Artists' Books in Crossett: S

Includes the poem "Papier Volée" by John Bevis. Slipcase. Edition of 120 copies. Crossett owns number 18.

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.

Artist's book published on the occasion of an exhibition Oct 25, 1975 – Nov 27, 1975 at Pace Gallery. 3 ¾ x 3 ¾ inches New York. Pace Gallery. SAMARAS and Someothers/Matrix. 28 pages divided into two sections; one half is green silhouettes on red paper, the other is silver and copper images on black paper. 32mo, stapled wraps. 1975. Dos-a-dos binding. Saddle stitch. Offset printing.

ENCOUNTERS is a collection of photographs taken by Dean Sameshima between 1993-2001 throughout Los Angeles, California, at varying “tearooms”. Tearooms are public spaces, mainly public restrooms, where men meet for anonymous sex. Sameshima began a documentary photography series titled WONDERLAND in 1993 while an undergrad at CalArts. At this time he felt an urgency to start documenting public sex spaces in Los Angeles as a way of recording an important part of his history and Los Angeles gay history. These tearoom drawings were especially interesting to him because they were the most temporary form of communication and many were painted over/erased by his subsequent visits. While working on this project, many of the tearooms were being policed, raided and eventually shut down. 28 p. 20 x 13 cm. Paperback. Binding: Staple Bound. Risograph. Edition of 250.

"First published in 1977 in a uniform series of artist's books, this publication diagrams a series of Sandback's linear sculptures in the simplest terms. Art historian Edward Vazquez has described the drawings as "adamantly abstract-beginning with figures that outline L- and U-shapes, and then vertical lines, all rendered in white on a black ground, coursed through with the even thinner white lines of an isometric grid, a reversal owed to their status as reproduced Photostats of drawings on isometric paper. These drawings make no reference to architecture, and the space implied by the grid ends in a white border to each image."

El muro by Eduardo Hernández Santos is ten triptych photographs documenting the Cuban LGBTQ community. "Working in the dark of night he printed them on expired photo paper and with exhausted chemistry, in his bedroom-turned-darkroom in Centro Habana. Hernández then adhered lines of poetry by the late Cuban poet and playwright Virgilio Piñera to the photographs of the wall, metaphorically breaking down the mortar that supports the hateful edifice of heteronormativity that confines his subjects to the edge of the city. Also included is a bi-lingual translation of the lines by poet Virgilio Piñera and the individual letters Hernandez added to the photographs of the wall, which are abbreviations of pejorative terms used in Cuba to refer to homosexuals. Wire-o binding opening to 20" so the triptychs may be viewed in full. Edition of 1200. 9 x 14; 18 leaves (2 pink free end sheets, 1 pink divider, 10 photograph fold outs, 5 text pages). Ten black and white triptych photographs, two bilingual essays, and a glossary. Printed by duotone offset lithography on Shine, a luminous mica-coated acid-free paper, with three sheets of translucent magenta paper separating the photographs and essays.

Until Death Do Us Part focuses on the unexpected role cigarettes play in some Chinese weddings. As a token of appreciation, it is customary for the bride to light a cigarette for each and every man invited. The bride and the groom are then invited to play some cigarette-smoking games. This publication pays homage to a tradition in which love and death walk hand in hand. These photos come from the Beijing Silvermine project, an archive of half a million negatives salvaged over the years from a recycling plant on the edge of Beijing. 5.3 x 8.3 x 2.1cm 108 p. Hardcover with a real cigarette box. Edition of 1000.

A 19-2 View depicts the artist's observations of the fifteen balconies she overlooked from her apartment in the east of Amsterdam. After a request to take a photograph and meet a neighbour went by without a single reply, she made up stories of the inhabitants and their surroundings: the things they might have told her had they accepted her offer.Through modular circles cut into the pages, readers get a glimpse of each balcony, beginning with all fifteen illustrations on the first page. Each subsequent page is dedicated to one balcony and its narrative. Letterpress printed from photopolymer plates on Mohawk 100 text paper. Blue cloth cover with title and decorative dots in gold. Digitally cut. 25.5 x 25.5 cm. Perfect bound.

"Text sourced from 1984 - George Orwell., black only printing on 176 gsm french paper with artist applied correction tape. Loop stapled binding.
Edition of 100. Crossett owns number 50. Signed.

