ledger book with handwritten text recounting the stories of survivors of the fire. Along the bottom of the pages is the text of the management's report of losses from the fire. Based on meticulous research, the artist listed over a dozen items ranging from “480 sewing machines” to “500 dozen shirtwaists,” before ending with: “146 workers—mainly girls.” Cummins allowed the original marks on the pages of the diary—handwritten lists of daily expenditures that were crossed through, then Xed out with great physicality—to serve as a chilling counterpoint to the text. Limited edition of 30 copies, numbered and signed by Maureen Cummins. Crossett copy number 19. Silkscreen and letterpress. 60 pg. 14″ x 4″ x 1/4″

31 p. : photos ; 23 cm. “The map was located in a school in Napareuli, in the Republic of Georgia: all the desktops in the classroom were covered with student grafitti and the map - printed at a moment just before the dissolution of the Soviet Union - seemed like it had been hanging there for the past twenty-four years, unmarked by the collapse of communism, unreflective of an entirely new world order, simple reduced to serving as an uninteresting backdrop for bored students.” Clifton Meador

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.

Feminist Ships, at its core, is a history lesson, celebrating the lives and achievements of women on the water. It begins chronologically, and fittingly, with an Inuit boat called the umiak, nicknamed the “women’s boat” because it was paddled by women to transport people and belongings. The book continues to move across centuries and around the world, including the ships of notorious female pirates like Grace O’Malley and Ching Shih; Molly Kool, the first licensed female sea captain in North America; Sisters Under Sail, a sailing education program for young girls; and Women on Waves, an organization that provides abortions and women’s healthcare in international waters exempt from restrictive laws. The last page features the rowboat built by writer Julia Holmes who takes solo expeditions retracing an ancestor’s journey from New York to New Orleans. Edition of 50. The font is Mrs Eaves, created in 1996 by Zuzana Licko. 9 3/8 " x 9 3/8 " Paper: Colorplan 135 gr. Silkscreen printed. Accordion fold.

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 tiny book (2.75" x 2.75") chronicles the sometimes dashing, often unruly hair styles of four American presidents and their assassins. Illustrated, written, designed & bound by the artist. Printed by the artist on a Heidelberg GTO offset press

Limited edition of 3500 of a play for Bread and Puppet Theater about Cuban Missile Crisis of 1962. Written and illustrated by Peter Schumann.

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.

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich's poem "Diving Into the Wreck," and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs. The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world's apocalyptic imaginary into another, parallel, unrealized time. 184 p. 24 x 20.5 cm. Offset Printed. Edition of 1,000.

"“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.

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.

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.

"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.

A companion to Jesse Chun's eponymous Karaoke video essay, this book centers on a 2,000-year old folk song, which South Korea and North Korea both registered as their own for the UNESCO Intangible Heritage list in 2012 and 2014, respectively. Featuring text documents from the validation process, translations and mistranslations of the lyrics, views of fragmented landscapes, Intangible Heritage disrupts the bureaucratic narrative underlying its subject matter. Publisher: Wendy's Subway. 36 pages; Saddle-stitched; Risograph. Edition of 125

Buddha’s Tears exposes the hidden story of organ harvesting in China from prisoners of conscience, such as Falun Gong practitioners. Statistical information is juxtaposed with poetic rendering of a legend of a statue of Buddha, who weeps in times of crisis. Each page is filled with dates, graphs, maps, drawings and stories, concluding with a sutured image of China, a symbol of healing. The accordion pages unravel to form a long scroll, a traditional form of storytelling. Buddha’s Tears’ thirteen tryptic pages are dense with visual and textual information. Silkscreen, letterpress and digitally printed on Somerset Book 175 g. Type is Helvetica and Heiti 10 point. Issued in an edition of 50 copies.

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

"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.

Zippered black cloth body bag with red cloth flowers sewn to the top and 8 laminated panels of text attached. Limited edition of 300 copies. Kermaire notes in 2015 she was in a boat near the Greek islands of Lesbos and Leros, two "hotspots" of refugees.

Accordion style format bound in a board with a plastic screening material covering; inside cover has implant sewn into screen covered with clear plastic covering; magenta circuit board inserted in silver faux leather sewn onto screen; cover folded by a third and housed in a plastic envelope. 11 x 9 cm. Digitally printed. Card signed by the artist. Edition of 500. Crossett owns number 40.

"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.

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.

Sudanese artist, writer, critic, and cultural diplomat Ibrahim El-Salahi (born 1930) is one of the critical figures of African and Arabic modernism. While serving as Sudan’s Undersecretary of Culture in 1975, El-Salahi was imprisoned without trial and endured six months of deprivation in the notorious Cooper (now Kober) Prison. During a period of house arrest that followed, he exorcised his experience in the Prison Notebook, an intensely personal work that is both a major historical document and a masterpiece of drawing, its pages filled with remarkable pen-and-ink drawings that demonstrate the artist’s graphic mastery. This bilingual English-Arabic volume, comprises a facsimile of the Prison Notebook; an English translation of its prose; a contextualizing essay by art historian Salah Hassan that addresses the social and political milieu in which it was produced; and contemporary commentary by the artist. 148 pages. 29 x 17 cm. Sewn bound.

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 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.

This tiny book (2.75" x 2.75") chronicles the sometimes dashing, often unruly hair styles of four American presidents and their assassins. Illustrated, written, designed & bound by the artist. Printed by the artist on a Heidelberg GTO offset press

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.

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.

'Emotional reactions' uses as its background a facsimile text taken from a 1923 research paper entitled, 'The measurement of emotional reactions: researches on the psycho-galvanic reflex' by David Weschler. Superimposed onto this text are images of ephemeral objects - a label reading 'Fragile, a dead fledgling, old snapshots, a battered 'Old Maid' playing card juxtaposed with a cinema ticket that reads 'Admit One'. This imagery forms its own narrative that can be read in isolation from the text, or can be taken in conjunction with the information that lies beneath. The interplay of image and text sets up contrasts and juxtapositions - colored pictures against black and white text, the ambiguity of the images versus precise scientific language, the haphazard placing of objects across ordered columns of typed text, the applied emotions of the apparently autobiographical imagery resting on dry, impersonal research. Through this use of symbolism, Zweig questions the validity of scientifically quantifying 'emotional reactions' in a humorous and though-provoking way. 47 p. 23 cm. Offset-printed

Visual references to marbled school composition books combined with unanswerable quiz questions result in this humorous take on the act of looking. 39 p. 15 x 21 cm. Staple bound with adhesive tape over spine.

Duane Michals new book takes a satirical and humorous look at contemporary photography, art criticism and the state of today's art market. Whether parodying Wolfgang Tillmans or Thomas Ruff, Andres Serrano, Sherrie Levine, or Cindy Sherman, Michals uses his wit and pictorial skill to create pictures that are both humorous and penetrating, while taking aim at the pretensions that are often perceived as deliberately obscuring contemporary art. Michals provides us with a grand parody that exemplifies his mastery of the visual world and the written word. 24 cm. Perfect bound.

"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.

A delicate, but haunting series of portraits accompanies the reader through the search for self hidden in the pieces of the missing past. The absence and loss of family identity associated with adoption is explored through the method of devore printing that leaves a transparent imagery behind. 14 x 175 cm. folded to 14 x 12 cm. Edition of 100. Paper: Framed silk. Printing method: Letterpress, devore screen print. Accordion Fold

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.

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.

An artist's book by the Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?

"In 1970 Ken Ohara created a body of work called “One,” for which he randomly selected people on the streets of New York and asked if he could take their picture. The resulting full-face portraits are larger than life, close-cropped black-and-white photographs that are as striking as they are unsettling. Ohara’s subjects vary in gender, race and age but the portraits come together as a homogenous whole." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 202.

"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.

Khichdi (Kitchari) is a book about India’s rapidly changing identity, focusing on gender, technology, and the balance of traditional Indian and western culture. The work is intentionally conscious of photography as a shared experience, and Sethi incorporates his own interests and history, as well as himself, both as a photographer and participant throughout the work. Inspired by India’s ubiquitous decoration and hyper-color, as well as the serendipitous nature of his encounters, Sethi’s inquisitive approach encourages himself, his collaborators, as well as his audience to find and enjoy the beauty, humor, and absurdity in everyday life. Khichdi, a traditional Indian dish, is made from boiled rice and lentils, and includes a variety of spices, vegetables, and sometimes meat. Eaten throughout the entire country, and recently proclaimed the national dish of India, Khichdi takes on an infinite number of forms and preparations, changing region to region, state to state, and even household to household. No single recipe, list of ingredients, or even spelling is deemed to be official, with the only constant quality of the dish being its ever changing identity. In a similar fashion, Sethi’s work never offers a singular permanent viewpoint. Rather, it serves as a expanded, ever changing self portrait documenting an evolution of the country, its people, and the artist himself. 432 unnumbered pages. 28.5 x 21 cm. Embossed covers. Sewn bound. Offset printing. Edition of 1000.

"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

Sudanese artist, writer, critic, and cultural diplomat Ibrahim El-Salahi (born 1930) is one of the critical figures of African and Arabic modernism. While serving as Sudan’s Undersecretary of Culture in 1975, El-Salahi was imprisoned without trial and endured six months of deprivation in the notorious Cooper (now Kober) Prison. During a period of house arrest that followed, he exorcised his experience in the Prison Notebook, an intensely personal work that is both a major historical document and a masterpiece of drawing, its pages filled with remarkable pen-and-ink drawings that demonstrate the artist’s graphic mastery. This bilingual English-Arabic volume, comprises a facsimile of the Prison Notebook; an English translation of its prose; a contextualizing essay by art historian Salah Hassan that addresses the social and political milieu in which it was produced; and contemporary commentary by the artist. 148 pages. 29 x 17 cm. Sewn bound.

"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.

"Dallas, a pleasant city in Texas, has a remarkable number of bail bond businesses. I was stuck in a hotel with a fever of 103, tossing and turning, and this dreadful fact became clear to me: there is a lot of money to be made in punishing crime." Industry of Punishment vol. 1. 34 pages. Saddle-stitch binding.

"Catalogs once brought the world into the home: place-bound people could roam the planet, shopping from a magazine. But this was a focused experience, since catalogs always represented a particular notion of commerce, with a particular, unique physical identity: LL Bean never seemed anything like Omaha Steaks. The web is a catalog of enormous proportions, and everything is produced in the same medium—RGB pixels. Police uniforms are identical with French cheese, making crime-fighting just another way to turn a profit." Industry of Punishment vol. 2. 36 pages. Saddle-stitch binding.

"The role of the state in punishing crime is changing. Three for-profit, publicly traded corporations operate prisons in many states of the US. Is it right to subcontract this basic function to private companies? Is it right for people to make a profit on punishment? Images and text extracted from annual reports of these companies: boards of directors, blinded by the flash of public attention." Industry of Punishment vol. 3. 56 pages. Saddle-stitch binding.

