Artists' Books in Crossett: Artists' Books by Material

Channel & Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book's page turns and fold outs to represent how the stream has been contained and fragmented by the built environment. The images are letterpress printed and screenprinted on Shikoku paper. The typeface is Avenir, letterpress printed from polymer plates. The cover is handmade paper from milkweed collected and retted at Ruocco Family Farm in Sandgate, VT, mixed with cotton and abaca. 15.24 x 9 cm. Long-stitch binding.

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.

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.

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.

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.

Senior work by Adeia Thompson '01. Sheets with poems, hand-inked calligraphy in Chinese, fold down when wood toggle is unhinged, revealing the English translation. Letterpress and ink calligraphy. 5 leaves. 40 cm. Handmade paper. Japanese Stab binding. Signed.

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.

A poem by Pablo Neruda translated by Elsa Neuberger illustrated with woodcuts by Antonio Frasconi. Tipped in frontispiece print on handmade Goyu paper and signed by Frasconi in pencil. Printed at the Spiral Press under the direction of Joseph Blumenthal; signed by Frasconi and Blumenthal in the colophon. Type: Emerson. Paper: Rives mouldmade. Slip case with label. Signed edition of 300. Crossett owns number 182.

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.

"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.

A pioneer of kinetic sculpture, Jean Tinguely worked in the Dada tradition, satirizing industrial society’s overproduction of material with his complex assemblages of metal and machinery. In the mid-1950s Jean Tinguely began production of a series of generative works titled Métamatics: machines that produced art works. This book includes an original mechanical "meta-matic" felt tip pen drawing made on Meta-Matic No. 8, by Björn Springfeldt and signed by Tinguely. Fold outs and printed vellum overlays throughout. Hardcover binding with a folding flap and catch in the form of a briefcase. Edition of 500. Crossett owns number B 117.

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.

A cross flexagon book in a folded red paper sleeve. A surreal and rhythmic view of getting pulled over by the police while driving. Letterpress printed from handset Univers type and photopolymer plates onto Lenox 100 paper. Paper sleeve has window cut-out, Mylar "windshield" sandwiched between the layers, and printed white rule on the front, letterpress print on the back. Pull at the four rotating faces to tell the story: stay on course to get back to the beginning. 7" x 7". Library copy 5 of 36 and signed by author and illustrator.

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.

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.

"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.

Each letter of the alphabet is introduced in the style of three-dimensional pop-up designs. Each of the 26 three-dimensional letters move and change before your eyes. C turns into D with a snap. M stands at attention. X becomes Y with a flick of the wrist. Die-cut. Pop up format. Plastic lenticular cover.

[9] cards : col. ill. ; 16 x 11 cm.
Postcard images of southern California and the Maldives (sunset in California lines up, in February, with sunrise in the Maldives and other places) with interview with David Senior and David Horvitz on versos. Cards joined at perforated edges, in accordion folds.

Artist-made postcards for use in mail-abetted protest commissioned by Primary Information, a non-profit organization devoted to publishing artists’ books and artists’ writings. Artists include Amy Yao, Mónica de la Torre, Ian Cheng, Mary Lum, Tony Oursler, Paul Ramírez Jonas and more. "“Like many of our peers, we have been using random postcards to send to our local, state, and national politicians to voice our concerns. We feel strongly that the images accompanying these concerns should belong to artists, and we have initiated this series to provide artists the opportunity to add their voice.” "Each month, Primary Information commissions artists to produce postcards in an ongoing open edition. All postcards are priced at cost. Postcards have long been a part of the artist book tradition, with artists engaging with the form for well over 50 years now. While Primary Information sees this project as a continuation of that very important tradition, the organization also sees the need to double down on this form as a political space embedded with the urgency, diversity, and complexity of voices that are the hallmark of our times. Who better to do this than artists?"

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.

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

"Japanese artist Emi Anrakuji displays reproductions of her one-off digital prints (made by digitally printing the extraordinary self-portraits for which she is best known) onto e hagaki (picture postcards)." "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 433.

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.

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.

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

Designed to hang like a single-point trapeze itself, this book shows several positions on the static trapeze. Screen printed. 4 folded leaves, 13 cm. Edition of 55. Crossett has copy no. 29.

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."

Poetry in Spanish language. Inscribed to Ben Belitt (Bennington College literature faculty member, 1937-1942; 1947-1987) by the author. Cardboard cover. Rope bound. Edition of 250. Crossett owns number 204.

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.

"The paradox of militarism and domestic life is presented through fragmented collage and text: In this friendly, freedom-loving land. The text is paired in different combinations, with images of soldiers as well as a happy couple, leading the reader to question the relationship of the two in our land." Paper: Vellum. Printing method: Offset Lithography. 22 x 22 cm.

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.

"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.