Short stories about gentrification in West Philadelphia and the artist's own history in the area. Five bound books inserted in the main book. The covers were screen-printed, text blocks were photocopied, multi-section case with removeable pamphlet stitch signatures.

Limited edition of 3500 of a play for Bread and Puppet Theater about Cuban Missile Crisis of 1962. Written and illustrated by Peter Schumann.

Bread & Puppet Theater. Contains excerpts from The Radicality of the Puppet Theater. Third printing, 2013. Saddle Stitch / Staple binding.

RYB (red-yellow-blue) is a standard set of colors used in subtractive color mixing. By combining any two of these primary colors, a third color is created (the secondary colors: green, orange, or purple); by mixing equal amounts of all three, black is born. Jerry Seguin's 2015 book 100 XIV / 100 RYB uses this color theory as a starting point, working within--and against--its confines to examine the ways in which masculinity (in particular, queer masculinity) is represented or imagined. Photographs of naked or near-naked men, alone or with another, are printed in this limited palette, the colors never mixing to create their secondary counterparts. Seguin isolates these moments--the photographs are often snaps of men in action (walking on a beach, running on a soccer field, giving a blow job)--and rigidly layers them on top of abstractions (also in this limited palette), exposing the awkwardness of representation and the pleasure in tension at the same time. [100] p. 23.5 x 15.5 cm. Perfect Binding. Digitally printed.

"I hardly even knew what a garlic scape was when he gave a bunch to us, much less what to do with them. Everywhere on the internet said to sauté them in butter. We never say no to butter, so that’s what we did. It seemed too boring, too simple, so we took some balsamic that we rescued from some house at the end of term and doused the sautéed scapes just before we took them off the stove. We ate them, covered in sweet tar, and then cooked them over and over all through June." Sofie Sherman-Burton '12. Digitally printed. 48 pages. 11 x 18 cm. Perfect bound. Letterpress dust jacket. Edition of 75.

Animals vs. Furniture, illustrated by Jesse Hawley, recounts the life-or-cushions struggle between the eponymous creatures and household objects, as witnessed by a seemingly hapless narrator. Saddle-Stitched.

"In Merced River, Stephen Shore presents photographs made in seemingly disparate locations, ranging from mountains to forests to beaches. The key to this selection of images can be found in the original print at the back of the book: all photographs are parts of one whole, a landscape photograph made by Shore at the Yosemite National Park in 1979." "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 212.

"I didn't make a record. It would have been too difficult. It was easier not to make a record," David Shrigley writes on the LP sleeve covering his record-shaped book of song lyrics. Songbook connects the three spheres of his work--art, books and music. 32 x 32 cm. + 1 empty album sleeve.

"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.

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.

"“It Wasn’t Little Rock” was the response that black students in Arlington, Virginia often gave when asked about their experiences in the newly racially desegregated public schools of the 1960s. It was short-hand for we might have problems but we are not being subjected to the unspeakable hatred that was showered on black students when they integrated Central High School in Little Rock, Arkansas in 1957. White students spat on, beat up, yelled insults, destroyed black student lockers, threw flaming paper wads at them in the bathrooms, and even threw lighted sticks of dynamite at and sprayed acid in the eyes of a female black student. To Arlington students, Central High in Little Rock provided the standard for what they might face when integrating their county’s formerly all white schools." As a high school student, the author was named lead plaintiff in Clarissa Thompson et al. v. County School Board of Arlington County (June 1956), a school desegregation class action suit filed in U.S. District Court. 8 x 11 in., 74 p. spiral bound. Edition of 150.

"I am a black woman. I am an artist. For many years I have been creating work to bring issues of social justice into the public discourse. This book evolved from a project for which I folded origami cranes from pages of white supremacist books for the exhibition: Speaking Volumes: Transforming Hate." In this work, historical elements are used as a framing device to construct the evolution of our shared identity. Illustrated paper wrappers with flaps. Housed in foldout die-cut box with gold foil origami crane inserted into cover slot. Book, cover and case designed by Susan Rhew Design, Inc. and printed by Blue Ridge Printing, both of Asheville, NC. Edition of 1000. Crossett own copy 277. Signed. Perfect bound softcover. Four-color offset lithography.