Buddha’s Tears exposes the hidden story of organ harvesting in China from prisoners of conscience, such as Falun Gong practitioners. Statistical information is juxtaposed with poetic rendering of a legend of a statue of Buddha, who weeps in times of crisis. Each page is filled with dates, graphs, maps, drawings and stories, concluding with a sutured image of China, a symbol of healing. The accordion pages unravel to form a long scroll, a traditional form of storytelling. Buddha’s Tears’ thirteen tryptic pages are dense with visual and textual information. Silkscreen, letterpress and digitally printed on Somerset Book 175 g. Type is Helvetica and Heiti 10 point. Issued in an edition of 50 copies.

In 2013, the War Resisters League, a pacifist organization active in the United States since 1923, put out a call in Critical Resistance’s The Abolitionist for stories of tear-gassing and pepper-spraying in prisons and jails. Hundreds of people sent in letters revealing the rampancy of human rights abuses in incarceration centers. Freya Powell’s When does I become We, based on her video On Fire like Hell Fire, gathers some of these harrowing accounts of prisoners’ exposure to chemical weapons into a polyphony of voices relating the injustices suffered through gassing and medical negligence and the lasting physical and psychological trauma resulting from these experiences. Published by Wendy's Subway. 28 pages; 19 x 12 cm. Edition of 125.

"This sketchbook was begun in Munich in 1999, when I was 29 years old. Like most sketchbooks it served as a portal between the real world and the realm of her imagination. Although it was never intended to be shared, nevertheless quite a bit of “work” came out of this particular book, including the installation ‘Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)’, which is in the collection of the Guggenheim Museum. That, however, is an exception to the rule. For the most part the pages in this sketchbook reflect uneasy, unrefined, unfinished thoughts and anxieties, written and drawn with no objectives, no ulterior motives, and no filters." - Kara Walker.
[212] p. 23 x 15 cm. Sewn Binding.

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.

A prolific writer and documenter of both her art and her relationships, the public and private, Lozano kept a series of personal journals from 1968 to 1972 while living in New York's SoHo neighborhood. 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. In the decade before her infamous "dropout piece"--culminating in a move to Dallas where she would remain until her death--Lozano returned to these notebooks, editing the entries, sometimes blacking out entire pages. Private Book 2 is the second in a series of 11 pocket-sized books, which are printed as facsimiles with spiral binding.

RYB (red-yellow-blue) is a standard set of colors used in subtractive color mixing. By combining any two of these primary colors, a third color is created (the secondary colors: green, orange, or purple); by mixing equal amounts of all three, black is born. Jerry Seguin's 2015 book 100 XIV / 100 RYB uses this color theory as a starting point, working within--and against--its confines to examine the ways in which masculinity (in particular, queer masculinity) is represented or imagined. Photographs of naked or near-naked men, alone or with another, are printed in this limited palette, the colors never mixing to create their secondary counterparts. Seguin isolates these moments--the photographs are often snaps of men in action (walking on a beach, running on a soccer field, giving a blow job)--and rigidly layers them on top of abstractions (also in this limited palette), exposing the awkwardness of representation and the pleasure in tension at the same time. [100] p. 23.5 x 15.5 cm. Perfect Binding. Digitally printed.

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.

"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.

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.

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.

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.

"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

"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.

“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.

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.

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.

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.

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.

Ghost Writer is Bloom’s way of illuminating the central themes of her work without discussing the work directly. It includes an essay on ways of reading between the lines – a short story by Susan A Davis that is full of red herrings – Joseph Alsop on art forgery – Brian Wallis on photographic evidence – correspondence between Jane Weinstock and Bloom about love letters to and from Flaubert. Double-sided artist’s book. 120pp, 23.2 x 17.5. English and German, 1 colour and 76 b&w reproductions.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

Bardo is a collection of drawings by Christina Martinelli '08 depicting what happens to ones soul as it passes from this life onto what is next. 26 cm. 16 p. Risograph printed. Edition of 100. Crossett owns number 3.

Living in Kilburn for two years, historically the home of the Irish emigrant, Enda found the inspiration to photograph the cherry blossom. The transience of the blossoms has often been associated with mortality: new beginnings and endings. In the Japanese tradition in particular, cherry blossom is an enduring metaphor for the ephemeral nature of life. Wandering the streets of Kilburn, noticing many elderly Irish people and people of many other nationalities too, he began to wonder at the twists and turns their lives had taken, what their hopes were when they were young and moved to the city, and how their dreams had evolved. The cherry blossom, especially in the more incongruous urban settings, became, for Enda, a symbol for these emigrants and for their lives, actual and imagined. The poem Renku: My Last Thirty Five Deaths by Don Paterson works in unison with the selected thirty two images. 14.5 x 20 cm. Letterpressed cover. Edition of 100. Crossett owns number 12.

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.

Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus and includes poetry, family photographs, letters, and sketches. Accordion-folded pages attached to heavy card stock. Issued in a drop spine box. 21 cm in box 24 x 15 x 7

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

A delicate, but haunting series of portraits accompanies the reader through the search for self hidden in the pieces of the missing past. The absence and loss of family identity associated with adoption is explored through the method of devore printing that leaves a transparent imagery behind. 14 x 175 cm. folded to 14 x 12 cm. Edition of 100. Paper: Framed silk. Printing method: Letterpress, devore screen print. Accordion Fold

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.

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.

Throughout the photobook are interwoven solarigraphs from 32 pinhole cameras on the roofs of houses in the city of Oaxaca, which recorded both the path of the sun, as well as the great earthquake of 2017 that destroyed much of the state. In the story Bustamante draws an analogy between the phantom limb syndrome in which a patient, after having been amputated, continues to feel the now non-existent limb with the lingering presence of the parent long after they have passed away. Paperback.
23 x 21 cm. Sewn binding.

The Map of Neighboring Bodies is a book of invented iconography related to bodies of water. The artist plays with the definition of territory by breaking down boundaries across an open sea and systematically rebuilding them with pictograms. With these symbols, the book maps the natural, political, historical, and fantastic regions across five environments. The result is a reflection on the utility of maps as fictional devices and our longstanding need to create boundaries in order to make sense of the world around us. Graham’s interest in symbolic imagery hearkens back to an early affinity for 8-bit video games and ancient cartography. Designed to be cyclical, the book connects along a seamless path that wraps horizontally around the entire book. A key is provided on the front side to help the reader decipher the environments.17 cm x 14.6 cm x 2.54 cm [35] p. Silkscreen. Accordion fold. Edition of 65. Crossett owns number 15.

Channel & Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book's page turns and fold outs to represent how the stream has been contained and fragmented by the built environment. The images are letterpress printed and screenprinted on Shikoku paper. The typeface is Avenir, letterpress printed from polymer plates. The cover is handmade paper from milkweed collected and retted at Ruocco Family Farm in Sandgate, VT, mixed with cotton and abaca. 15.24 x 9 cm. Long-stitch binding.

Letterpress with French sans serif extra wide wood type circa 1925 and printed on obsolete sea charts by Dikko Faust. Design by Esther K Smith. One folded continuous sheet of obsolete sea charts. Faust used extra-wide French wood type, circa 1925, to letterpress print the alphabet, printing both upper and lower case of each letter. 3" x 2 .5" closed, extends to 104.25"; 32 pages including self-wraps. Edition of 40. Signed.

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.

Buddha’s Tears exposes the hidden story of organ harvesting in China from prisoners of conscience, such as Falun Gong practitioners. Statistical information is juxtaposed with poetic rendering of a legend of a statue of Buddha, who weeps in times of crisis. Each page is filled with dates, graphs, maps, drawings and stories, concluding with a sutured image of China, a symbol of healing. The accordion pages unravel to form a long scroll, a traditional form of storytelling. Buddha’s Tears’ thirteen tryptic pages are dense with visual and textual information. Silkscreen, letterpress and digitally printed on Somerset Book 175 g. Type is Helvetica and Heiti 10 point. Issued in an edition of 50 copies.

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.

Fear Indexing The X-Files is a collaborative illustrated essay from the Berlin-based artist, Steven Warwick, and the Brooklyn-based writer and art critic, Nora Khan. Khan and Warwick combed through the first 9 seasons of the television show, The X-Files, which originally aired from 1992 to 2002 with a recent reboot, to analyze how the fears in the show related to the evolving climate of fear during the Bush-Clinton Era which saw the rise of neoliberalism and the world wide web as we know it in its current form. The essay points to how the show presented fear as an inherent quality of everyday modern life. Paperback, Staple-Bound, 48 color pages, 5.25 inches x 8.25 inches, Edition of 750.

An observation of childhood idols and their extreme social media presence. This documents Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Loving Natgeo is a 34-page survey of their emoticon expressions of Natgeo’s wildlife photography. 5.5"W x 8.5"H. 34 pages. Edition of 50.

The second zine in a series documenting Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Really Loving Natgeo is a 42-page survey of their emoticon expressions of Natgeo’s wildlife photography. Includes a bonus chapter of the group loving NASA’s account. 5.5"W x 8.5"H. 42 pages. Edition of 50. Saddle stitch / Staple Bound.

Orientalist Tinder contains portraits and captions based on the artist's experience using the social app. Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. Single sheet folded.

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.

"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.

"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.

Images of borders and fences around properties in Westway, NM which lies only about three quarters of a mile from the Rio Grande and about nine miles from the Mexican border.

Zippered black cloth body bag with red cloth flowers sewn to the top and 8 laminated panels of text attached. Limited edition of 300 copies. Kermaire notes in 2015 she was in a boat near the Greek islands of Lesbos and Leros, two "hotspots" of refugees.

The cover shows a photograph of the area of Southern Arizona which is the most active in terms of migration across the Sonoran desert, and where thousands have lost their lives in the deadly desert heat. The interior pages show the progression of a typical high desert day from dawn to sunset with a single line of text on each two page spread." Edition of 1000. Four-color offset lithography. Signed by the artist. 90 unnumbered pages: 28 cm

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."

Living in Kilburn for two years, historically the home of the Irish emigrant, Enda found the inspiration to photograph the cherry blossom. The transience of the blossoms has often been associated with mortality: new beginnings and endings. In the Japanese tradition in particular, cherry blossom is an enduring metaphor for the ephemeral nature of life. Wandering the streets of Kilburn, noticing many elderly Irish people and people of many other nationalities too, he began to wonder at the twists and turns their lives had taken, what their hopes were when they were young and moved to the city, and how their dreams had evolved. The cherry blossom, especially in the more incongruous urban settings, became, for Enda, a symbol for these emigrants and for their lives, actual and imagined. The poem Renku: My Last Thirty Five Deaths by Don Paterson works in unison with the selected thirty two images. 14.5 x 20 cm. Letterpressed cover. Edition of 100. Crossett owns number 12.

