LibGuides: Artists' Books in Crossett: Artists' Books by Press / Publisher

Press / Publisher

Intranquilo = On Edge by Jorge Accame; Thorsten Dennerline; translated by Jonathan Pitcher.
Call Number: Artists' Books PQ7798.1.C32 I58 2010

Publication Date: The Bird Press, 2010

The text is a short story by Jorge Accame, printed on rectos of most leaves; related full-page images by Thorsten Dennerline appear on facing versos. One image is larger than full-page, extending into the facing page with the letterpress. There are 10 sections of text, marked with even numbers 2-20, and 11 illustrations, marked with odd numbers 1-21. Story and other letterpress are printed in black (Spanish) and red (English). The images are mounted archival-pigment digital prints of photographs on Kitakata paper, overprinted with drawings made on lithographic stones and printed from the stones. "The collaborative aspect of the work began in the fall of 2006 and continued until 2008 when the last texts and images were finished. The digital printing was by Derek Cracco at Ink to Paper in Birmingham, Alabama, on Kitakata paper. The drawings were printed from lithographic stones at the Frans Masereel Center in Belgium (Thorsten Dennerline), at Corridor Press in Otego, New York (Tim Sheesley), and one image was printed at Bennington College, Vermont (Thorsten Dennerline). The original Spanish texts were translated into English by Jonathan Pitcher. Daniel Keleher at Wild Carrot Letterpress in Hadley, Massachusetts, printed the letters on Arches Velin papers. Mark Tomlinson bound the edition. Edition of 40. Issued in red cloth-covered slipcase with small blind-impressed image on front.
The Wind: a Project by Thorsten Dennerline and Mark Wunderlich
Call Number: Artists' Books N7433.4.D46 W5 2014

Publication Date: Bird Press, 2014

This book is a collaborative project with text by Mark Wunderlich and imagery by Thorsten Dennerline. In order to create an element of unpredictability, as well as a sense of improvisation and openness to the artistic process, each artist worked from the same series of folded photographs without knowing exactly what the other would do. In the final step the text, images, and photographs were combined to produce the book. Flatbed offset plate lithography. Stone lithography and etching plates: Thorsten Dennerline with Adelia Sugarman. Letterpress: Daniel Keleher at Wild Carrot Letterpress and Arthur Larson at Horton Tank Graphics. Composition: Wild Carrot Letterpress and The Bixler Press and Letterfoundry. Binding: Mark Tomlinson. Accordion binding with cloth-covered boards, issued in cloth-covered slip case. Numbered and signed by the artist.

Cypress Hill Loving NatGeo by Thomas McMahan
Call Number: Artists' Books N7433.4.M386 C9 2017

An observation of childhood idols and their extreme social media presence. This documents Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Loving Natgeo is a 34-page survey of their emoticon expressions of Natgeo’s wildlife photography. 5.5"W x 8.5"H. 34 pages. Edition of 50.
Cypress Hill Really Loving NatGeo Zine by Thomas McMahan
Call Number: Artists' Books N7433.4.M386 C92 2017

The second zine in a series documenting Cypress Hill’s obsession with National Geographic’s Instagram account. Cypress Hill Really Loving Natgeo is a 42-page survey of their emoticon expressions of Natgeo’s wildlife photography. Includes a bonus chapter of the group loving NASA’s account. 5.5"W x 8.5"H. 42 pages. Edition of 50. Saddle stitch / Staple Bound.
A.C.A.B. / Killer Breed by Devin Troy Strother; Yuri Ogita
Call Number: Artists' Books HV7924 .S86 2017

"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.

The Velvet Wire by Anne Waldman; No Land
Call Number: N7433.4.W35 V45 2024

Publication Date: Granary Books, 2024

The Velvet Wire by Anne Waldman (Bennington College '66) & No Land is a book of fine-art, poetry, telepathic voyage, & mentorship between sister-poets in an intergenerational transmission. Anne Waldman & No Land met on the street in 2012, exchanging a flower and a few words. Over the following decade, together the two poets have created forty-plus collaborative works, weaving their shared sensibilities in the realms of poetry, art, cinema, performance, and activism. The Velvet Wire is an archival reliquary book of many of their collaborations. In The Velvet Wire, Waldman & No Land offer poems to one another and write to the wider atmosphere of our time. No Land's artworks illuminate an understanding of Waldman's kinetic, delicate, empathic writings. The pair speak to each other in devotional texts, journal-memories of their travels, and through codes of the poet's vow and path. 10 x 14 in., 28 pp. with Japanese paper flyleaf. Sewn in St. Armand black paper wrappers, and foil-stamped cover. Bound with silver thread. Housed in vellum dust jacket with foil-stamped diamond. Signed. No. 1 of Edition of 33.
The Beautiful Book by Jack Smith
Call Number: Artists' Books TR676.S6355 B438 2001

Publication Date: Granary Books, 2001

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.

