Artists' Books in Crossett: Artists' Books by Process

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.

Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the book's only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

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 hand- and die-cut 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.

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.

An editorial sculpture pushing the boundaries of what an artist's book can be, Void is a radical, minimalist and dramatic project conceived by Federico Pepe which offers a dizzying exploration of the void through a system of perforated pages, revealing a work at its center. Each issue gives room to a single work of a single artist. 300 hand numbered copies limited edition. 24 x 32,5 cm. 72 perforated black pages (2 color ill.) Wordless.

In the spring of 2007, Doug Aitken: Sleepwalkers premiered as a monumental outdoor video projection onto seven facades of the Museum of Modern Art in midtown Manhattan. The silent story, told with exquisite imagery, chronicles the lives of five characters as they move through New York City. Taking its cue from multimedia artist editions of the past, this limited edition contains an assortment of media related to Sleepwalkers. "Really, the pivotal moment for me was deciding to address the city itself instead of creating an exhibition that remains the same and simply travels," Aitken explains in a conversation with Jacques Herzog included in the diary. "Like an archaeologist mining images, I wanted to try to dig under the surface of the city's outward image and expose the raw nerves that make this metropolis live and breathe." The die cut slip case box contains a 23-by-36-inch, double-sided poster; a 12-inch vinyl picture disc with unreleased tracks by Broadcast, as well as a live recording of Aitken's opera "the handle comes up, the hammer comes down;" a CD of the same, plus further tracks by acts including Canyon Country and Bibio; two flipbooks with sequences excerpted from the film; a DVD of Sleepwalkers and a street-level walkthrough; and a 96-page visual diary.

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.

An artists' book on the subject of the honey bee decline. "Using pattern and decorative illustration, it brings to life phenomena that make bees wonderful and fascinating - the way they dance, kill, and work for love of the Queen. However this book also illustrates the terrible reality that the honeybee is disappearing from our lives. Each page is illustrated and designed by myself using a combination fineliner and digital techniques." Digitally printed onto Fabriano paper. Hand bound, saddle stitch. Hand cut details. Edition of 25. Crossett owns number 9. Signed.

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.

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.

An inventive exploration of counting from one to 10 and back again. As the reader turns the pages, the numbers unfold and transform with breathtaking ingenuity. A series of flaps and pop-ups transforms one numeral into another as the reader counts from one to ten and ten to one.
Issued in a slipcase with die-cut "10" on one side and "01" on the other.

"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.

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.

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

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.

Inkjet print on Rives paper, Number 13 of 15. 34 x 34 cm

"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.

From the Alfa flag (in its muted version representing Marissa Alexander, sentenced for firing a warning shot at her husband when he attacked her) to the Zulu flag (representing Ousmane Zongo, unarmed but killed by a NYC officer during a 2003 warehouse raid), this list of mostly unremembered casualties represents part of the everyday reality for people of color. "Stripping the maritime alphabet of its primary colors and replacing them with muted browns and blacks, Mourning/Warning highlights the relationship of Americans of the African diaspora to water, maritime trade, and the need for an alternate means of communication in times of emergency and duress. How do you send a warning call that hatred comes constantly in waves? M/W serves as a method of honoring, mourning, and remembering the slain and wronged as well as teaching our children and ourselves to be vigilant and wary in hostile terrain, where your skin color makes you an easy target." Tia Blassingame. 8.5 x 11"; 32 pages including wrappers. Digitally printed in Josefin Sans typeface. Saddle stitch binding. Signed and numbered. Edition of 26. Crossett owns number 6.

"The concept of "woman" addressed by design and advertising consists of cultural fantasies as well as demographic facts. It is our roles as artists to make the spectator see the world our way, not his way." Emily Tareila '10. 1 folded sheet. 28 cm. Digitally printed.

An artists' book on the subject of the honey bee decline. "Using pattern and decorative illustration, it brings to life phenomena that make bees wonderful and fascinating - the way they dance, kill, and work for love of the Queen. However this book also illustrates the terrible reality that the honeybee is disappearing from our lives. Each page is illustrated and designed by myself using a combination fineliner and digital techniques." Digitally printed onto Fabriano paper. Hand bound, saddle stitch. Hand cut details. Edition of 25. Crossett owns number 9. Signed.