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. Silkscreen. Folded paper enclosure. Binding: Accordion.

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich's poem "Diving Into the Wreck," and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs. The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world's apocalyptic imaginary into another, parallel, unrealized time. 184 p. 24 x 20.5 cm. Offset Printed. Edition of 1,000.

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.

"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.

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.

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 poetry comic that follows the mythological hybrid as it enacts its roles of hunter, stalker, executioner, devourer." - Jia Sung. The Oxford Dictionary of Phrase and Fable describes a harpy as "In Greek and Roman mythology, a rapacious monster described as having a woman's head and body and a bird's wings and claws or (as in Virgil's Aeneid) depicted as a bird of prey with a woman's face; in extended usage, a grasping unscrupulous woman." Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. 7 unnumbered pages. 16 cm. Binding: Saddle Stitch / Staple.

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.

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.

Matthew Adis’ The Threshold of Atrocity is a raw and visceral collection of drawings, reproduced in brutal black and white. Grotesque contortions of insects overlay stark silhouettes, creating twisted portraits that resemble human faces made up of moths, worms, and other creatures. 12 unnumbered p.; 28 x 22 cm.; Staple Bound

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

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.

For Projects 75, The Museum of Modern Art has published artist Laylah Ali's first book, a work composed entirely of her trademark green-headed, brown-bodied figures engaged in acts of violence. Stock characters such as security officers, sports figures, victims and oppressors that have been the subject of Ali's singular gouche pieces in the past now play out their aggressions in this hybrid comic / artists' book, an extended, nonlinear narrative designed by the artist to be a visual novelette.
40 p.; 18.5 x 24.5 cm.; Staple Bound; Offset Printed

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.

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

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 February 2003 the Fondation Musée d'Art Moderne Grand-Duc Jean, Mudam, Luxembourg accepted D. Rotunno and E. Geradon-Luyckx's (Tarantua Luxembourg) project, based on the work and personality of the Japanese photographer Izima Kaoru. Mudam has published the artist book designed by Paul Kirps that traces the history of the project and all it implies and reveals about both Luxembourg and Japan. French and English texts.

Color photographs by the French artist Jean-Luc Moulène. 140 p. 22 cm. Japanese / English

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.

Poetry. Spanish. No.204 of 250 copies. Signed by the author.

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.

Ghost Writer is Bloom’s way of illuminating the central themes of her work without discussing the work directly. It includes an essay on ways of reading between the lines – a short story by Susan A Davis that is full of red herrings – Joseph Alsop on art forgery – Brian Wallis on photographic evidence – correspondence between Jane Weinstock and Bloom about love letters to and from Flaubert. Double-sided artist’s book. 120pp, 23.2 x 17.5. English and German, 1 colour and 76 b&w reproductions.

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."

Sudanese artist, writer, critic, and cultural diplomat Ibrahim El-Salahi (born 1930) is one of the critical figures of African and Arabic modernism. While serving as Sudan’s Undersecretary of Culture in 1975, El-Salahi was imprisoned without trial and endured six months of deprivation in the notorious Cooper (now Kober) Prison. During a period of house arrest that followed, he exorcised his experience in the Prison Notebook, an intensely personal work that is both a major historical document and a masterpiece of drawing, its pages filled with remarkable pen-and-ink drawings that demonstrate the artist’s graphic mastery. This bilingual English-Arabic volume, comprises a facsimile of the Prison Notebook; an English translation of its prose; a contextualizing essay by art historian Salah Hassan that addresses the social and political milieu in which it was produced; and contemporary commentary by the artist. 148 pages. 29 x 17 cm. Sewn bound.

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.

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.

An Anthology of Chance Operations is an artists' book based on experimental neodada art and music composition that used John Cage inspired indeterminacy. Its full title is: An Anthology of chance operations concept art anti-art indeterminacy improvisation meaningless work natural disasters plans of action stories diagrams Music poetry essays dance constructions mathematics compositions. Crossett's copy is a second edition issued by art dealer Heiner Friedrich in 1970.

Dawn, an intense memoir, delves deeply into an intensely creative period of Elverum's life, with a beautiful mix of journal writing, jokes, photographs, and music. This hardcover collection chronicles Elverum's winter spent alone in a cabin in arctic Norway, wrestling with ghosts, gathering wood, acting out myths--3 months of unfiltered brain torrents interspersed with drawings. It comes with a 17-track CD of songs, pared down to just guitar and vocals, written during that time, songs that have become well-known over the years through recordings and live performances.

If I Am A Musical Thinker is a statement of the aesthetic, social, and spiritual credo of the influential American composer and writer Benjamin Boretz. Boretz proposes that artistic expression answers primal human needs for experiencing identity through articulation in artistic media; and further, that theoretical reflection is -- constructively or deconstructively. 56 pages; 23 cm

"I didn't make a record. It would have been too difficult. It was easier not to make a record," David Shrigley writes on the LP sleeve covering his record-shaped book of song lyrics. Songbook connects the three spheres of his work--art, books and music. 32 x 32 cm. + 1 empty album sleeve.

An observation of childhood idols and their extreme social media presence. This documents Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Loving Natgeo is a 34-page survey of their emoticon expressions of Natgeo’s wildlife photography. 5.5"W x 8.5"H. 34 pages. Edition of 50.

The second zine in a series documenting Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Really Loving Natgeo is a 42-page survey of their emoticon expressions of Natgeo’s wildlife photography. Includes a bonus chapter of the group loving NASA’s account. 5.5"W x 8.5"H. 42 pages. Edition of 50. Saddle stitch / 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.

c/o The Velvet Underground New York, N.Y.

Published in conjunction with Johan Kugelberg's 2007 exhibition celebrating the 40th anniversary of the release of the highly influential album "The Velvet Underground and Nico." Illustrated throughout with reproductions of vintage photographs, posters, handbills and magazine clippings. Essays contributed by Richard Prince, Jon Savage, Jonathan Richmond, and William Gibson. 26 cm.

A companion to Jesse Chun's eponymous Karaoke video essay, this book centers on a 2,000-year old folk song, which South Korea and North Korea both registered as their own for the UNESCO Intangible Heritage list in 2012 and 2014, respectively. Featuring text documents from the validation process, translations and mistranslations of the lyrics, views of fragmented landscapes, Intangible Heritage disrupts the bureaucratic narrative underlying its subject matter. Publisher: Wendy's Subway. 36 pages; Saddle-stitched; Risograph. Edition of 125

Free Jazz Communism actualizes Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962. Including archive material and documents, commissioned theoretical and historical texts, and interviews, the book edited by Sezgin Boynik and Taneli Viitahuhta contextualizes politics of free jazz music in light of global decolonization movements, anti-war activism, structures of racial capitalism, and forms of avant-garde music. By focusing on concerts of Shepp–Dixon Quartet, leading avant-garde jazz musicians from the US, in the socialist anti-colonial festival in Helsinki, the book is introducing complexities in the usual Cold War stories about the sixties, and pictures politics of jazz as something transcending boundaries of nation-state and capitalist market regulations. Apart from the theoretical and historical overview by its editors, the book includes testimonies of the collective and international spirit of the 1962 Youth Festival, translated documents from Finnish press, a new interview with Archie Shepp, commissioned text by Jeff Schwartz on the historical context of political engagement of free jazz musicians, and reproduction of three hard-to-find texts by Shepp. Published by RABRAB Press. 200 p.; 20 x 13.5 cm.; Sewn Bound; Offset Printed. Edition of 500.

PIT is a collection of photographs taken by Lisa Anne Auerbach at Chicago punk and hardcore shows between March and June 1985, when she was a teenager. Most photographs taken in this kind of space are of the bands, but Lisa chose instead to take photos of the crowd: the dancers, the spectators, the partiers, the depleted. The photos are wild, energetic, they refuse to hold still. 80 pages : mainly illustrations ; 27 cm; Perfect binding

Channel & Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book's page turns and fold outs to represent how the stream has been contained and fragmented by the built environment. The images are letterpress printed and screenprinted on Shikoku paper. The typeface is Avenir, letterpress printed from polymer plates. The cover is handmade paper from milkweed collected and retted at Ruocco Family Farm in Sandgate, VT, mixed with cotton and abaca. 15.24 x 9 cm. Long-stitch binding.

"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.

“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.

A Touch is All it Takes is about the complex relationship between plants and humans. "'A touch is all it takes' is a phrase used by Monsanto on their website for the weed killer, Roundup. In the artist's book A touch is all it takes this phase is placed over detailed drawings of the weed Galium aparine [an edible and medicinal weed]. In the second half of the book, the drawings are inverted."A slight pressure with one finger on the loose, translucent wrap makes the front cover clearer to read suggesting that it only takes a small move to start seeing things differently." 3 x 4"; 16 pages. Digitally printed with archival inks on Hahnemühle Photo Rag Duo paper. Line-drawings. Hand bound codex with translucent dust wrapper.

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.

Nannucci explores the color green through photographing plants and assigning tones and scales to develop a "fundamental chromatic code". Text in English and Italian. One folded page, 34x11 cm. Off set printed. Edition of 1000.

Book with seeds from the trees in Zuccotti Park, site of the Occupy Wall Street movement. Library's copy sprouted and the seedling was planted adjacent to the EAC Building's West side and can be viewed from the East side of Crossett Library, 42º 55' 7" N 73º 14' 14" W. Blank book with three holes through book block, each with a seed inside. Black and white photograph on endpapers. One folded sheet inserted, "How to plant and take care of your honeylocust tree," by Dr. Mike Kuhns, Utah State University Extension Forester. Commissioned and published in New York City by Imprint Projects during December 2012. Edition of 200.

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 combination of appropriated images and text. The images are of historical prints of animals. The text is taken from Rev. J. G. Wood, "The Boys Own Book Of Natural History" and addresses the edibility of the various animals. Pamphlet stitch binding. Offset printed. Edition of 125. Crossett owns number 54.

“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.

Pierre Leguillon echoed the octagonal structure that he imagined for the Rotonde Balzac space, in the National Foundation for Graphic and Plastic Arts in Paris. Images of antique kimono fabrics are juxtaposed with pictures: discarded photographs from news agency, or postcards, which show a strange natural history: animals, plants or minerals are often out of scale or transformed by photographic representation. Tifaifai is a Polynesian word, a language that has no writing form and where culture is transmitted by oral tradition. Pierre Leguillon puts two collections together: the fabrics and the pictures. All these pictures, even if they are odd and sometimes difficult to "read", are left without any explanation: there isn't any caption with them. 15.5. x 15.5 cm 16 pages. Wordless.