On the Clouds by Boomoon
Call Number: Artists' Books N7433.3.B66 O5 2004

Publication Date: Nazraeli Press 2004

"Informed by the closing section in his previous book, Boo Moon, Korean artist Boomoon Kwon has created a new series of high-altitude skyscapes that function perfectly in our One Picture Book format. Boomoon is one of Korea’s greatest contemporary photographers. His work has been widely exhibited throughout Asia, Europe, and the United States. On the Clouds comprises reproductions of twelve images, and one original signed print." "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 480.
Twenty One Red-Crowned Cranes and One Black Crow by Camille Solyagua
Call Number: Artists' Books N7433.3.O54 2005a

Publication Date: Nazraeli Press 2005

"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.
Kuchibiru by Daidō Moriyama 森山大道
Call Number: Artists' Books TR647.M67 M673 2006

"Photographer Daido Moriyama book features photographs he made over the years of kuchibiru (lips). The subjects range from anonymous women whose likenesses are reproduced on posters, to Daido’s own friends and acquaintances." "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 459.
E Hagaki by Emi Anrakuji
Call Number: Artists' Books N7433.3 .O54 2006g

Publication Date: Nazraeli Press 2006

"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.
Why My Photographs are Good by Jim Stone
Call Number: Artists' Books N7433.3.O54 2005c

Publication Date: Nazraeli Press 2005

"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.
Beach Boxes by Judy Gelles
Call Number: Artists' Books N7433.3.O54 2004d

Publication Date: Nazraeli Press 2004

"Philadelphia artist Judy Gelles ﬁrst encountered the beach boxes of Melbourne, Australia in 2001. These structures, passed down for generations, have distinct compositions and colors identifying speciﬁc family ownership. Gelles’ photographic documentation of the beach boxes investigates their vernacular architecture and pays homage to the historical and artistic beauty they convey. The artist begins with a straight photograph, then digitally removes the color from the background, heightening the color of the boxes and delivering an eerie and beautiful composition." "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 315.
One by Ken Ohara
Call Number: Artists' Books N7433.3.O54 2005e

Publication Date: Nazraeli Press 2005

"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.
7 Colonial Still Lifes by Martin Parr
Call Number: Artists' Books N7433.3.O54 2005b

Publication Date: Nazraeli Press 2005

"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.
Fujisan by Masao Yamamoto 山本昌男
Call Number: Artists' Books TR655 .Y36 2008

Publication Date: Nazraeli Press 2008

"Masao Yamamoto’s second contribution to our One Picture Book series pays homage to Mount Fuji, and to some of the comparisons its instantly recognizable silhouette has inspired over the centuries. Yamamoto’s jewel-like photographs capture perfectly the essence of Japan’s most famous mountain; Fujisan is truly a perfect pairing of artist and subject." "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 95.
Heiden Hotel by Michael Kenna
Call Number: Artists' Books TR655 .K46 2009

Publication Date: Nazraeli Press 2009

"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.
Montecito Garden by Michael Kenna
Call Number: Artists' Books TR662 .K46 2007

"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.
Boarding School by Michael Kenna
Call Number: Artists' Books LF795.U55 K46 2003

Publication Date: Nazraeli Press 2003

"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.
Studiesnineteenseventy by Robert Heinecken
Call Number: Artists' Books TR655 .H45 2002x

Publication Date: Nazraeli Press 2002

"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.
Merced River by Stephen Shore
Call Number: Artists' Books N7433.3 .O54 2007c

Publication Date: Nazraeli Press 2007

"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.
Post Mortem by Steve Pyke
Call Number: Artists' Books TR655 .P94 2005

Publication Date: Nazraeli Press 2005

"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.
Post Partum by Steve Pyke
Call Number: Artists' Books TR655 .P95 2005

Publication Date: Nazraeli Press 2005

"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.
Cranial Czar, Eh? by Stu Levy
Call Number: Artists' Books N7433.3.O54 2005d

Publication Date: Nazraeli Press 2005

"The title of Stu Levy’s One Picture Book is also an anagram of the book’s subject, Carl Chiarenza. Levy’s “Grid Portraits” – in which multiple photographs of his subject, taken from various perspectives and distances, are combined to create one portrait – have been exhibited widely and are featured in many important collections throughout the United States. Cranial Czar, Eh? folds out map-like from its hardbound case." "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 393.
Crooked Cracked Tree in Fog by Todd Hido
Call Number: Artists' Books TR655 .H53 2009

Publication Date: Nazraeli Press 2009

"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.

