Artists' Books in Crossett: N-P

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 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.

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.

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.

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.

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.

"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

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. Relief printing and letterpress on paper. 4″ x 6″ closed.

Black and white photo-zine on yellow paper of various inanimate images. 12.8 × 20 cm

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.

"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.

"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.

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.

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.

"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.

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.

"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.

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.

"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. "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.

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

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.

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.

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.

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

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.

A miniature facsimile of a bibliography for the Samuel Beckett collection at the University of Texas at Austin. Cover title is "No Backup - Please Investigate". Includes two envelopes, one with the cover title and the other with an image of an ostrich with its head in the sand. 40 pages. 19 cm. Binding: Saddle stitch / staple. Handmade paper wrapper with author's name embossed. Signed by artist.

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)

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.

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

"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 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.

"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.

Ways of Looking, with a die cut hole in the center, opens to reveal two holes which create a viewer for the reader. Each page asks questions or makes a statement about what the reader is viewing such as: "Who looks back?" "Nothing you see is yours." "What leaves more to be desired?" and "Make a movie, each blink is a transition." Nat Pyper is an alphabet artist. Their practice of fonts, wearables, video, and performance extends from ongoing research on queer publishing histories. 13 x 10 cm. Perfect Binding. Digital Printing. Die-Cut. Edition of 100.