This book relates the stories of Jake, a white male who transitions from female to male, and Ellen Craft, a 19th century black woman, who escaped slavery by passing as a white man. In photographing Jake’s transformation, Sligh explores society’s response to the act of changing one’s identity and re-examines her own fears of crossing the boundaries of gender, race and class. Edition of 46. 26 x 18 cm. Paper: Rives Heavyweight. Printing method: Screen print, digital. Typeface: Clarendon, Bodoni, Gill Sans Bold, Futura and Bookman Old Style. Binding: Case Bound. Signed by the artist.

Letterpress with French sans serif extra wide wood type circa 1925 and printed on obsolete sea charts by Dikko Faust. Design by Esther K Smith. One folded continuous sheet of obsolete sea charts. Faust used extra-wide French wood type, circa 1925, to letterpress print the alphabet, printing both upper and lower case of each letter. 3" x 2 .5" closed, extends to 104.25"; 32 pages including self-wraps. Edition of 40. Signed.

The only autonomous collection of Jack Smith's photographs to appear during his lifetime, The Beautiful Book comprises 19 hand-tipped black-and-white contact prints (2 1/4 x 2 1/4 inches), originally published in an edition of 200 copies. The 2001 Beautiful Book is a true facsmile produced by Granary Books in collaboration with the Plaster Foundation, Inc. New prints have been made from the original negatives and hand-tipped onto Canford Buttercup paper. The covers are silk-screened in two colors on Tweedweave paper and saddle-stitched. The printing and arrangement of the photographs, choice of materials, and nature of the binding are consistent with the four copies of the book given by Smith to Marian Zazeela in 1962.(3) The 200 copies in the present edition are numbered and authenticated by the Plaster Foundation, Inc.

"In a daily ritual since 2008, I listen in and translate exact-quote fragments of overheard conversations into ink-on-paper drawings, using black-and-white typography and illustration, to produce grayscale conversations between people who have never met or exchanged words. ... This book contains 108 drawings, spanning 10 years and selected from over 5,000 drawings within the ongoing 'You Look Like the Right Type' archive." ; 16 x 24 cm; Edition of 218 signed copies. Crossett Library owns number 184.

"Consists of an abecedary of 24 text-based drawings inspired by playwright and activist Larry Kramer's 2004 call-to-action speech, The Tragedy of Today's Gays. Each drawing is dedicated to a letter in the alphabet, and drawn using three words--rewritten hundreds of times--that appear in the original speech (the complete set contains 24 works because Kramer's speech did not include any words beginning with an X or a Z). The drawings first began in Chicago in 2010 and completed in New York City in 2014. This series was completed to commemorate the 10th anniversary of Kramer's speech, with hopes of inviting viewers to reflect upon a decade-long sliver of the 30+ ongoing years of the AIDS crisis" 57 unnumbered pages; 24 x 24 cm

On the Other Side is a collaborative work between French artist Claire Fouquet and American book artist Patty Smith that addresses issues of emigration. The concept originated as a response to the fences built by the United States to keep out illegal immigrants and by the French government’s policy on immigration. The book is a two-sided accordion with the recto side listing the fears that might be experienced by the emigrant. The cut windows entice the viewer to turn the concertina inside out. The verso side describes potential advantages, opportunities, and joys that might lead one “to appreciate the unfamiliar”. The work is also a comment on internal anxiety that prevents us from moving forward in our personal lives. Some obstacles, seemingly threatening and impossible to surmount, may be the product of our fear of failure or the unfamiliar. These illusions, manufactured by uncertainty, can be transcended through personal resolve and collective effort. 4 " x 5 1/2 ". Edition of 50. Crossett own number 24. Silkscreen. Folded paper enclosure. Binding: Accordion.

"Red-crowned cranes are considered to be sacred by the Japanese people. Once almost extinct, today approximately 2,000 of the rare birds remain in all of Eastern Asia. Since 2002, Camille Solyagua has repeatedly traveled to the northern Japanese island of Hokkaido in mid-winter to pay homage and photograph the birds." "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 "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 253.

Using the instructions from the book “Woven and interlocking Book Structures” Audrey Holden, assistant to Claire Van Vliet at Janus Press, created models of the books. This boxed set included the book and all the models.

A product of Cabin Time's 2014 art & nature residency off the grid in northern Idaho, the recipes in this vegetarian cookbook were prepared over the course of a week on wood stoves in an outdoor kitchen for 12-16 guests. 2 Color risograph printed. Saddle Stitch / Staple bound. 4" x 5" First edition of 300. Crossett owns number 182.