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.

This book is an experimental exploration and illustration of the rules of book design. It can therefore be seen as a kind of skeleton book. The skeleton book is a Print on Demand publication. It was first printed in June 2011 and due to the nature of Print on Demand has changed over the years. Variations an be found in stock paper, printing quality, and small adjustments in the design. Each publication is therefore a reflection of a moment in time. Special edition super gold cover. Crossett owns number 8 of 11. Perfect bound. 5 × 8 in. 48 pages. Print on demand.

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.

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.

An artist book inspired by images and articles published in the Illustrated London News during the Irish Famine in the mid-nineteenth century. Alexis Soyer, the celebrated chef de cuisine of the private Reform Club in London, often orchestrated many of these lavish banquets during the famine years, attended by the power and financial elite of the British Empire. In response to his concern about the Irish starvation, Soyer proposed a Model Soup Kitchen, to feed large numbers of people efficiently, and as cheaply as possible. Murrain contrasts the Illustrated London News coverage of M. Soyer’s Model Soup Kitchen (1847), with the extravagant banquets held in England. The ILN reporting for the soup kitchen and the banquets mirror each other - describing the seating arrangements, room layouts, dinnerware and menu. Accordion. Digitally printed. Paper: Strathmore cotton. Slipcase with image of potato plant tipped in on front cover of accordion board end and title foil stamped below. Tiziano black paper liner in slipcase with Zerkall Ingres light green as end paper. Signed edition of 20. Crossett owns number 2.

"TOWNIES is a zine cataloging the lived experiences, stories, and imaginations of PoC and LGBTQIA+ folks // who live or have lived in pockets of suburban, rural, and small town America // that have culturally and politically been associated with and claimed by whiteness and bigotry. This is a new vision of Americana. On the fringes, in the heartland, we are here too." 32 pages. 27 x 21 cm. Perfect Binding. Digitally printed.

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.

Accounting' was designed, printed and bound by Maureen Cummins in the year 2011 in honor of the centennial anniversary of the Triangle Factory Fire. All first-person survivor accounts used in this book were excerpted from Leon Stein's classic text The Triangle Fire. Half bound with black cloth spine and tips and brown paper sides. The title "Accounting" tooled in gold on front board. Image of factory building on lining papers. The pages are divided and dated like a ledger book with handwritten text recounting the stories of survivors of the fire. Along the bottom of the pages is the text of the management's report of losses from the fire. Based on meticulous research, the artist listed over a dozen items ranging from “480 sewing machines” to “500 dozen shirtwaists,” before ending with: “146 workers—mainly girls.” Cummins allowed the original marks on the pages of the diary—handwritten lists of daily expenditures that were crossed through, then Xed out with great physicality—to serve as a chilling counterpoint to the text. Limited edition of 30 copies, numbered and signed by Maureen Cummins. Crossett copy number 19. Silkscreen and letterpress. 60 pg. 14″ x 4″ x 1/4″

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

The 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.

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 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

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 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.

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.

"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.

Do you know someone who needs hours alone every day?Who has to be dragged to parties and then needs the rest of the day to recuperate? Who growls or scowls or grunts or winces when accosted with pleasantries by people who are just trying to be nice? This Informational Pamphlet aims to help introverts research and enjoy New Leisure Activities. Included are a wide variety of possible New Leisure Activities, as well as an outline of the habits of Introverts, and a centerfold map representing introversion in the U.S. 1 v. : ill. ; 16 x 12 cm. folded. Woodcut and handset type and rule, printed letterpress on Zerkyll Ingres.

"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.

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.

As a follow up of Reprint, this publication by renowned Dutch graphic designer Karel Martens contains a sequence of unique letterpress monoprints made between 2014 and 2016. The book comes in two different covers which is the result of a printing experiment by printing all the content of the book in 3 layers on top of each other. This particular print sheet was cut and folded into two different covers. "This publication contains monoprints made by Karel Martens between 2014 and 2016, reproduced at actual size, except for the two larger prints on page 24 (1992, 58 x 42 cm) and page 26 (2008, 56 x 38 cm), which features stenciled numbered printed in a 'magic square' configuration from Vedic mathematics." --Colophon.