"The Pennyroyal Caxton Bible was designed & illustrated by Barry Moser. It was composed & printed folio by Bradley Hutchinson. The typefaces are Galliard, Mantinia, & Mantinia Greek designed by Matthew Carter, based on models by Robert Granjon & Andrea Mantegna. Mr. Carter also designed several new decorative & typographic elements for his types specially for this work. The paper is Zerkall Bible. It was custom-made by the Zerkall Paper Mill in Zerkall, Germany. The illustrations were engraved in resingrave. The bindings are from the combined workshops of Claudia Cohen and Sarah Creighton. The bindings are full limp vellum with the title stamped in 24-carat gold on the cover and spine. Each signature was folded by hand and sewn on vellum tapes. The two volumes are housed in a fall-back tray-case. There are 233 illustrations in the Bible.

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.

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.

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.

Transparency Reflection Light Space: A Response was created as a response to a 1971 exhibition catalog interview with the artist, Larry Bell. Prior to the publication of the catalog, Bell removed the vowels from his answers. Leah Mackin read Bell’s obfuscated responses as inherently gendered in the context of the masculine art historical legacy of Minimalism. They are defiant, brusque and, when read aloud, Bell’s words are unpronounceable, guttural noises. Her response to the work presents the remaining vowels, as a sort of harmonic vocalization, since vowels give shape and rounded-out sound to the English language. 20.5 cm x 20.5 cm. Letterpress, photocopy and laser printed. 38 pages. Saddle stitch pamphlet in hard covers. Signed. Edition of 63. Crossett owns number 44.

Humorous quasi-erotic short stories told in photographs with handwritten narratives as captions. Designed by John and Mary Condon. 64 unnumbered pages : illustrations ; 16 x 21 cm. Vellum. Perfect binding.

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.

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

"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.

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.

Inception is inspired by stories and journeys of the refugees. It is a bilingual codex in English and Arabic. The book is based on the twelfth-century Persian verse poem "The Conference of the Birds" written by Farid Aldin Al-Attar. The poem is about the search for truth and integrity, which is parallel to the refugee's quest to re-discover themselves. Birds meet to begin searching for their perfect king. Their leader, the hoopoe, encouraged and supported the birds to be confident, grateful, and honest. Only 30 bids complete the journey, eventually recognize that their king is each of them and all of them. The English text is adapted from Afkham Darbandi translation. The Arabic text is adapted from Badee Mohamed Gomaa Arabic translation “Manteq Al Tayr”. The bird images represented are from medieval Islamic artwork. Arabic Calligraphy is done by Abdul Karim and Sabri. 4.5" x 3.5"; thirty sections with four folios. 2" diameter x 0.75" miniature accordion books. Laser-cut Fabriano and tracing paper, plexiglass mirror, and wood. Coptic binding. Signed edition of 30.

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.

An ode to the artist’s beloved grandma and her clock. This tiny book is based on a favorite family anecdote regarding the clock. 2 x 4 cm. Edition of 57. Screen print. Balsa wood. Slipcase is a grandmother clock facsimile of balsa wood (9 x 4 x2 cm.) Signed by the artist. Colophon printed on folded paper inserted in slipcase.

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."

‘Grass, Kim Su-yong’ is a typographic artists' book in which a poem composed of letters is transformed into an image. Xianlu Yi reinterpreted a poem into the form of concrete poetry that freely constitutes the size and location of letters, and utilizing the forms of pop-up and accordion books to express the repeated rhythm of the poem in three dimensions. Kim Su-yeong is one of the most exceptional modern poets in Korea. He died at a relatively young age of 48 in 1968, but his poetry became a symbol of freedom and revolution during the democratization of Korea. His last poem ‘Grass’, was published posthumously. It can be viewed as symbolic of populist grass-roots movement interpreted the phrases from ‘Grass’ such as “lying down faster than the wind” and “rising faster than the wind,” as signifying the tenacious vitality of the masses. It can also be viewed from a humanist interpretation as a symbol of life itself. Edition of 50 copies. 11.3 x 13.5 cm. Wooden hardcover. Accordion binding. Pop up structure.

Inception is inspired by stories and journeys of the refugees. It is a bilingual codex in English and Arabic. The book is based on the twelfth-century Persian verse poem "The Conference of the Birds" written by Farid Aldin Al-Attar. The poem is about the search for truth and integrity, which is parallel to the refugee's quest to re-discover themselves. Birds meet to begin searching for their perfect king. Their leader, the hoopoe, encouraged and supported the birds to be confident, grateful, and honest. Only 30 bids complete the journey, eventually recognize that their king is each of them and all of them. The English text is adapted from Afkham Darbandi translation. The Arabic text is adapted from Badee Mohamed Gomaa Arabic translation “Manteq Al Tayr”. The bird images represented are from medieval Islamic artwork. Arabic Calligraphy is done by Abdul Karim and Sabri. 4.5" x 3.5"; thirty sections with four folios. 2" diameter x 0.75" miniature accordion books. Laser-cut Fabriano and tracing paper, plexiglass mirror, and wood. Coptic binding. Signed edition of 30.