Absence by J. Meejin Yoon
Call Number: Main Lvl N7433.4.Y66 A27 2003

ISBN: 9780894390135

Each leaf of heavy paper stock has cut-out footprint of the World Trade Center. The first leaves consist of a single pinhole die-cut representing the antenna; the following one hundred and twenty leaves with two identical square die-cuts represent each floor of the towers, and the final leaf is a die-cut footprint of the financial district street grid surrounding the twin towers.
Twentysix Gasoline Stations by Michalis Pichler
Call Number: Artists' Books N7433.4.P54 T9 2009

Publication Date: Printed Matter, 2009

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
And Yet My Mask is Powerful by Basel Abbas; Ruanne Abou-Rahme
Call Number: Artists' Books N6537.A27 A2 2017

Publication Date: Printed Matter, 2017

And Yet My Mask is Powerful emerges from an exhibition by multimedia artists Basel Abbas and Ruanne Abou-Rahme, held at Carroll / Fletcher in London in 2016. Carrying on from their earlier project The Incidental Insurgents (2012-2015), the artists address the apocalyptic logic of perpetual crisis that characterizes the contemporary moment. The project takes its title from Adrienne Rich's poem "Diving Into the Wreck," and like that of the poem, its mise-en-scène is a field of wreckage. Here, the artists visit destroyed villages in occupied Palestine, documenting groups of Palestinian youths wearing copies of Neolithic masks. These masks, some of the oldest in the world, were originally found in the West Bank and are now stored in private Israeli collections; they have been copied and 3D-printed by the artists from online exhibition photographs. The book uses computer screenshots of images framed in software windows, layering them across the pages along with scans and typographic interventions. The work suggests a sense of collapse and return, but one oriented toward futurity, reworking the Arab world's apocalyptic imaginary into another, parallel, unrealized time. 184 p. 24 x 20.5 cm. Offset Printed. Edition of 1,000.
A Field Guide and Handbook to the High Line by Mark Dion; Jorge Colombo; Ethan Hauser
Call Number: Artists' Books N7433.4.D566 F5 2013

Publication Date: Printed Matter, 2013

A field guide and handbook of thoughts, musings, observations, case studies, and histories (alternative, conventional, and otherwise) on the elevated structure formerly and now known as the High Line of Manhattan.
Persistent Huts by Derek Sullivan
Call Number: Artists' Books PN4836.Z3 S855 2008

Publication Date: Printed Matter, 2008

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
Charted Patterns for Sweaters that Talk Back by Lisa Anne Auerbach
Call Number: Artists' Books PN4836 .A94 C53 2008

ISBN: 9780894390326

Publication Date: Printed Matter, 2008

Published to coincide with Lisa Anne Auerbach's 2008 exhibition at Printed Matter, this artist's book brings together the various facets of Auerbach's artistic practice, which has included zine making, co-organizing the High Desert Test Sites project, and knitting. Political, relational, humorous, and instructive, it offers the reader step by step instructions on how to knit sweaters and skirts that feature a variety of slogans ("When there's nothing left to burn, you've got to set yourself on fire" and "Yes we can! No we McCain't!" are two examples.) With full-color photos of Auerbach and friends modeling the sweaters. Saddle stitch.
Fierce Pussy
Call Number: Artists' Books NX652.G38 F54 2008

Publication Date: Printed Matter, 2008

Active in New York City from 1991 to 1995, fierce pussy was composed of a fluid and often-shifting cadre of dykes. Core members included Pam Brandt, Nancy Brooks Brody, Joy Episalla, Alison Froling, Zoe Leonard, Suzanne Wright, and Carrie Yamaoka. Adamantly low-tech, fast and low-budget, fierce pussy relied on modest resources: old typewriters, found photographs, their own baby pictures, and whatever material they could get donated. Much of the work was produced using the equipment at their day jobs. Emerging during a decade steeped in the AIDS crisis, activism, and queer identity politics, fierce pussy brought lesbian identity directly out into the streets in a manner characterized by the urgency of those years. Published on the occasion of the collective's 2008 exhibition at Printed Matter, this poster book reproduces 16 classic posters from fierce pussy in an over-sized format with spiral binding. Offset Printed. Edition Size 1000. Pages
17 p. Dimensions 43.5 x 28 cm.