Feminist Ships, at its core, is a history lesson, celebrating the lives and achievements of women on the water. It begins chronologically, and fittingly, with an Inuit boat called the umiak, nicknamed the “women’s boat” because it was paddled by women to transport people and belongings. The book continues to move across centuries and around the world, including the ships of notorious female pirates like Grace O’Malley and Ching Shih; Molly Kool, the first licensed female sea captain in North America; Sisters Under Sail, a sailing education program for young girls; and Women on Waves, an organization that provides abortions and women’s healthcare in international waters exempt from restrictive laws. The last page features the rowboat built by writer Julia Holmes who takes solo expeditions retracing an ancestor’s journey from New York to New Orleans. Edition of 50. The font is Mrs Eaves, created in 1996 by Zuzana Licko. 9 3/8 " x 9 3/8 " Paper: Colorplan 135 gr. Silkscreen printed. Accordion fold.

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.

Letterpress with French sans serif extra wide wood type circa 1925 and printed on obsolete sea charts by Dikko Faust. Design by Esther K Smith. One folded continuous sheet of obsolete sea charts. Faust used extra-wide French wood type, circa 1925, to letterpress print the alphabet, printing both upper and lower case of each letter. 3" x 2 .5" closed, extends to 104.25"; 32 pages including self-wraps. Edition of 40. Signed.

"Recently, for an exhibition in Los Angeles at Blum & Poe, I exhibited a row of glass vessels positioned on the floor of the gallery in an exact north-south line. Each vessel contained water from the Pacific Ocean that I collected by sailing to the longitude line that divides the Pacific time zone and the Alaska time zone, 127.5 degrees west of Greenwich, England. I wanted to materialize this imaginary line that determines spatial and temporal coordination, and to displace it by some 400 nautical miles. I imagine the line existing in neither zone, being outside of standardized time. The vessels are small enough to fit into your hand, so you can hold them--rather than the line holding you." 1 leaf (folded into 8 4 1/4 x 6 in. postcards)

The Map of Neighboring Bodies is a book of invented iconography related to bodies of water. The artist plays with the definition of territory by breaking down boundaries across an open sea and systematically rebuilding them with pictograms. With these symbols, the book maps the natural, political, historical, and fantastic regions across five environments. The result is a reflection on the utility of maps as fictional devices and our longstanding need to create boundaries in order to make sense of the world around us. Graham’s interest in symbolic imagery hearkens back to an early affinity for 8-bit video games and ancient cartography. Designed to be cyclical, the book connects along a seamless path that wraps horizontally around the entire book. A key is provided on the front side to help the reader decipher the environments.17 cm x 14.6 cm x 2.54 cm [35] p. Silkscreen. Accordion fold. Edition of 65. Crossett owns number 15.

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.

First edition, first printing. Soft cover. White laminated wrappers with title printed in black on cover and spine. Photographs by Ed Ruscha. 64 pp., with 10 four-color plates. 7 x 5-1/2 inches. Printer: Blair Litho, Los Angeles.

The 25-foot length of the accordion-folded Every Building on the Sunset Strip affords the viewer two continuous photographic views of the mile and a half section of this landmark stretch of Sunset, one for each side of one of the city’s landmark thoroughfare. 7 1/8 x 5 3/4 x 3/8 in. Open unfolded: 7 1/8 x 297 in. Off-set lithography.

Contains photographic images of fires, including a gas range, a cigarette, a pipe, a cigar, a blow torch, a highway flare and others; the final image is of a glass of milk "Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History Second edition. 48 pages, 17.8 x 14.0 cm

6 inches x 8 3/4 in., illustrated with 115 reproductions of black and white photographs. Photography by: Ken Price, Joe Goode, Edward Ruscha. A photo-play based on Mason Williams' story: "How To Derive The Maximum Enjoyment From Crackers". Semi-glossy white paper wrappers over gray cardboard covers, with the title: Crackers, printed in red on the spine and front cover, Mason Williams text printed on the back flap of the wrapper.

Edward Ruscha's fifteenth artist book "Records" is a photographic inventory of thirty vinyl phonograph records (and their album cover graphics) from the artist's personal collection circa 1971. Photos by Jerry McMillan. With 60 b/w photographs. 72 p. 1st edition of 2000.

First & only edition of 4065 copies. 32 leaves. Pagination: 15 color photographic plates 5.75" x 7.5". 15 color photographs of various cacti and palm trees floating against white backgrounds.

"Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History. 9 15/16 x 7 7/8" Edition of 2413. Printer Blair Litho, Los Angeles.

Ed Ruscha's first artists' book. "Ed Ruscha's works [Twentysix Gasoline Stations, Some Los Angeles Apartments, Various Small Fires and Thirtyfour Parking Lots] still retain their capacity to surprise, delight and puzzle in equal measure. In the several decades since they were published, they have been much exhibited, written about and analyzed, yet they somehow are still objects of mystery and fascination, beguiling in their utter simplicity and immutable rightness. At the time of publication, they were largely overlooked by much of the photography world. The apparent anti-formalism and indifferent technique of Ruscha's pictures were derided; the perfect formalism of each book as an art object was not appreciated. Also disregarded was Ruscha's interest in, and debt to, two of photography's luminaries--Walker Evans and Robert Frank" The Photobook: A History. Edition of 3000 unnumbered. Third Edition. 48-page book, 26 photographic illustrations, 7 1/16 × 5 1/2 × 3/16 in.

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.

Living in Kilburn for two years, historically the home of the Irish emigrant, Enda found the inspiration to photograph the cherry blossom. The transience of the blossoms has often been associated with mortality: new beginnings and endings. In the Japanese tradition in particular, cherry blossom is an enduring metaphor for the ephemeral nature of life. Wandering the streets of Kilburn, noticing many elderly Irish people and people of many other nationalities too, he began to wonder at the twists and turns their lives had taken, what their hopes were when they were young and moved to the city, and how their dreams had evolved. The cherry blossom, especially in the more incongruous urban settings, became, for Enda, a symbol for these emigrants and for their lives, actual and imagined. The poem Renku: My Last Thirty Five Deaths by Don Paterson works in unison with the selected thirty two images. 14.5 x 20 cm. Letterpressed cover. Edition of 100. Crossett owns number 12.

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

In February 2003 the Fondation Musée d'Art Moderne Grand-Duc Jean, Mudam, Luxembourg accepted D. Rotunno and E. Geradon-Luyckx's (Tarantua Luxembourg) project, based on the work and personality of the Japanese photographer Izima Kaoru. Mudam has published the artist book designed by Paul Kirps that traces the history of the project and all it implies and reveals about both Luxembourg and Japan. French and English texts.

The only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1/4 x 2 1/4 inches), originally published in an edition of 200 copies. The 2001 Beautiful Book is a true facsimile produced by Granary Books in collaboration with the Plaster Foundation, Inc. New prints have been made from the original negatives and hand-tipped onto Canford Buttercup paper. The covers are silk-screened in two colors on Tweedweave paper and saddle-stitched. The printing and arrangement of the photographs, choice of materials, and nature of the binding are consistent with the four copies of the book given by Smith to Marian Zazeela in 1962. The 200 copies in the present edition are numbered and authenticated by the Plaster Foundation, Inc.

Color photographs by the French artist Jean-Luc Moulène. 140 p. 22 cm. Japanese / English

The phenomenon of laughter, like this artist's book, is characterized by variety. The diversity of photographic approaches manifested in the dialog between these images reveals different facets of identity, relationships, and social movements. Momentary scenes arise in the mix of imagery, forming idiosyncratic orders. Found signs and traces are articulated in movement, masquerade, and glamor. Visual shifts, reversals, and reinterpretations invert societal norms and conventions. Browsing through these pages, a flow of images emerges that follows its own inner rhythm, united by the expressiveness of laughter as communication, gesture, grimace, or threat. English, German. 16.4 x 24 cm. 192 p.

Twentysix Gasoline Stations is Michalis Pichler's homage to Ed Ruscha, who published his groundbreaking and highly influential Twentysix Gasoline Stations in 1962. Pichler's version offers a more modern update, examining twenty-six German gas stations all owned by the same company and all displaying the same signage and architectural elements. At first glance, all twenty-six images appear to depict the same pristine and brightly-colored generic structure. Only upon further examination, aided by Pichler's captions, does the reader get the full extent of the joke, which is punctuated by the book's final image: a disembodied hand holding an excerpt from a 1969 interview with Ruscha in which he explains "the eccentric stations were the first ones I threw out." 18 x 14 cm. Offset Printed. Edition of 600

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.

22 x 31 cm. 65p. Off-set printing.

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.

"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

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)

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.

William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum's first publication of color photography. The reception was divided and passionate. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contains 48 images edited down from 375 shot between 1969 and 1971. 110 pages, 24 cm

The cover shows a photograph of the area of Southern Arizona which is the most active in terms of migration across the Sonoran desert, and where thousands have lost their lives in the deadly desert heat. The interior pages show the progression of a typical high desert day from dawn to sunset with a single line of text on each two page spread." Edition of 1000. Four-color offset lithography. Signed by the artist. 90 unnumbered pages: 28 cm

31 p. : photos ; 23 cm. “The map was located in a school in Napareuli, in the Republic of Georgia: all the desktops in the classroom were covered with student grafitti and the map - printed at a moment just before the dissolution of the Soviet Union - seemed like it had been hanging there for the past twenty-four years, unmarked by the collapse of communism, unreflective of an entirely new world order, simple reduced to serving as an uninteresting backdrop for bored students.” Clifton Meador

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.

Images of borders and fences around properties in Westway, NM which lies only about three quarters of a mile from the Rio Grande and about nine miles from the Mexican border.

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."

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.

Duane Michals new book takes a satirical and humorous look at contemporary photography, art criticism and the state of today's art market. Whether parodying Wolfgang Tillmans or Thomas Ruff, Andres Serrano, Sherrie Levine, or Cindy Sherman, Michals uses his wit and pictorial skill to create pictures that are both humorous and penetrating, while taking aim at the pretensions that are often perceived as deliberately obscuring contemporary art. Michals provides us with a grand parody that exemplifies his mastery of the visual world and the written word. 24 cm. Perfect bound.

An observation of childhood idols and their extreme social media presence. This documents Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Loving Natgeo is a 34-page survey of their emoticon expressions of Natgeo’s wildlife photography. 5.5"W x 8.5"H. 34 pages. Edition of 50.

The second zine in a series documenting Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Really Loving Natgeo is a 42-page survey of their emoticon expressions of Natgeo’s wildlife photography. Includes a bonus chapter of the group loving NASA’s account. 5.5"W x 8.5"H. 42 pages. Edition of 50. Saddle stitch / Staple Bound.

Visual references to marbled school composition books combined with unanswerable quiz questions result in this humorous take on the act of looking. 39 p. 15 x 21 cm. Staple bound with adhesive tape over spine.

