Artists' Books in Crossett: Q-R

Edition of 150.5.25 x 8.25"; 148 pages. Perfect bound with English and Spanish text. Signed and numbered by Zimmermann. A book about the terrors of living on the Northern border of Mexico in this time of the Narco Wars, the bloody drug was that rage inside Mexico. Phil Zimmermann, blog: "The book is about the bloody drug wars that rage inside the Mexican borders, and what it is like to live in Ciudad Juárez, where Leon lives with his wife Gabriela and where both teach at the University in Juárez. The text is in Spanglish. I made the most of the photographs and added a few police photographs that were in the public domain. The word ojalá derived from the Arabic inshallah, meaning 'I wish it were so' and describes the wishful thinking that Mexico can someday return to the days before the brutality and violence of the narco-cartels…Title page shows the border fence along the Rio Grande in El Paso, which looks across to some of the Colonias. ... I have added large halftone dots to the photos to give the images the gritty feel that they have been torn out of the pages of newspapers."

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

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.

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

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

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

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

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

60 pages, 36 black & white photographic illustrations; spiral bound. 23.9 x 15.7 cm. 3rd edition, 2000 copies. In Royal Road Test, Ruscha painstakingly documented himself dropping a vintage typewriter from a speeding Buick.

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

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

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

Your Intentions : You are now the proud owner of a deck of fifty sticks. It's not really up to me what you do with them. Play go fish. Play I Spy. Play pick-up-sticks. Get yourself out of a sticky situation. I trust you to figure out the alternate means of enjoyment. Fo forth. Enjoy. --1st introductory card.
My Intentions : Sticks may be read as though text, used to incite abstract sound poetry, or tell stories or read aloud. Select any stick, choose a starting point, follow along the perimeter or inside as you see fit. --2nd introductory card.