A Bullet for Buñuel: Fragments of a Failed Bullet by Rick Myers
Call Number: Artists' Books N7433.4.M94 B855 2017

Publication Date: Primary Information, 2017

A Bullet for Buñuel: Fragments of a Failed Bullet documents Myers’ attempt to complete a project begun by the late filmmaker Luis Buñuel: to create a bullet possessing such a weak charge that it would simply bounce off the filmmaker’s shirt when fired at him. Consulting with the estate and sources ranging from online forums for bullet makers to a ballistics lab associated with the U.S. Secret Service, Myers sought to make the bullet and fire it at a shirt that had been worn by Buñuel. While trying to bring this absurdist endeavor to completion, he was met with a colorful cast of characters and failures at almost every turn. 116 pages. 6 x 9 inches. Perfect Bound.Paperback. Edition of 1000
Artist Postcards
Call Number: Artists' Books N7433.4 .A7 2017

Publication Date: Primary Information

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?"
Sarah Crowner: Patterns by Sarah Crowner (Artist)
Call Number: Artists' Books N7433.4.C769 P3 2018

ISBN: 9780991558582

Publication Date: Primary Information, 2018

In Patterns, Crowner assembles and layers a multitude of patterns that have inspired her recent work. This material is comprised of repetitive visual systems found in nature, architecture, fashion, sculpture, and painting that she has culled from a variety of source media: photographs, magazine pages, drawings, and advertisements, among others. The artist has collaged this material into a moving narrative that establishes a conversation with images of her own work and ephemera, which are interspersed throughout the book. 96 p. 8 x 10 in. Edition of 1000
Fear Indexing The X-Files by Steven Warwick, Nora Khan
Call Number: Artists' Books N7433.4.K487 F43 201

Publication Date: Primary Information, 2017

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.

Report from the Other Side by Philip Zimmerman
Call Number: Artists' Books N7433.4.Z566 R4 2013

Publication Date: Spaceheater Editions, 2013

Images of borders and fences around properties in Westway, NM which lies only about three quarters of a mile from the Rio Grande and about nine miles from the Mexican border.
Ojalá by Philip Zimmermann; León de la Rosa
Call Number: Artists' Books N7433.4.Z566 O5 2012

Publication Date: Spaceheater Editions, 2012

Edition of 150.5.25 x 8.25"; 148 pages. Perfect bound with English and Spanish text. Signed and numbered. Publishers description "This is a dramatic visual book about living on the Mexican side of the southwestern border. The text uses Spanglish to give a rap-like poetic response to daily life in the time of narco-terrorism. The blood-red images appear to be torn from the daily newspaper front pages. An intense and frightening book that ends up with a ray of hope for the future."
Insult Toolbox by Abbey Withey
Call Number: Artists' Books N7433.4.W585 I58 2012

Publication Date: Spaceheater Editions, 2011

Insult Toolbox is set up as a handy quick-reference book when one needs a pithy and sometimes raunchy epithet to hurl at an adversary. The flap-style book allows for thousands of combinations. On the back of some of the flaps, some real life situations are listed that require responses.
The book was published in a numbered edition of 100. The size is 3.25" x 7", has 100 pages, and is in a hand-bound double spiral binding, glued into a paper folder wrap with a metallic silver foil title.
Sanctus Sonorensis by Philip Zimmermann
Call Number: Artists' Books JV6465 .Z56 2009

Publication Date: Spaceheater Editions, 2009

The cover shows a photograph of the area of Southern Arizona which is the most active in terms of migration across the Sonoran desert, and where thousands have lost their lives in the deadly desert heat. The interior pages show the progression of a typical high desert day from dawn to sunset with a single line of text on each two page spread." Edition of 1000. Four-color offset lithography. Signed by the artist. 90 unnumbered pages: 28 cm

Clues to Myself by Barbara Rosenthal
Call Number: Artists' Books N7433.4.R68 C55 1981

Publication Date: Visual Studies Workshop, 1981

18.5 x 21.5 cm. Off-set printed. Black & white photographs. Glue bound. "Things have been trapped in my mind: memories, ideas, fragments of sounds and smells, names of people, places, animals, books and music and pictures, events, phrases, facts..."
Emotional Reactions by Janet Zweig
Publication Date: Visual Studies Workshop, 1981