Poems presented as diary entries. 4 photographs of bones, skeletons and rocks are pasted in; caption to final photograph taped in on stringed tag. [7] p. 21 cm. Envelope with label. Signed.

Black and white photographs of a vague dog sculpture on a shelf. The sculpture changes positions in the images and is sometimes covered with hay. [33] pages 16 cm. Edition of 500. Crossett owns number 406. Offset printed. Perfect binding.

Luis Corzo, Sue Ravitz and Keegan Mills Cooke present “Untitled (Cigarette Box) 2018,” a collaborative project featuring photographs, objects and this limited edition zine. Inspired by Ravitz’s collection of 1950-60’s cigarette boxes, photographer Luis Corzo sought to capture these vintage ceramic containers in a way that spoke to their unique ambiguity. Drawn to the inherent contradiction of a beautifully hand-crafted object made expressly to hold cigarettes, Corzo playfully reverses the intended function of these boxes by turning them into vessels of ‘healthy’ goods - blooming flowers, supple skin and vibrant fruits & vegetables. Designed and printed by Keegan Mills Cooke. Photographs by Luis Corzo.

"Jim Stone’s One Picture Book finds its formal cues in the deservedly obscure 1902 guide Why My Photographs are Bad by Charles M. Taylor, which earnestly corrects photographic errors – such as blurring and foreshortening – that are now overly familiar modernist art strategies." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 140.

"Martin Parr’s second contribution to our One Picture Book Series, Seven Colonial Still Lifes, takes us to Colombo, Kandy, and Newara Eliya, Sri Lanka. A logical companion book to his previous book in this series, Seven Communist Still Lifes, this colorful little book highlights some of the lighter sides of colonialism-gone-awry." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500.

"The title of Stu Levy’s One Picture Book is also an anagram of the book’s subject, Carl Chiarenza. Levy’s “Grid Portraits” – in which multiple photographs of his subject, taken from various perspectives and distances, are combined to create one portrait – have been exhibited widely and are featured in many important collections throughout the United States. Cranial Czar, Eh? folds out map-like from its hardbound case." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 393.

"In June 1976, Michael Kenna first arrived in the United States, to work at the Heiden Hotel in the Catskill Mountains of upstate New York. It was to be an authentic “coming of age” summer for him. Since then, Kenna has documented the slow decline and eventual fall of the hotel. In June 2008, the crumbling structure burnt to the ground. Kenna drove ten hours with a ruptured appendix to make photographs of the remaining ashes." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 238.

"Red-crowned cranes are considered to be sacred by the Japanese people. Once almost extinct, today approximately 2,000 of the rare birds remain in all of Eastern Asia. Since 2002, Camille Solyagua has repeatedly traveled to the northern Japanese island of Hokkaido in mid-winter to pay homage and photograph the birds." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 253.

"Informed by the closing section in his previous book, Boo Moon, Korean artist Boomoon Kwon has created a new series of high-altitude skyscapes that function perfectly in our One Picture Book format. Boomoon is one of Korea’s greatest contemporary photographers. His work has been widely exhibited throughout Asia, Europe, and the United States. On the Clouds comprises reproductions of twelve images, and one original signed print." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 480.

"The work in these two companion books (Post Partum, Post Mortem) is from of a series of images by Steve Pyke celebrating the beauty and attraction of the working tool – in these instances, focusing on instruments that may be used at a birth and to carry out an autopsy. When Pyke was invited to photograph the “Post Mortem” tools by Guy’s Hospital in London, he thought it would be interesting also to show tools used at the other end of the life cycle. The images in Post Partum were shot at the Children’s Hospital of New York. Despite the fact that medical practice has advanced enormously since those times, medieval tools are still in use. Birth tools are utilized to intervene in a natural process, to help bring a new life into the world. The tools at a post mortem are a means of establishing or confirming the cause of death – they are used after a life has ended." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 106.

"The work in these two companion books (Post Partum, Post Mortem) is from of a series of images by Steve Pyke celebrating the beauty and attraction of the working tool – in these instances, focusing on instruments that may be used at a birth and to carry out an autopsy. When Pyke was invited to photograph the “Post Mortem” tools by Guy’s Hospital in London, he thought it would be interesting also to show tools used at the other end of the life cycle. The images in Post Partum were shot at the Children’s Hospital of New York. Despite the fact that medical practice has advanced enormously since those times, medieval tools are still in use. Birth tools are utilized to intervene in a natural process, to help bring a new life into the world. The tools at a post mortem are a means of establishing or confirming the cause of death – they are used after a life has ended." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 229.

"Japanese artist Emi Anrakuji displays reproductions of her one-off digital prints (made by digitally printing the extraordinary self-portraits for which she is best known) onto e hagaki (picture postcards)." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 433.

"In 1970 Ken Ohara created a body of work called “One,” for which he randomly selected people on the streets of New York and asked if he could take their picture. The resulting full-face portraits are larger than life, close-cropped black-and-white photographs that are as striking as they are unsettling. Ohara’s subjects vary in gender, race and age but the portraits come together as a homogenous whole." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 202.

"Philadelphia artist Judy Gelles first encountered the beach boxes of Melbourne, Australia in 2001. These structures, passed down for generations, have distinct compositions and colors identifying specific family ownership. Gelles’ photographic documentation of the beach boxes investigates their vernacular architecture and pays homage to the historical and artistic beauty they convey. The artist begins with a straight photograph, then digitally removes the color from the background, heightening the color of the boxes and delivering an eerie and beautiful composition." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 315.

"Michael Kenna’s humorous and very touching One Picture Book takes the form of a photographically-illustrated memoir of his childhood studies at Upholland College in England, where he studied to become a Catholic priest. Boarding School offers a rare glimpse into the personal side of this internationally-known but very private artist. It culminates with an original signed print made from an early (ca 1965) negative." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 475.

"It is natural, when faced with photographic negatives, to hold them up to the light. It is the same when faced with Robert Heinecken’s set of reversed out images from a 1970s “top-shelf” magazine. However, if in a crowded room (or bookshop) resist the impulse. Heinecken produced these incredible photograms, showing verso and recto pages simultaneously – and in negative – over thirty years ago. A long-forgotten off-shoot from his famous ARE YOU REA portfolio, published in 1968, they were rediscovered only recently in Heinecken’s archives. A pioneer of recycled imagery, Heinecken is universally recognized for his role in redefining the boundaries of photography as an art medium." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Original silver gelatin print. Edition of 500. Crossett owns number 290.

"In the winter of 2009, Todd Hido was approached by elementary school art instructor Wilhelm Matthies about using his photographs in class for the students to work from as a source of inspiration for some of their own exercises. The resulting book of four watercolors by 1st grade students shows some of the remarkable collages generated by the class. Each copy of the book contains 4 reproductions of collages, and one original signed photograph by Todd Hido." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 170.

"Masao Yamamoto’s second contribution to our One Picture Book series pays homage to Mount Fuji, and to some of the comparisons its instantly recognizable silhouette has inspired over the centuries. Yamamoto’s jewel-like photographs capture perfectly the essence of Japan’s most famous mountain; Fujisan is truly a perfect pairing of artist and subject." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 95.

"In Merced River, Stephen Shore presents photographs made in seemingly disparate locations, ranging from mountains to forests to beaches. The key to this selection of images can be found in the original print at the back of the book: all photographs are parts of one whole, a landscape photograph made by Shore at the Yosemite National Park in 1979." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 212.

"Michael Kenna’s second title in our One Picture Book series, Montecito Garden takes us on a walk through a stunningly beautiful private garden in Montecito, California. Exploring this intimate paradise through Kenna’s eyes allows us to see how even the most seamless landscapes are indeed the whole of many surprising details." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm.Includes 1 signed original sepia-toned silver gelatin print. Edition of 500. Crossett owns number 197.

Khichdi (Kitchari) is a book about India’s rapidly changing identity, focusing on gender, technology, and the balance of traditional Indian and western culture. The work is intentionally conscious of photography as a shared experience, and Sethi incorporates his own interests and history, as well as himself, both as a photographer and participant throughout the work. Inspired by India’s ubiquitous decoration and hyper-color, as well as the serendipitous nature of his encounters, Sethi’s inquisitive approach encourages himself, his collaborators, as well as his audience to find and enjoy the beauty, humor, and absurdity in everyday life. Khichdi, a traditional Indian dish, is made from boiled rice and lentils, and includes a variety of spices, vegetables, and sometimes meat. Eaten throughout the entire country, and recently proclaimed the national dish of India, Khichdi takes on an infinite number of forms and preparations, changing region to region, state to state, and even household to household. No single recipe, list of ingredients, or even spelling is deemed to be official, with the only constant quality of the dish being its ever changing identity. In a similar fashion, Sethi’s work never offers a singular permanent viewpoint. Rather, it serves as a expanded, ever changing self portrait documenting an evolution of the country, its people, and the artist himself. 432 unnumbered pages. 28.5 x 21 cm. Embossed covers. Sewn bound. Offset printing. Edition of 1000.

A Grocer’s Orgy is an artist book that presents an alternate history of Lucas Blalock’s photography using new photographs and previously unseen versions of existing images from throughout his entire body of work. With a title drawn from Baudelaire’s writings on dandyism, the book is designed by Blalock to create new formal and thematic associations through the collaging of already densely layered photographs. Linking together his earliest studio portraits with recent work utilizing overt digital alterations, Blalock builds on his recent approach of embedding additional photographs into the back of a single frame. The artist’s manipulations of images through erasures, cloning, and drawing emphasize what is absent or obliterated in his compositions, often with a poignancy and emotion that is lacking in most digital imagery. The book’s layout further complicates these photographs, with spreads that obscure the ability to determine where an image ends or begins. 156 pages;
7.25 x 9.75 inches; Paperback; Edition of 1200.

PIT is a collection of photographs taken by Lisa Anne Auerbach at Chicago punk and hardcore shows between March and June 1985, when she was a teenager. Most photographs taken in this kind of space are of the bands, but Lisa chose instead to take photos of the crowd: the dancers, the spectators, the partiers, the depleted. The photos are wild, energetic, they refuse to hold still. 80 pages : mainly illustrations ; 27 cm; Perfect binding

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.

"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.

"“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 artist's book by the Swiss duo dedicated to the questions that everyone asks themselves once in a while: Can something be unbelievable? Should I get drunk? Could I be Japanese? Is the freedom of birds overrated? Am I a farmer in winter? Does unease grow by itself? Should I crawl into my bed and stop producing things all the time?

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.

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.

First edition paperbound volume of short poems. 17 pp. Bound wrapper sprinted in black. Signed. Paperbound in medium gray-blue; printed paper label on front cover. Edition of 200.

Poetry. Spanish. No.204 of 250 copies. Signed by the author. Cardboard with rope binding

72 unnumbered pages : illustrations (some color); 24 cm offset lithography

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.

