Skip to Main Content
It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.
Artists' Books by the Artist's Last Name A-B
And Yet My Mask is Powerful by
Call Number: Artists' Books N6537.A27 A2 2017
Publication Date: Printed Matter, 2017
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.
What the Grass Says: Poems by
Call Number: Artists' Books PS3569.I4725 W49 1967
Publication Date: Kayak, 1967
With 12 prints by Joan Abelson. One thousand copies of this book designed and printed by George Hitchcock at the Kayak Press.
Just Before Dawn: Arrows in the Brush by
Call Number: Artists' Books N7433.4.A336 J8 2012
Publication Date: Eating Dog Press, 2012
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.
Pickles I Have Known: a Journey through Vinegared Delights by
Call Number: Artists' Books N7433.4.A336 P5 2012
Publication Date: Eating Dog Press, 2012
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.
Sleepwalkers: Fragments, Markings and Images from the Making of Sleepwalkers by
Call Number: Artists' Books N6537.A4 A75 2010
Publication Date: 2010
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.
Native Tongues by
Call Number: Artists' Books N7433.4 .A554 2014
Publication Date: 2014
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
E Hagaki by
Call Number: Artists' Books N7433.3 .O54 2006g
Publication Date: Nazraeli Press 2006
"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.
And Yet... by
Call Number: Artists' Books N7433.4.A774 A7 2011
Publication Date: Press Rappel, 2011
"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
Connect Here by
Call Number: N7443.4.A774C62018
Connect Here is a riff on how the world attempts to connect with us by getting into our pockets, mouths, bloodstreams and minds. 8 × 10 in.; 44 pages. Softcover, four color risograph printed book with transparent cover, wire-bound. Edition: 100 books
Grab the Uranium by
Call Number: Artists' Books N7433.4.A855 A4 2011
Publication Date: Extrapool & Café Royal Books, 2011
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
A Partial Taxonomy of Periodic Linear Ornament - Both Established and Original - Arranged by Shape, Symmetry, Dimension, Projection and Iteration, Containing Extrude the Extrusion and Ornament as Entheogen by
Call Number: Artists' Books N7433.4.A93 P38 2017
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."  p., 17 x 11 in. Digital printed. Bristol board case. Staple bound.
Charted Patterns for Sweaters that Talk Back by
Call Number: Artists' Books PN4836 .A94 C53 2008
Publication Date: Printed Matter, 2008
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.
More Problems with Form or, Desire Notes or, Still Woman by
Call Number: N7433.4.B35M6
Publication Date: 2018
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
Call Number: Artists' Books PE1155 .B3874 2008
Publication Date: 2008-10-14
Each letter of the alphabet is introduced in the style of three-dimensional pop-up designs. Each of the 26 three-dimensional letters move and change before your eyes. C turns into D with a snap. M stands at attention. X becomes Y with a flick of the wrist. Die-cut. Pop up format. Plastic lenticular cover.
Call Number: Artists' Books QA113 .B379 2011
Publication Date: 2011
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.
About Series #5 by
Call Number: Artists' Books N7433.35.B43 A3 2016
Publication Date: 2016
29.5 x 84 cm. Offset printed. Small risograph printed booklet. Accordion binding, with with booklets attached with pamphlet stitch binding. Edition of 100.
Written Weed by
Call Number: Artists' Books N6953.B4854 A4 2004
Publication Date: Hein Elferink, 2004
This book includes 111 paste-ups / collages by the artist made of dried leaves, grasses and seeds. The images are like handwriting, Chinese characters, the letters of an alphabet. 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 Story of the Phoenix : Xu Bing's Phoenix Project by
Call Number: Artists' Books NB1220 .X83 2012
Publication Date: 2012
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.
Walden Marginalia; or The Contents of a Dozen Shanties by
Call Number: Artists' Books N7433.4.B55 W35 2012
Publication Date: Women's Studio Workshop, 2012.
“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.
Process Deck by
Call Number: Artists' Books N7433.4 .B53 2020
The Black School is an experimental art school teaching radical Black history. The Process Deck was featured in The Black School's exhibition at the New Museum in 2018. 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.
A Grocer's Orgy by
Call Number: TR642.B624
Publication Date: 2018
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.
Mourning/Warning: An Abecedarian by
Call Number: Artists' Books N7433.4.B5923 M68 2015
Publication Date: 2016
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.
Ghost Writer - Und Wenn Sie Nicht Gestorben Sind by
Call Number: Artists' Books N7433.4.B56 G3 1994
Publication Date: 1994
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.
In This Land by
Call Number: Artists' Books N7433.4.B588 I5 1988
Publication Date: Women's Studio Workshop, 1988
"The paradox of militarism and domestic life is presented through fragmented collage and text: In this friendly, freedom-loving land. The text is paired in different combinations, with images of soldiers as well as a happy couple, leading the reader to question the relationship of the two in our land." Paper: Vellum. Printing method: Offset Lithography. 22 x 22 cm.
On the Clouds by
Call Number: Artists' Books N7433.3.B66 O5 2004
Publication Date: Nazraeli Press 2004
"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.
Talk: If I Am a Musical Thinker by
Call Number: Artists' Books N7433.4.B674 A4 1985
Publication Date: Station Hill, 1985
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
Kilburn Cherry by
Call Number: Artists' Books N7433.4.B69 K5 2013
Publication Date: 2016
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.
Mr. Bret Easton Ellis, Mr. Matthew Brannon by
Call Number: Artists' Books N6537.B685 A4 2013
Publication Date: Glenn Horowitz Bookseller, 2013.
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.
An Anthology of Chance Operations by
Call Number: Artists' Books PS536 .A67 1970
Publication Date: H. Friedrich, 1970
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.
What’s Left by
Call Number: Artists' Books N7433.4.B84 W53 2018
Publication Date: Women's Studio Workshop 2018
"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.
David Bunn by
Call Number: Artists' Books N7433.4.B85 A4 1998
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
Double Monster by
Call Number: Artists' Books N7433.4.B85 A4 2000
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.
In Solidarity by
Call Number: Artists' Books N7433.4.W664 I6 2017
Publication Date: Women's Studio Workshop, 2017
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.
Kako Enters the Moon Museum by
Call Number: Artists' Books N7433.4.B736 K3 2017
Publication Date: 2017
KAKO Enters the Moon Museum is an artists' book in memoriam to the to polish sculptor Katarzyna Kobro (1898-1951) 44 unnumbered pages. 20 cm. Perfect bound. Printing: 8 color Risograph print. Edition of 150. Crossett owns number 18.
Combing Columbus: Photogenic Drawings for the Bicentennial by
Call Number: F499.C74B65
Publication Date: 2012
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.
Love to Black Bodies Always by
Publication Date: 2020
Lukaza Branfman-Verissimo is a Black, Latinx, queer artist, activist, educator, storyteller & curator who lives and works in Oakland, CA.Their work is informed by a commitment to craft and to community, engagement with society, and interests in storytelling and cultural geography. Through the processes of story collecting, printmaking, painting, performance, sculpture building and curating, they strive to re-create and re-tell their personal tales and those of the people that surround them. Published by Printed Matter. 10 x 13.5 in. Risograph. Edition of 50.
Free Jazz Communism by
Publication Date: 2020
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.