Artists' Books in Crossett: C-E

"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.

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

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.

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

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.

"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.

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.

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.

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.

“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.

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.

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.

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.

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

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″

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.

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.

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 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.

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.

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.

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.

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.

"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.

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.

John Dogg is purportedy the alter-ego of the American artist Richard Prince. Alternate title: He got it coming. "Porno images lifted from who-knows-where are juxtaposed with curious facts from the life and death of “Hogan’s Heroes” actor Bob Crane." 24 cm. Sewn Bound. Hardbound in gold cloth-covered boards. Offset Printed. Edition of 500

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

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.

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

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

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

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.

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.

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.

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.

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.

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.

Lettermen figures the 1965 Alcorn State Braves football team from Lorman, Mississippi. Publisher: Wendy's Subway. Pages: 24. Size: 19 x 13.5 cm. Edition of 125.

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

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