With 12 prints by Joan Abelson. One thousand copies of this book designed and printed by George Hitchcock at the Kayak Press.

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

Living in Kilburn for two years, historically the home of the Irish emigrant, Enda found the inspiration to photograph the cherry blossom. The transience of the blossoms has often been associated with mortality: new beginnings and endings. In the Japanese tradition in particular, cherry blossom is an enduring metaphor for the ephemeral nature of life. Wandering the streets of Kilburn, noticing many elderly Irish people and people of many other nationalities too, he began to wonder at the twists and turns their lives had taken, what their hopes were when they were young and moved to the city, and how their dreams had evolved. The cherry blossom, especially in the more incongruous urban settings, became, for Enda, a symbol for these emigrants and for their lives, actual and imagined. The poem Renku: My Last Thirty Five Deaths by Don Paterson works in unison with the selected thirty two images. 14.5 x 20 cm. Letterpressed cover. Edition of 100. Crossett owns number 12.

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.

Nox is an epitaph in the form of a book, a facsimile of a handmade book Anne Carson wrote and created after the death of her brother. The poem describes coming to terms with his loss through the lens of her translation of Poem 101 by Catullus and includes poetry, family photographs, letters, and sketches. Accordion-folded pages attached to heavy card stock. Issued in a drop spine box. 21 cm in box 24 x 15 x 7

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.

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. David Bunn’s small-format catalog, published on the occasion of a traveling exhibition that originated at Swarthmore’s List Gallery, provides documentation of and insight into the artist’s work with defunct card catalogs. Through installation photographs, reprinted text pieces, and essays by Ian Hunt and Jan Tumlir, the reader is introduced to three of Bunn’s projects from the 1990s: I feel better now, I feel the same way., an ongoing series of poetry books that include The Sea Is a Magic Carpet, and Here, There and Everywhere. 81 p. 17.5 x 12.5 cm. Perfect Binding. 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 poetry comic that follows the mythological hybrid as it enacts its roles of hunter, stalker, executioner, devourer." - Jia Sung. The Oxford Dictionary of Phrase and Fable describes a harpy as "In Greek and Roman mythology, a rapacious monster described as having a woman's head and body and a bird's wings and claws or (as in Virgil's Aeneid) depicted as a bird of prey with a woman's face; in extended usage, a grasping unscrupulous woman." Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. 7 unnumbered pages. 16 cm. Binding: Saddle Stitch / Staple.

"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

‘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.

García photographed hundreds of New York street signs and then used language from his images to compose a poem-like list of text. A single line of text from one New York sign appears on each fold of the accordion book. The paper Garca selected for the book transitions from bright green to blue to orange to red to yellow -- creating a verse-like effect for text on each color of paper. It was created as part of an Artist-in-Residence program 2021 at Center for Book Arts, NYC and used and 45 metal type specimens from the Center for Book Arts collection. 91 p.; 21.5 x 346.7 cm.; Edition of 200 signed and numbered. Crossett owns number 30. Accordion Binding. Letterpress Printed.

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.

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.

Mexican artist Rigoberto Díaz Julián has juxtaposed two texts: written instructions for police for the use of force and images from a 2016 confrontation between police and protesters in Oaxaca, Mexico. The protesters were blocking a highway, demonstrating against President Nieto’s educational reforms, and by the end of the protest 8 people would be killed by firearms. Throughout Nochixtlán, the instructional text moves through different levels of force used by police: verbal deterrence, physical restraint, use of non-lethal weapons, and use of lethal weapons. The calm and corporate tone of the instructions contrasts with the chaos of the images of protest, revealing the ease at which police violence occurs, and is excused. 32 pages. 11.5 cm x 16.5 cm. Perfect Binding. Risograph Printing.

"Coloured Publishing" stamped and edition etched on back. Comes with 2 rubber clutches, signed Certificate of Authenticity, and our four-part, hand-made mini zine Killer Breed. Killer Breed lists every date in 2016 that a black man or woman was killed by law enforcement, along with the names of victims and perpetrators. 2" gold-plated pin. 4mm thick. Edition of 100. Crossett owns number 24.

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.

"Catalogs once brought the world into the home: place-bound people could roam the planet, shopping from a magazine. But this was a focused experience, since catalogs always represented a particular notion of commerce, with a particular, unique physical identity: LL Bean never seemed anything like Omaha Steaks. The web is a catalog of enormous proportions, and everything is produced in the same medium—RGB pixels. Police uniforms are identical with French cheese, making crime-fighting just another way to turn a profit." Industry of Punishment vol. 2. 36 pages. Saddle-stitch binding.

The Women’s Studio Workshop invited twelve artists working in the social terrains of California, Kentucky, New York, North Carolina, Ohio, and Tennessee to consider the safety pin’s rise as the symbol of contemporary protest. The resulting portfolio, In Solidarity, captures the waves of distrust, encouragement, criticism, and hope in calls for allyship following the 2016 presidential election. Silkscreen and digitally printed. Edition of 35. Crossett owns number 5. Signed. Loose leaf with case.

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.

Artist-made postcards for use in mail-abetted protest commissioned by Primary Information, a non-profit organization devoted to publishing artists’ books and artists’ writings. Artists include Amy Yao, Mónica de la Torre, Ian Cheng, Mary Lum, Tony Oursler, Paul Ramírez Jonas and more. "“Like many of our peers, we have been using random postcards to send to our local, state, and national politicians to voice our concerns. We feel strongly that the images accompanying these concerns should belong to artists, and we have initiated this series to provide artists the opportunity to add their voice.” "Each month, Primary Information commissions artists to produce postcards in an ongoing open edition. All postcards are priced at cost. Postcards have long been a part of the artist book tradition, with artists engaging with the form for well over 50 years now. While Primary Information sees this project as a continuation of that very important tradition, the organization also sees the need to double down on this form as a political space embedded with the urgency, diversity, and complexity of voices that are the hallmark of our times. Who better to do this than artists?"

Published to coincide with Lisa Anne Auerbach's 2008 exhibition at Printed Matter, this artist's book brings together the various facets of Auerbach's artistic practice, which has included zine making, co-organizing the High Desert Test Sites project, and knitting. Political, relational, humorous, and instructive, it offers the reader step by step instructions on how to knit sweaters and skirts that feature a variety of slogans ("When there's nothing left to burn, you've got to set yourself on fire" and "Yes we can! No we McCain't!" are two examples.) With full-color photos of Auerbach and friends modeling the sweaters. Saddle stitch.

"“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.

Mexican artist Rigoberto Díaz Julián has juxtaposed two texts: written instructions for police for the use of force and images from a 2016 confrontation between police and protesters in Oaxaca, Mexico. The protesters were blocking a highway, demonstrating against President Nieto’s educational reforms, and by the end of the protest 8 people would be killed by firearms. Throughout Nochixtlán, the instructional text moves through different levels of force used by police: verbal deterrence, physical restraint, use of non-lethal weapons, and use of lethal weapons. The calm and corporate tone of the instructions contrasts with the chaos of the images of protest, revealing the ease at which police violence occurs, and is excused. 32 pages. 11.5 cm x 16.5 cm. Perfect Binding. Risograph Printing.

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.

In 2013, the War Resisters League, a pacifist organization active in the United States since 1923, put out a call in Critical Resistance’s The Abolitionist for stories of tear-gassing and pepper-spraying in prisons and jails. Hundreds of people sent in letters revealing the rampancy of human rights abuses in incarceration centers. Freya Powell’s When does I become We, based on her video On Fire like Hell Fire, gathers some of these harrowing accounts of prisoners’ exposure to chemical weapons into a polyphony of voices relating the injustices suffered through gassing and medical negligence and the lasting physical and psychological trauma resulting from these experiences. Published by Wendy's Subway. 28 pages; 19 x 12 cm. Edition of 125.

43 facsimiles of color envelopes decorated by Jean-Michel Folon, addressed to his Italian friend Giorgio Soavi. 24 x 12 cm. Perfect binding.

Artist-made postcards for use in mail-abetted protest commissioned by Primary Information, a non-profit organization devoted to publishing artists’ books and artists’ writings. Artists include Amy Yao, Mónica de la Torre, Ian Cheng, Mary Lum, Tony Oursler, Paul Ramírez Jonas and more. "“Like many of our peers, we have been using random postcards to send to our local, state, and national politicians to voice our concerns. We feel strongly that the images accompanying these concerns should belong to artists, and we have initiated this series to provide artists the opportunity to add their voice.” "Each month, Primary Information commissions artists to produce postcards in an ongoing open edition. All postcards are priced at cost. Postcards have long been a part of the artist book tradition, with artists engaging with the form for well over 50 years now. While Primary Information sees this project as a continuation of that very important tradition, the organization also sees the need to double down on this form as a political space embedded with the urgency, diversity, and complexity of voices that are the hallmark of our times. Who better to do this than artists?"

"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.

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

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.

"Japanese artist Emi Anrakuji displays reproductions of her one-off digital prints (made by digitally printing the extraordinary self-portraits for which she is best known) onto e hagaki (picture postcards)." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 433.

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

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

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

Limited edition of 3500 of a play for Bread and Puppet Theater about Cuban Missile Crisis of 1962. Written and illustrated by Peter Schumann.

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.

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.

"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.

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.

"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

"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.

"Coloured Publishing" stamped and edition etched on back. Comes with 2 rubber clutches, signed Certificate of Authenticity, and our four-part, hand-made mini zine Killer Breed. Killer Breed lists every date in 2016 that a black man or woman was killed by law enforcement, along with the names of victims and perpetrators. 2" gold-plated pin. 4mm thick. Edition of 100. Crossett owns number 24.

"“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.

"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.

"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.

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.

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.

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.

An accordion fold-out book based on Edward Ruscha's famous Every Building on the Sunset Strip. However, the photos inside are of structures built out of multiple copies of another famous artist's book, Psychobuildings by Martin Kippenburger. 18 x 14 cm. Binding: Accordion. Process: Offset Printed

Twentysix Gasoline Stations is Michalis Pichler's homage to Ed Ruscha, who published his groundbreaking and highly influential Twentysix Gasoline Stations in 1962. Pichler's version offers a more modern update, examining twenty-six German gas stations all owned by the same company and all displaying the same signage and architectural elements. At first glance, all twenty-six images appear to depict the same pristine and brightly-colored generic structure. Only upon further examination, aided by Pichler's captions, does the reader get the full extent of the joke, which is punctuated by the book's final image: a disembodied hand holding an excerpt from a 1969 interview with Ruscha in which he explains "the eccentric stations were the first ones I threw out." 18 x 14 cm. Offset Printed. Edition of 600

Fifty-one years after the publication of Ed Ruscha’s seminal book work, Twentysix Gasoline Stations, Another Twenty-Six Gas Stations, examines how the American identity has shifted from the idyllic media messages and car culture of the 1950s-60s, to the post-9/11 age today. The book, comprised of twenty-six screen captures of gas station surveillance videos found on YouTube, blends notions of surveillance, crime photography, advertising, and found text; which together form an incisive dark-humor commentary on advertising and violence within the framework of online consumption. 48 p. 7 x 5 in Perfect bound. Edition of 450. Signed copy.