'Emotional reactions' uses as its background a facsimile text taken from a 1923 research paper entitled, 'The measurement of emotional reactions: researches on the psycho-galvanic reflex' by David Weschler. Superimposed onto this text are images of ephemeral objects - a label reading 'Fragile, a dead fledgling, old snapshots, a battered 'Old Maid' playing card juxtaposed with a cinema ticket that reads 'Admit One'. This imagery forms its own narrative that can be read in isolation from the text, or can be taken in conjunction with the information that lies beneath. The interplay of image and text sets up contrasts and juxtapositions - colored pictures against black and white text, the ambiguity of the images versus precise scientific language, the haphazard placing of objects across ordered columns of typed text, the applied emotions of the apparently autobiographical imagery resting on dry, impersonal research. Through this use of symbolism, Zweig questions the validity of scientifically quantifying 'emotional reactions' in a humorous and though-provoking way. 47 p. 23 cm. Offset-printed
Another Twenty-Six Gas Stations by Gregory Eddi Jones
Call Number: Artists' Books N7433.4 .J664 A86 2014

ISBN: 9780692217719

Publication Date: Visual Studies Workshop, 2014

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.

More Problems with Form or, Desire Notes or, Still Woman by Lauren Bakst
Call Number: N7433.4.B35M6

Publication Date: 2018

Foregrounding the slippages between doing and undoing or not doing, speech and movement-based forms of address, and improvisation and the score, Lauren Bakst traces the forms performance takes, be they in our everyday experiences, intimate and personal relationships, memories, or on stage. Publisher: Wendy's Subway. 28 pages; Risograph; Saddle-stitched. Edition of 125
Things I'm Scared of Right Now by Patty Chang
Call Number: N7433.4.C436T4

Publication Date: 2018

A list of the artist’s fears, ranging from physiological angst, to interpersonal and social anxieties, animal phobias, environmental worries, and political concerns, written in pencil on scratch paper during a research trip to the Huntington Library in San Marino, California in Summer 2018. Publisher: Wendy's Subway. Pages [12] p.; 22 x 14.5 cm; Stitch Bound; Risograph. Edition of 125.
Lettermen by Kevin Jerome Everson
Call Number: N7433.4.E84L4

Publication Date: 2018

Lettermen figures the 1965 Alcorn State Braves football team from Lorman, Mississippi. Publisher: Wendy's Subway. Pages: 24. Size: 19 x 13.5 cm. Edition of 125.
Intangible Heritage by Jesse Chun
Call Number: N7433.4.C48I58

Publication Date: 2018

A companion to Jesse Chun's eponymous Karaoke video essay, this book centers on a 2,000-year old folk song, which South Korea and North Korea both registered as their own for the UNESCO Intangible Heritage list in 2012 and 2014, respectively. Featuring text documents from the validation process, translations and mistranslations of the lyrics, views of fragmented landscapes, Intangible Heritage disrupts the bureaucratic narrative underlying its subject matter. Publisher: Wendy's Subway. 36 pages; Saddle-stitched; Risograph. Edition of 125
Weather Report by Kerry Downey and Joanna Seitz
Call Number: N7433.4.D696W4

Publication Date: 2018

A natural shoreline, infused with the ethereal plumes of artificially colored smoke, meets a diminutive white cube, in which the artists navigate the relation between their bodies and the physical surround. Entanglements mediating the body and the environment, the object and the subject, manifest in Seitz and Downey’s movement, revealing relations of mutual care, interdependence and shared process through measured choreography. With an essay by Christian Camacho-Light. Publisher: Wendy's Subway. Pages: 28. Size: 19 x 12.5 cm. Saddle-stitched, 28 pages; Printed on Risograph; Edition of 125
When Does "I" Become "We"? by Freya Powell
Call Number: N7433.4.P69W4

Publication Date: 2018

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.

A 19-2 View by Libby Scarlett
Call Number: Artists' Books N7433.4.S32 N56 2014

ISBN: 9781893125940

Publication Date: Women's Studio Workshop, 2015

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.
Atlas of Punctuation by Heidi Neilson
Call Number: Artists' Books N7433.4.N45 A85 2004

Publication Date: Women's Studio Workshop, 2004

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.
Buddha’s Tears: Organ Harvesting by Wei Jane Chir 池農深
Call Number: Artists' Books N7433.4.C447 B84 2015

Publication Date: Women's Studio Workshop, 2015

Buddha’s Tears exposes the hidden story of organ harvesting in China from prisoners of conscience, such as Falun Gong practitioners. Statistical information is juxtaposed with poetic rendering of a legend of a statue of Buddha, who weeps in times of crisis. Each page is filled with dates, graphs, maps, drawings and stories, concluding with a sutured image of China, a symbol of healing. The accordion pages unravel to form a long scroll, a traditional form of storytelling. Buddha’s Tears’ thirteen tryptic pages are dense with visual and textual information. Silkscreen, letterpress and digitally printed on Somerset Book 175 g. Type is Helvetica and Heiti 10 point. Issued in an edition of 50 copies.
Channel and Flow by Sarah McDermott
Call Number: Artists' Books N7433.4.M334 C42 2014