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 selection of 13 letterpress prints, all in an edition of one, selected by the artist for their navigation of specific themes of status, excess, ego and connoisseurship. Brannon has selected text from two of the author’s seminal works, Less Than Zero and Lunar Park. Cheerful depictions of liquor bottles, Hollywood awards and 1980’s accoutrements screen-printed on full color pages act as a sympathetic companion to Ellis’s letterpress-laid excerpts. Offset and letterpress printed. Signed by the author and the artist and boxed in a screen printed slipcase designed by the artist. 10 1/4 x 7 1/2 x 3/8.

The words on the matchsticks describe former friends and lovers. As matches are removed the text changes. Catherine Michaelis began Old Flames Mismatched by looking at a matchbook, taking it apart, looking at the matches as pages that "turned" as they were used. Match layers made her think of a book with divided pages where images and/or text could mix and match. As one would use a match the words below would differ, altering the story. While the stories change, altering the "reasons," it suggests that perhaps relationships are not taken seriously enough to begin with, and finding the right match is a game we play. The matches are meant to be used. Just as in relationships we often get burned or burned out, feel used or used up, Old Flames Mismatched is meant to be a ritualized experience of that end of the romance feeling. A delightfully funny look at our past "loves" in this first in the series of "Old Flames" in the context 1.5 x 2" unused matchbook. Letterpress printed.

letterpress and linoleum on paper 9.5″ x 14″ "In 2010, I began the Brain Washing from Phone Towers Publishing Initiative. Our first production was a pamphlet on the History of Pie, published to coincide with a small-scale Pie Contest. This small-scale publication combined text (found, handset) and image (carved in wood or linoleum) produced via obsolete technology (letterpress)."

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.

Ten rengas were written between 2:15 and 2:25 pm on Tuesday, February 20, 2018 in the Word & Image Lab at Bennington College by the PRI 4236 students Mira Darham, Raewyn Fairless, Bennett Grossman, Ferne Johansson, Bailey Kushinsky, James Mcbride, Emily O'Donnell, Zadie Ross, Chase Spearance, and Carmela Uribe. The rengas were composed with handset type and printed letterpress, also by the above. 11 unbound booklets. 22 x 23 cm, folded to 22 x 12 cm. Edition of 15.

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 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.

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.

García photographed hundreds of New York street signs and then used language from his images to compose a poem-like list of text. A single line of text from one New York sign appears on each fold of the accordion book. The paper Garca selected for the book transitions from bright green to blue to orange to red to yellow -- creating a verse-like effect for text on each color of paper. It was created as part of an Artist-in-Residence program 2021 at Center for Book Arts, NYC and used and 45 metal type specimens from the Center for Book Arts collection. 91 p.; 21.5 x 346.7 cm.; Edition of 200 signed and numbered. Crossett owns number 30. Accordion Binding. Letterpress Printed.

“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 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 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.

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.

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

72 unnumbered pages : illustrations (some color); 24 cm offset lithography. Jörg Immendorf (1945-2007), a German artists of the late 20th century, was a painter, sculptor, and stage designer. This volume contains drawings, both color and black and white, along with a poem by A.R. Penck.

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

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.

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..."

"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 22 x 22 cm.

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.

Vancouver artist Andrew Dadson has based his book around a star map from 1850. The original map was photocopied, and each subsequent copy was re-photocopied. The slow degradation of the image marks the cultural shift within our interpretation of the stars (constellation charts were called maps of the heavens but after 1975 they became known as maps of the sky) and each photocopy represents a year in the decline from "heaven to earth." From start to finish the map changes from an accurate vision of the stars above to an abstracted blackness depicting the new "heaven" in the year 2008. Offset Printed.
28.5 x 19 cm. 168 p.

This tiny book (2.75" x 2.75") chronicles the sometimes dashing, often unruly hair styles of four American presidents and their assassins. Illustrated, written, designed & bound by the artist. Printed by the artist on a Heidelberg GTO offset press

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

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.

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

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

22 x 31 cm. 65p. Off-set printing.