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.

Relief printing and letterpress on paper. "Action at a Distance, the Fall 2012 Brain Washing from Phone Towers Informational Pamphlet, is an exploration of Isaac Newton, the Principia, and the beginnings of the Royal Society in London. Math! Plague! Mean Anonymous Pamphlets! Kids, the seventeenth century had it all. Included is a general history of Newton’s career, his various intellectual feuds, his relationship with the Royal Society, and an overview of his masterwork."

Vancouver artist Andrew Dadson has based his book around a star map from 1850. The original map was photocopied, and each subsequent copy was re-photocopied. The slow degradation of the image marks the cultural shift within our interpretation of the stars (constellation charts were called maps of the heavens but after 1975 they became known as maps of the sky) and each photocopy represents a year in the decline from "heaven to earth." From start to finish the map changes from an accurate vision of the stars above to an abstracted blackness depicting the new "heaven" in the year 2008. Offset Printed.
28.5 x 19 cm. 168 p.

A Touch is All it Takes is about the complex relationship between plants and humans. "'A touch is all it takes' is a phrase used by Monsanto on their website for the weed killer, Roundup. In the artist's book A touch is all it takes this phase is placed over detailed drawings of the weed Galium aparine [an edible and medicinal weed]. In the second half of the book, the drawings are inverted."A slight pressure with one finger on the loose, translucent wrap makes the front cover clearer to read suggesting that it only takes a small move to start seeing things differently." 3 x 4"; 16 pages. Digitally printed with archival inks on Hahnemühle Photo Rag Duo paper. Line-drawings. Hand bound codex with translucent dust wrapper.

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.

This book includes 111 paste-ups / collages by the artist composed of gathered dried leaves, grasses and seeds. The materials are selected and arranged in formations that appear as asemic writing reminiscent of handwriting, syllabaries, and the letterforms. In order to emphasize the graphic quality of these works, the book is published in black/white. Edition of 400 copies. Numbered and signed by the artist. 17" x 12.5" x 1.25". 232 pages.

Book with seeds from the trees in Zuccotti Park, site of the Occupy Wall Street movement. Library's copy sprouted and the seedling was planted adjacent to the EAC Building's West side and can be viewed from the East side of Crossett Library, 42º 55' 7" N 73º 14' 14" W. Blank book with three holes through book block, each with a seed inside. Black and white photograph on endpapers. One folded sheet inserted, "How to plant and take care of your honeylocust tree," by Dr. Mike Kuhns, Utah State University Extension Forester. Commissioned and published in New York City by Imprint Projects during December 2012. Edition of 200.

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.

Accordion style format bound in a board with a plastic screening material covering; inside cover has implant sewn into screen covered with clear plastic covering; magenta circuit board inserted in silver faux leather sewn onto screen; cover folded by a third and housed in a plastic envelope. 11 x 9 cm. Digitally printed. Card signed by the artist. Edition of 500. Crossett owns number 40.

Nannucci explores the color green through photographing plants and assigning tones and scales to develop a "fundamental chromatic code". Text in English and Italian. One folded page, 34x11 cm. Off set printed. Edition of 1000.

RYB (red-yellow-blue) is a standard set of colors used in subtractive color mixing. By combining any two of these primary colors, a third color is created (the secondary colors: green, orange, or purple); by mixing equal amounts of all three, black is born. Jerry Seguin's 2015 book 100 XIV / 100 RYB uses this color theory as a starting point, working within--and against--its confines to examine the ways in which masculinity (in particular, queer masculinity) is represented or imagined. Photographs of naked or near-naked men, alone or with another, are printed in this limited palette, the colors never mixing to create their secondary counterparts. Seguin isolates these moments--the photographs are often snaps of men in action (walking on a beach, running on a soccer field, giving a blow job)--and rigidly layers them on top of abstractions (also in this limited palette), exposing the awkwardness of representation and the pleasure in tension at the same time. [100] p. 23.5 x 15.5 cm. Perfect Binding. Digitally printed.

"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.

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.

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.

Active in New York City from 1991 to 1995, fierce pussy 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. 17 p. Dimensions 43.5 x 28 cm.

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 of 10. Crossett owns no. 5.

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.

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.

"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.

"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

Foregrounding the slippages between doing and undoing or not doing, speech and movement-based forms of address, and improvisation and the score, Lauren Bakst traces the forms performance takes, be they in our everyday experiences, intimate and personal relationships, memories, or on stage. Publisher: Wendy's Subway. 28 pages; Risograph; Saddle-stitched. Edition of 125

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.

Taxonomy of Shapes challenges the reader's perception of their environment and current systems of scientific classification. The book represents elements from both natural and man-made environments with hand drawn icons. A translucent, hand-waxed Kitakata overlay with small circle, square and triangle windows reveals selected objects from the letterpress-printed sheet beneath. Peering through the waxed Kitakata even reveals a glimpse of what's lost by the current classification. Edition of 52, signed and numbered by the artist. Crossett Library copy is number 41/52. Cardstock covers with accordion-fold pages letterpress printed from photopolymer plates on Sakamoto paper, with hand- and die-cut, folded waxed Kitakata paper overlays.

29.5 x 84 cm. Offset printed. Small risograph printed booklet. Accordion binding, with with booklets attached with pamphlet stitch binding. Edition of 100.

In Patterns, Crowner assembles and layers a multitude of patterns that have inspired her recent work. This material is comprised of repetitive visual systems found in nature, architecture, fashion, sculpture, and painting that she has culled from a variety of source media: photographs, magazine pages, drawings, and advertisements, among others. The artist has collaged this material into a moving narrative that establishes a conversation with images of her own work and ephemera, which are interspersed throughout the book. 96 p. 8 x 10 in. Edition of 1000

Inkjet print on Rives paper, Number 13 of 15. 34 x 34 cm

"Informed by the closing section in his previous book, Boo Moon, Korean artist Boomoon Kwon has created a new series of high-altitude skyscapes that function perfectly in our One Picture Book format. Boomoon is one of Korea’s greatest contemporary photographers. His work has been widely exhibited throughout Asia, Europe, and the United States. On the Clouds comprises reproductions of twelve images, and one original signed print." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 480.

Vancouver artist Andrew Dadson has based his book around a star map from 1850. The original map was photocopied, and each subsequent copy was re-photocopied. The slow degradation of the image marks the cultural shift within our interpretation of the stars (constellation charts were called maps of the heavens but after 1975 they became known as maps of the sky) and each photocopy represents a year in the decline from "heaven to earth." From start to finish the map changes from an accurate vision of the stars above to an abstracted blackness depicting the new "heaven" in the year 2008. Offset Printed.
28.5 x 19 cm. 168 p.

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.

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.

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.

This book includes 111 paste-ups / collages by the artist composed of gathered dried leaves, grasses and seeds. The materials are selected and arranged in formations that appear as asemic writing reminiscent of handwriting, syllabaries, and the letterforms. In order to emphasize the graphic quality of these works, the book is published in black/white. Edition of 400 copies. Numbered and signed by the artist. 17" x 12.5" x 1.25". 232 pages.

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.

"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.

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.

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.

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 40-page newspaper catalogue, printed on heavy white newsprint, presenting six projects of bespoke Colophon Foundry work. Each project is paired with an illustration by William Luz. Web offset lithography. [40] p. 40 x 29 cm folded to 21 x 29 cm + 1 sleeve (30 x 22 cm).Edition of 500, limited to 350 sold.

Letterpress with French sans serif extra wide wood type circa 1925 and printed on obsolete sea charts by Dikko Faust. Design by Esther K Smith. One folded continuous sheet of obsolete sea charts. Faust used extra-wide French wood type, circa 1925, to letterpress print the alphabet, printing both upper and lower case of each letter. 3" x 2 .5" closed, extends to 104.25"; 32 pages including self-wraps. Edition of 40. Signed.

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 artist's book emerges from a joint project between writer/musician Richard Hell and painter Christopher Wool. It focuses on their mutual interest in experiences associated with reading. Hell & Wool create images using a selection of word pairings that are both conceptually estranged yet subliminally connected. The result is by turns a reading & a non-reading book which balances precariously between the world of rational ordered sense and the realm of polymorphous chaotic association. 128 pages. Edition of 1500.

‘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.

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

García photographed hundreds of New York street signs and then used language from his images to compose a poem-like list of text. A single line of text from one New York sign appears on each fold of the accordion book. The paper Garca selected for the book transitions from bright green to blue to orange to red to yellow -- creating a verse-like effect for text on each color of paper. It was created as part of an Artist-in-Residence program 2021 at Center for Book Arts, NYC and used and 45 metal type specimens from the Center for Book Arts collection. 91 p.; 21.5 x 346.7 cm.; Edition of 200 signed and numbered. Crossett owns number 30. Accordion Binding. Letterpress Printed.

"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.

Published to coincide with Lisa Anne Auerbach's 2008 exhibition at Printed Matter, this artist's book brings together the various facets of Auerbach's artistic practice, which has included zine making, co-organizing the High Desert Test Sites project, and knitting. Political, relational, humorous, and instructive, it offers the reader step by step instructions on how to knit sweaters and skirts that feature a variety of slogans ("When there's nothing left to burn, you've got to set yourself on fire" and "Yes we can! No we McCain't!" are two examples.) With full-color photos of Auerbach and friends modeling the sweaters. Saddle stitch.

Pierre Leguillon echoed the octagonal structure that he imagined for the Rotonde Balzac space, in the National Foundation for Graphic and Plastic Arts in Paris. Images of antique kimono fabrics are juxtaposed with pictures: discarded photographs from news agency, or postcards, which show a strange natural history: animals, plants or minerals are often out of scale or transformed by photographic representation. Tifaifai is a Polynesian word, a language that has no writing form and where culture is transmitted by oral tradition. Pierre Leguillon puts two collections together: the fabrics and the pictures. All these pictures, even if they are odd and sometimes difficult to "read", are left without any explanation: there isn't any caption with them. 15.5. x 15.5 cm 16 pages. Wordless.

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.

Edition of 3. 4.25 x 4.25"; 8 pages. Modified accordion structure. Fabric painted linen. Cotton batik appliqué. Softcovers of batik accented with cotton embroidery thread and glass beads.