ISBN: 9781893125896

Publication Date: Women's Studio Workshop, 2014

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.
The City Within by Natalie Draz
Call Number: Artists Books N7433.4.D739 C58 2016

Publication Date: Women's Studio Workshop, 2016

The City Within is a kinetic bookwork exploring cartography and fantastical anatomy. Juxtaposing bird’s eye maps and hand-drawn street-level maps with a rib cage of text centered around Montreal’s downtown core, The City Within overlays the heart of a city with the interior body of a city dweller. Both a bookwork and a sculptural object, this multi-layered book is able to be read and explored through many pathways. Through bookmaking, Artist’s Book resident Natalie Draz investigates the structure of her body in relation to her urban surroundings. The sculptural pages of The City Within take readers on an adventure in cartography and fantastical anatomy via the streets of Montreal. Combining different bookmaking and printmaking techniques, clustered buildings and winding streets come alive, inviting readers to explore the correlation between interior and exterior spaces.
The Color-Word Value Index by Anne Thompson
Call Number: Artists' Books N7433.4.T47 C6 2013

Publication Date: Women's Studio Workshop, 2013

The Color-Word Value Index (CWVI) is a taxonomy of colors, words, symbols, and numbers based on color theory in psychology, mysticism, and early modernism. The CWVI project (2008–ongoing) is designed to generate a series of interlocking bodies of work over time in a range of media: painting, drawing, video, artist’s books, and décor. All CWVI work imagines a cultic belief in the properties of the Index—44 word pairings; 10 colors; 5 suits; values of positive, negative, and neutral; and a relativism that evokes chance and reversals such as mirroring, flipping, and doubling. Double gatefold;16 pages; silkscreen and letterpress; 8 1/4 x 6 1/2 inches
Edition of 50. Crossett owns number 28
A Darning Stitch by Sue Carrie Drummond
Call Number: Artists' Books N7433.4.D78 D37 2017

ISBN: 978-1-943039-07-4

Publication Date: Women's Studio Workshop, 2017

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.
Dress Code Strictly Enforced by Tona Wilson
Call Number: Artists' Books N7433.4.W557 D74 2018

Publication Date: Womens' Studio Workshop, 2018

"Dress Code Strictly Enforced draws on the artist's experience as a Spanish interpreter in the U.S. courts. Wilson compares attorneys, defendants, judges, and people in other key roles to theatrical players, wearing predetermined costumes and participating in staged dialogue. The heads-bodies-legs mix and match structure of the book allows readers to create new combinations. Doing so, they redefine the fifteen characters and create absurd, contradictory messages. The postface quotes the song "There but for Fortune," reminding readers that the role played by any given person is governed by chance as they move through interlocking systems of power." [40] pages. 26 X 17 cm. Printing: silkscreen and digital. Binding: spiral. Paper: French Speckletone, French Construction, and Colorplan. Signed edition of 75. Crossett owns number 52.
Feminist Ships by Megan Piontkowski
Call Number: Artists' Books N7433.4.P44 F46 2016

Publication Date: Women's Studio Workshop, 2016

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.
The Golden Rule by Ann E. Kalmbach; Tatana Kellner
Call Number: Artists' Books N7433.4.K345 G65 2015

ISBN: 9781893125971

Publication Date: Women's Studio Workshop, 2015

"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.
I Can Make You Love Me by Kathryn Immonen
Call Number: Artists' Books N7433.4.I66 I3 2007

ISBN: 9781893125452

Publication Date: Women's Studio Workshop, 2007

"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.
In Solidarity by Golnar Adili, Barbara Leoff Burge, Julie Evanoff, Alicia Henry, Tatana Kellner, Leslie Nichols, Clarissa Sligh, Jenny Snider, Joy Taylor, Anita Wetzel, Nanette Yannuzzi, Ann E. Kalmbach, Gail Schneider
Call Number: Artists' Books N7433.4.W664 I6 2017

Publication Date: Women's Studio Workshop, 2017

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.
In This Land by Judith Blumberg
Call Number: Artists' Books N7433.4.B588 I5 1988

Publication Date: Women's Studio Workshop, 1988

"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.
Lexicographer’s View by Tatana Kellner; Ann E. Kalmbach
Call Number: Artists' Books N7433.4.K345 L49 1997