"Jim Stone’s One Picture Book finds its formal cues in the deservedly obscure 1902 guide Why My Photographs are Bad by Charles M. Taylor, which earnestly corrects photographic errors – such as blurring and foreshortening – that are now overly familiar modernist art strategies." "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 140.

"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.

An accordion fold-out book based on Edward Ruscha's famous Every Building on the Sunset Strip. However, the photos inside are of structures built out of multiple copies of another famous artist's book, Psychobuildings by Martin Kippenburger. 18 x 14 cm. Binding: Accordion. Process: Offset Printed

"A poetry comic that follows the mythological hybrid as it enacts its roles of hunter, stalker, executioner, devourer." - Jia Sung. The Oxford Dictionary of Phrase and Fable describes a harpy as "In Greek and Roman mythology, a rapacious monster described as having a woman's head and body and a bird's wings and claws or (as in Virgil's Aeneid) depicted as a bird of prey with a woman's face; in extended usage, a grasping unscrupulous woman." Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. 7 unnumbered pages. 16 cm. Binding: Saddle Stitch / Staple.

Trickster’s Journey reimagines the tarot by exploring its themes through the lens of Eastern mysticism, folklore, and spirituality. By renaming the Fool card to Trickster, a character based on the legendary Monkey King in Journey to the West, this archetype of the sojourner takes on new meaning—and new agency—as a seeker of truth and self-discovery. Created by artist Jia Sung, this fresh take on the classic figures in the Major and Minor Arcana uses symbols from Buddhism and ancient Chinese history to enliven this age-old divination practice once more.

Orientalist Tinder contains portraits and captions based on the artist's experience using the social app. Jia Sung is a Singaporean Chinese artist, currently based in Brooklyn, New York. Her work draws on motifs from Chinese mythology, Buddhist iconography, and the familiar visual language of folklore to examine and subvert the archive through a queer feminist lens. Single sheet folded.

Khichdi (Kitchari) is a book about India’s rapidly changing identity, focusing on gender, technology, and the balance of traditional Indian and western culture. The work is intentionally conscious of photography as a shared experience, and Sethi incorporates his own interests and history, as well as himself, both as a photographer and participant throughout the work. Inspired by India’s ubiquitous decoration and hyper-color, as well as the serendipitous nature of his encounters, Sethi’s inquisitive approach encourages himself, his collaborators, as well as his audience to find and enjoy the beauty, humor, and absurdity in everyday life. Khichdi, a traditional Indian dish, is made from boiled rice and lentils, and includes a variety of spices, vegetables, and sometimes meat. Eaten throughout the entire country, and recently proclaimed the national dish of India, Khichdi takes on an infinite number of forms and preparations, changing region to region, state to state, and even household to household. No single recipe, list of ingredients, or even spelling is deemed to be official, with the only constant quality of the dish being its ever changing identity. In a similar fashion, Sethi’s work never offers a singular permanent viewpoint. Rather, it serves as a expanded, ever changing self portrait documenting an evolution of the country, its people, and the artist himself. 432 unnumbered pages. 28.5 x 21 cm. Embossed covers. Sewn bound. Offset printing. Edition of 1000.

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 this diptych of poems, Stacy Szymaszek constructs a multiplicity of selves and desires in language that bends, stimulates, disorients, and satisfies, giving free reign to obsessions over identity, queerness, the broad landscape of corporeality that makes these obsessions possible, and with death—in particular, social death. A Reagan-era childhood looms in the “permission to have a story / denied.” Szymaszek’s “story” is a collectivity of narratives overlooked, rejected, and untold—a series of snapshots and moments, skirting linearity, bubbling beneath the surface." Chapbook; 64 pp, 5.44 x 6 inches. Binding: Hand-bound dos-à-dos binding

Flipbooks from the Collection of James Shook. Bodyscape by Ruth Hayes; Charades; Deadly Horizons by George Griffin; Face Phases by George Griffin; Gaminerie by Emile Cohl; Magic Man Flip Book by Milton Glaser; Miniatures exhibition; Morning Paper; Opening Crafts, Lisa; A Samuel Beckett collection by Dan Pope; Spring Leap by Lisa Crafts