Accounting' was designed, printed and bound by Maureen Cummins in the year 2011 in honor of the centennial anniversary of the Triangle Factory Fire. All first-person survivor accounts used in this book were excerpted from Leon Stein's classic text The Triangle Fire. Half bound with black cloth spine and tips and brown paper sides. The title "Accounting" tooled in gold on front board. Image of factory building on lining papers. The pages are divided and dated like a ledger book with handwritten text recounting the stories of survivors of the fire. Along the bottom of the pages is the text of the management's report of losses from the fire. Based on meticulous research, the artist listed over a dozen items ranging from “480 sewing machines” to “500 dozen shirtwaists,” before ending with: “146 workers—mainly girls.” Cummins allowed the original marks on the pages of the diary—handwritten lists of daily expenditures that were crossed through, then Xed out with great physicality—to serve as a chilling counterpoint to the text. Limited edition of 30 copies, numbered and signed by Maureen Cummins. Crossett copy number 19. Silkscreen and letterpress. 60 pg. 14″ x 4″ x 1/4″

In poetry printed on richly colored, variously shaped and layered pages reminiscent of a quilt pattern, a Southern quilter looks backward, bittersweetly, on her life and past loves. A 1993 edition by Chronicle Books based on the original 1988 limited edition by Janus Press.

“For a long time, I have always used recycled fabrics for making clothes. My policy is that already existing things are beautiful. I will have the same policy for my home collection. The collection includes kimonos, quilts, cushions, tapestries and furniture and more. There is a saying, ’the home is where the heart is.’ I finally understand what it means." Susan Cianciolo. Created in collaboration with Kiva Motnyk. Photography by Wallace Lester. 32 pages, 19.5 x 25.5 cm, color offset printing. Perfect binding.

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.

31 p. : photos ; 23 cm. “The map was located in a school in Napareuli, in the Republic of Georgia: all the desktops in the classroom were covered with student grafitti and the map - printed at a moment just before the dissolution of the Soviet Union - seemed like it had been hanging there for the past twenty-four years, unmarked by the collapse of communism, unreflective of an entirely new world order, simple reduced to serving as an uninteresting backdrop for bored students.” Clifton Meador

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.

Vancouver artist Andrew Dadson has based his book around a star map from 1850. The original map was photocopied, and each subsequent copy was re-photocopied. The slow degradation of the image marks the cultural shift within our interpretation of the stars (constellation charts were called maps of the heavens but after 1975 they became known as maps of the sky) and each photocopy represents a year in the decline from "heaven to earth." From start to finish the map changes from an accurate vision of the stars above to an abstracted blackness depicting the new "heaven" in the year 2008. Offset Printed.
28.5 x 19 cm. 168 p.

"Recently, for an exhibition in Los Angeles at Blum & Poe, I exhibited a row of glass vessels positioned on the floor of the gallery in an exact north-south line. Each vessel contained water from the Pacific Ocean that I collected by sailing to the longitude line that divides the Pacific time zone and the Alaska time zone, 127.5 degrees west of Greenwich, England. I wanted to materialize this imaginary line that determines spatial and temporal coordination, and to displace it by some 400 nautical miles. I imagine the line existing in neither zone, being outside of standardized time. The vessels are small enough to fit into your hand, so you can hold them--rather than the line holding you." 1 leaf (folded into 8 4 1/4 x 6 in. postcards)

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.

Jnanada Moksha Brahmananda, a self-described "channel of God's love energy and compiler of facts, a lot of which are already available on this plain of existence", came to Auerbach's attention when she was teaching at Claremont and the school newspaper published an article questioning whether or not the the house he lived in with devotees was a cult. Auerbach found not only his spiritual teaching on his website, but also a "brief search on the internet reveals his other true path, which focuses not on the spiritual, but on the material" in the form of 74 Amazon.com reviews of wrist watches. 20 pages : illustrations; 35 x 11 cm, Staple bound

The Map of Neighboring Bodies is a book of invented iconography related to bodies of water. The artist plays with the definition of territory by breaking down boundaries across an open sea and systematically rebuilding them with pictograms. With these symbols, the book maps the natural, political, historical, and fantastic regions across five environments. The result is a reflection on the utility of maps as fictional devices and our longstanding need to create boundaries in order to make sense of the world around us. Graham’s interest in symbolic imagery hearkens back to an early affinity for 8-bit video games and ancient cartography. Designed to be cyclical, the book connects along a seamless path that wraps horizontally around the entire book. A key is provided on the front side to help the reader decipher the environments.17 cm x 14.6 cm x 2.54 cm [35] p. Silkscreen. Accordion fold. Edition of 65. Crossett owns number 15.

"Recently, for an exhibition in Los Angeles at Blum & Poe, I exhibited a row of glass vessels positioned on the floor of the gallery in an exact north-south line. Each vessel contained water from the Pacific Ocean that I collected by sailing to the longitude line that divides the Pacific time zone and the Alaska time zone, 127.5 degrees west of Greenwich, England. I wanted to materialize this imaginary line that determines spatial and temporal coordination, and to displace it by some 400 nautical miles. I imagine the line existing in neither zone, being outside of standardized time. The vessels are small enough to fit into your hand, so you can hold them--rather than the line holding you." 1 leaf (folded into 8 4 1/4 x 6 in. postcards)

Channel & Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book's page turns and fold outs to represent how the stream has been contained and fragmented by the built environment. The images are letterpress printed and screenprinted on Shikoku paper. The typeface is Avenir, letterpress printed from polymer plates. The cover is handmade paper from milkweed collected and retted at Ruocco Family Farm in Sandgate, VT, mixed with cotton and abaca. 15.24 x 9 cm. Long-stitch binding.

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.

Letterpress with French sans serif extra wide wood type circa 1925 and printed on obsolete sea charts by Dikko Faust. Design by Esther K Smith. One folded continuous sheet of obsolete sea charts. Faust used extra-wide French wood type, circa 1925, to letterpress print the alphabet, printing both upper and lower case of each letter. 3" x 2 .5" closed, extends to 104.25"; 32 pages including self-wraps. Edition of 40. Signed.

Feminist Ships, at its core, is a history lesson, celebrating the lives and achievements of women on the water. It begins chronologically, and fittingly, with an Inuit boat called the umiak, nicknamed the “women’s boat” because it was paddled by women to transport people and belongings. The book continues to move across centuries and around the world, including the ships of notorious female pirates like Grace O’Malley and Ching Shih; Molly Kool, the first licensed female sea captain in North America; Sisters Under Sail, a sailing education program for young girls; and Women on Waves, an organization that provides abortions and women’s healthcare in international waters exempt from restrictive laws. The last page features the rowboat built by writer Julia Holmes who takes solo expeditions retracing an ancestor’s journey from New York to New Orleans. Edition of 50. The font is Mrs Eaves, created in 1996 by Zuzana Licko. 9 3/8 " x 9 3/8 " Paper: Colorplan 135 gr. Silkscreen printed. Accordion fold.

"In Merced River, Stephen Shore presents photographs made in seemingly disparate locations, ranging from mountains to forests to beaches. The key to this selection of images can be found in the original print at the back of the book: all photographs are parts of one whole, a landscape photograph made by Shore at the Yosemite National Park in 1979." "One Picture Book series was conceived in 1998 as a way to make original artwork affordable. The series consists of uniformly designed, modestly-sized hardcover books, comprising 16 pages that serve as a “canvas” for the artist to display one cohesive body of work. Each One Picture Book is published in an edition of 500 numbered copies, and each contains an original tipped-in photograph, signed on the verso by the artist; hence the name of the series." 19 cm. Edition of 500. Crossett owns number 212.

First edition, first printing. Soft cover. White laminated wrappers with title printed in black on cover and spine. Photographs by Ed Ruscha. 64 pp., with 10 four-color plates. 7 x 5-1/2 inches. Printer: Blair Litho, Los Angeles.

"And Yet..." is a book of visual fiction, a novella with asemic writing. Asemic writing has no semantic value. Plenty happens and leaves an impression of its happening - but not in familiar language. What does it mean to 'read' a drawing? This series of compositions suggests a narrative for each reader to develop. 48 p. Perfect-bound

Taxonomy of Shapes challenges the reader's perception of their environment and current systems of scientific classification. The book represents elements from both natural and man-made environments with hand drawn icons. A translucent, hand-waxed Kitakata overlay with small circle, square and triangle windows reveals selected objects from the letterpress-printed sheet beneath. Peering through the waxed Kitakata even reveals a glimpse of what's lost by the current classification. Edition of 52, signed and numbered by the artist. Crossett Library copy is number 41/52. Cardstock covers with accordion-fold pages letterpress printed from photopolymer plates on Sakamoto paper, with hand- and die-cut, folded waxed Kitakata paper overlays.

An editorial sculpture pushing the boundaries of what an artist's book can be, Void is a radical, minimalist and dramatic project conceived by Federico Pepe which offers a dizzying exploration of the void through a system of perforated pages, revealing a work at its center. Each issue gives room to a single work of a single artist. 300 hand numbered copies limited edition. 24 x 32,5 cm. 72 perforated black pages (2 color ill.) Wordless.

Grab the Uranium is a bound collection of drawings and paintings by Craig Atkinson, an artist based in the UK, known for applying a wry humor and coarse style in his depictions of the mundane. The book is stencil-printed and handbound. "Grab The Uranium is a collection of recent drawings, which when together create something of a [possibly] factual, dark-ish narrative. The book is about stripy tops, heads on sticks, steps, chaotic happenings and almost real events."
40 Pages, 19 x 25cm, Paperback, Full Colour

Pierre Leguillon echoed the octagonal structure that he imagined for the Rotonde Balzac space, in the National Foundation for Graphic and Plastic Arts in Paris. Images of antique kimono fabrics are juxtaposed with pictures: discarded photographs from news agency, or postcards, which show a strange natural history: animals, plants or minerals are often out of scale or transformed by photographic representation. Tifaifai is a Polynesian word, a language that has no writing form and where culture is transmitted by oral tradition. Pierre Leguillon puts two collections together: the fabrics and the pictures. All these pictures, even if they are odd and sometimes difficult to "read", are left without any explanation: there isn't any caption with them. 15.5. x 15.5 cm 16 pages. Wordless.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

Bardo is a collection of drawings by Christina Martinelli '08 depicting what happens to ones soul as it passes from this life onto what is next. 26 cm. 16 p. Risograph printed. Edition of 100. Crossett owns number 3.

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.

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.

"First published in 1977 in a uniform series of artist's books, this publication diagrams a series of Sandback's linear sculptures in the simplest terms. Art historian Edward Vazquez has described the drawings as "adamantly abstract-beginning with figures that outline L- and U-shapes, and then vertical lines, all rendered in white on a black ground, coursed through with the even thinner white lines of an isometric grid, a reversal owed to their status as reproduced Photostats of drawings on isometric paper. These drawings make no reference to architecture, and the space implied by the grid ends in a white border to each image."