Publication Date: Women's Studio Workshop, 1997

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.
The Map of Neighboring Bodies by Veronica Graham
Call Number: N7433.4.G734 M37 2017

Publication Date: Women's Studio Workshop, 2017

The Map of Neighboring Bodies is a book of invented iconography related to bodies of water. The artist plays with the definition of territory by breaking down boundaries across an open sea and systematically rebuilding them with pictograms. With these symbols, the book maps the natural, political, historical, and fantastic regions across five environments. The result is a reflection on the utility of maps as fictional devices and our longstanding need to create boundaries in order to make sense of the world around us. Graham’s interest in symbolic imagery hearkens back to an early affinity for 8-bit video games and ancient cartography. Designed to be cyclical, the book connects along a seamless path that wraps horizontally around the entire book. A key is provided on the front side to help the reader decipher the environments.17 cm x 14.6 cm x 2.54 cm [35] p. Silkscreen. Accordion fold. Edition of 65. Crossett owns number 15.
The Moon Has No Weather by Sarah Peters
Call Number: Artists' Books N7433.4.P473 M66 2013

Publication Date: Women's Studio Workshop, 2013

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.
On the Line by Linda Johnson and Kristy Lewis
Call Number: Artists' Books N7433.4.J626 O58 1997

Publication Date: Women's Studio Workshop, 1997

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."
On the Other Side by Patty Smith and Claire Fouquet
Call Number: Artists' Books N7433.4 .S65 O6 2016

Publication Date: Women's Studio Workshop, 2016

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.
Paper Paper Film by Imin Yeh
Call Number: Artists' Books N7433.4.Y445 P35 2019

Publication Date: Women's Studio Workshop, 2018

"Paper Paper Film is a paper sculpture facsimile of a box set of educational films on Paper and Gravure Printing, published by Meridian Educational Films in 1983. The original box set was found in a storage closet within Carnegie Mellon University’s School of Art Print Studios. Through the creation of this laboriously handmade physical copy, the artist transforms an outdated tool for education into an art object in direct conversation with the power structures of how, why, and what is archived." 112 unnumbered pages; 7 x 11 cm + 4 paper sculptures (7 x 10 x 1 cm and 37 x 52 mm diameter) and 1 sheet (18 x 23 cm); Papers: handmade cotton paper, Colorplan (bright red and leather embossed) acetate, Rives BFK, Awagami Murakumo Kozo Select Natural Digital Inkjet Washi; Perfect Bound (adhesive); die cut; silkscreen and digitally printed.
Remembrance by Judith Mohns
Call Number: Artists' Books N7433.4.M655 R47 2003

Publication Date: Women's Studio Workshop, 2003

By graphically isolating words and lines from the August 26, 2001 obituary page of The New York Times, Judith Mohns creates new and nuanced readings of the page's existing text. Her textual manipulations explore the visible and underlying structures of obituaries, families, society, and the qualities of life and death itself, revealing both the cold commonalities and the very personal specifics of the lives of the deceased. Paper: French Dur-O-Tone newsprint paper. Printing method: Photocopy, offset. Binding: Pamphlet stitch. 16 x 16 cm. Edition: 400
The Sun is Shining, but I Don't Trust It by Kate Horvat
Call Number: Artists' Books N7433.4.H67 S96 2019

Publication Date: Women's Studio Workshop, 2019

"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.
The Tang of Height: Kite-Flyers, Philosophers, Mountaineers by Phyllida Bluemel
Call Number: Artists' Books N7433.4.H555 O6 2011

Publication Date: Women's Studio Workshop, 2016

The Tang of Height was inspired by Bluemel’s discovery of recurring appearance of box kites in the biographies of nineteenth-century scholars. Taking that shape as a metaphor for philosophical method and 20th century thinking, the artist ties together the lives of Ludwig Wittgenstein, Alexander Graham Bell, and Nan Shepherd through archival fragments—images and ideas that resonate. These details connect across disciplines, flickering between the abstract and the particular; the philosophical and the personal—a poetry of facts. The form of the book and graphic design conduct the reader and gesture towards alternate readings of reality. The screen-printed illustrations, as inserts, float freely of the text and reveal non-linguistic connections between the stories. The Tang of Height is coptic bound, with a wraparound board cover. 8 " x 7 3/4 " [80] pages. Edition of 49. Crossett Library owns number 7. Signed. Silkscreen & digital printing.
Taxonomy of Shapes by Radha Pandey
Call Number: Artists' Books N7433.4.P36 T39 2015

Publication Date: Women's Studio Workshop, 2015

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 Original Self by Sandra Turley
Call Number: Artists' Books N7433.4.T84 T45 2001

