Artists' Books in Crossett: H-K

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)

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.

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.

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.

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.

"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.

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.

"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.

Screenprinted and hand bound. Eight pages, 12.5 x 8 cm

4 folded leaves : ill. ; 13 cm. No. 37 of 50 copies.

"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.

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.

"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 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.

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

"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.

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

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.

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

"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.

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

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.

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

In 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.

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 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.

"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 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.

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

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.

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.

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

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.

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.

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

"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.

"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.

"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.

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.

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.

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.

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.

“Incoherents is an artist book in the form of a comic book. Each page was originally torn out of a vintage (Golden & Silver Age) comic book and then painted in a redacting fashion, obscuring and abstracting text and images. The paper is newsprint, the same type of paper old comic books were printed on. Silly Putty will lift these images from the page, a true litmus test for old comic books! Frankenstein is on the cover (from an ad in a comic book) to represent bringing back to life old, “dead” comic book pages." [40] unnumbered pages : illustrations ; 18 x 27 cm