Publication Date: Women's Studio Workshop, 2001

A delicate, but haunting series of portraits accompanies the reader through the search for self hidden in the pieces of the missing past. The absence and loss of family identity associated with adoption is explored through the method of devore printing that leaves a transparent imagery behind. 14 x 175 cm. folded to 14 x 12 cm. Edition of 100. Paper: Framed silk. Printing method: Letterpress, devore screen print. Accordion Fold
Transparency, Reflection, Light, Space: A Response by Leah Mackin
Call Number: Artists' Books N7433.4 .M336 T73 2017

Publication Date: Women's Studio Workshop, 2017

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.
Unfolding Practice: Reflections on Learning and Teaching by Arzu Mistry and Todd Elkin
Call Number: Artists' Books N7433.4.M478 U64 2015

Publication Date: Women's Studio Workshop, 2015

Unfolding Practice: Reflections on Learning and Teaching is a conversation between two artist-educators. Flowing across five chapters, the double sided accordion book has been curated from ten years of recorded conversations, field notes, planning, sketches, reflection, and teaching. The front of the book weaves text, illustration, cutouts, and screen prints, journeying through artistic process and educational practice. The back of the book is a guide, expanding on the practice of using accordion books as a tool for capturing, visualizing, and building upon reflective thinking. The brown paper alludes to the craft paper that is ubiquitous in schools and captures process more than the preciousness of a final product. Throw out accordion in hard covers. 7.875 x 5.25 x .75 Edition of 60. Silkscreen, Digital, Laser-cut, Hand-cut. Helvetica Neue. Hard cover bound. Throw out accordion.
The Veil is Seen Only When It is Lifted by Carlotta Origoni
Call Number: Artists' Books N7433.4.O75 V45 2018

Publication Date: Women's Studio Workshop, 2018

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.
Walden Marginalia; or The Contents of a Dozen Shanties by Amelia R. Bird
Call Number: Artists' Books N7433.4.B55 W35 2012

Publication Date: Women's Studio Workshop, 2012.

“This artist’s book examines margin notes found in 12 copies of Walden, while providing commentary on the reading habits of strangers, assumptions about nature writing and learning, and the lingering effects of Thoreau’s classic work. By withholding the original text to focus solely on these marks, Walden Marginalia turns the same kind of close attention Thoreau inspired in his readers onto the readers themselves. Edition of 50. Crossett owns number 31. Printed from photopolymer plates on a Vandercook No. 3. Text hand-set in Scotch Roman and Bondoni types, the closest approximation to those used in the first edition of Walden. The paper is Zerkall Book Vellum. 24 x 15 cm. 70 p. 3 gate fold pages. Case Bound. Letterpress.
What’s Left by Tracey Bullington
Call Number: Artists' Books N7433.4.B84 W53 2018

Publication Date: Women's Studio Workshop 2018

"What's Left is a limited edition artist's book which presents a collaboration between the artist and a group of her high school students who each immigrated to the United States as children. The artist interviewed each student and asked, "What is the most memorable object that you left behind when coming to the United States?" 13 unnumbered pages; 20 cm; font is Lato; Mohawk Superfine paper, letterpress printed hand carved woodblocks; Drum Leaf (adhesive) binding; Signed edition of 50. Crossett owns number 38.
where are we now by Kyung Eun You
Call Number: Artists' Books N7433.4.Y67 W454 2019

Publication Date: Women's Studio Workshop, 2019

where are we now is based on the artist’s memories in the aftermath of her mother’s passing in Los Angeles in 2009. Her family had immigrated from Korea a few years before. Images in the book depict moments in her struggle with grief, depression, and her father’s alcohol abuse. Repeated imagery reflects the recurrence of events – how the artist dealt with the frequency of her dad’s alcoholic behaviors; and the cyclical return of the memories after moving away from home. 35cm X 48.5cm Silkscreen, letterpress (photopolymer), relief (linoleum) printed; Alegreya Sans and Nanum Gothic fonts; Masa soft white, Stonehenge (black) paper; Drum Leaf (adhesive) binding; Signed edition of 50. Crossett owns number 15.
Whereas, We Declare by Tatana Kellner; Ann E. Kalmbach
Call Number: Artists' Books N7433.4.K36 W54 2018

ISBN: 978-1-943039-13-5

Publication Date: Women's Studio Workshop, 2018

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.
Wrongly Bodied Two by Clarissa Sligh
Call Number: Artists' Books N7433.4 .S55 W76 2004

Publication Date: Women's Studio Workshop, 2004

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.