“For a long time, I have always used recycled fabrics for making clothes. My policy is that already existing things are beautiful. I will have the same policy for my home collection. The collection includes kimonos, quilts, cushions, tapestries and furniture and more. There is a saying, ’the home is where the heart is.’ I finally understand what it means." Susan Cianciolo. Created in collaboration with Kiva Motnyk. Photography by Wallace Lester. 32 pages, 19.5 x 25.5 cm, color offset printing. Perfect binding.

29.5 x 84 cm. Offset printed. Small risograph printed booklet. Accordion binding, with with booklets attached with pamphlet stitch binding. Edition of 100.

'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

Spanning 500 years of colonial destruction, human trafficking and blood sucking, Nosferasta is a Rastafarian vampire film by Adam Khalil, an artist, filmaker, and member of the Ojibway tribe, and Bayley Sweitzer, a filmaker, and Oba, a Trinidadian artist and musician living in Brooklyn. Interspersed with Oba’s literacy diaries, this publication features critical essays, speculative fiction and visual contributions that expand on the exhibition at Gasworks, London with contributions from Peggy Ahwesh, Lou Cornum, Sabel Gavaldon, Alex Esco, Austin Sley Julian, Mutabaruka, and Laura Vallés. 176 p.; 14.8 x 11.5 cm; Spiral Bound; Offset Printed;
Edition of 1500.

The I-Ching, The Book of Changes is a 3,000-year-old oracle Chinese divination tool that does not tell you what to do, but inspires you to answer your own questions. This set includes an instruction sheet on how to throw the I-Ching yourself with these cards. Originally created for Chan's performance 'Throw, Im-Print ~ I-Ching', at Chashama Gala of Performance and Installation Art in New York. Original images were hand printed by hand-carved rubber stamps. Offset-printed. Signed edition of 50. Crossett owns number 13.

29.5 x 84 cm. Offset printed. Small risograph printed booklet. Accordion binding, with with booklets attached with pamphlet stitch binding. Edition of 100.

Bardo is a collection of drawings by Christina Martinelli (Bennington College '08) depicting what happens to ones soul as it passes from this life onto what is next. 26 cm. 16 p. Risograph printed. Edition of 100. Crossett owns number 3.

"In the early 1980s, Merril Mushroom wrote Bar Dykes, a one act play about the gay bar culture of the 1950s. In 2016, editors Faythe Levine and Caroline Paquita, collaborated with Merril to properly publish the play, accompanied by related ephemera, and a current interview with her concerning her unique and radical life as a “back to the land,” womonwriter. A longtime resident of Dowelltown, Tennessee, Merril has an enduringly rich herstory both locally within her neighborhood and the larger world. The area in which she has spent the last forty years has an extensive history of collective land projects established specifically for gays/queers/gender nonconforming people. Merril is an iconic fixture with her sharp wit and casual no nonsense attitude—a respected elder, she is an inspiration to many." 8.5" X 6.75", 32 pages, staple saddle stitched, four color Risograph printed. Second edition printing of 300.

Vanessa Graham’s comics function as puzzle-like intersections of image and text that carve out rituals through personal iconographies. Her bold sense of design and composition allow each spread to stand alone, weaving graphic elements together and apart across its curious vertical layout, which references the turnings of a calendar, measurements of the interminable and ritualistic passage of time. The book opens with a warning—“It’s a very very very narrow world”—accompanying its visual table of contents, or “Spell Index.” The titles listed seem to resonate with the spreads but don’t quite correspond with them; their subtle disjunctions give the sense of putting something together, making thematic connections that may not be entirely there. The graphic motif of the contents is answered in the figure of a woman painting her face with the phrase, “You’re going down.” Indeed, the book is an inexorable plummeting downward, the motion mirrored in the composition and the action enacted in the page turnings. But the bleakness of the theme here is a far cry from the tone of the visuals, whose soft color and intimate linework are inviting and at times even comforting. 28 unnumbered pages. 28 x 21 cm. Staple Bound. Risograph printed.

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

Eternal Sunset was developed when Son Ni was printing her book Travel - challenges of aligning the layers on the Risograph presented the artist with a flickering Sun oscillating on the page. Son says, ‘Like in the story of The Little Prince, he lives in a tiny planet, and he can watch the sunset all day long by just moving his chair’. Eternal Sunset is a poetic take of a lingering sun above the horizon, a continuous sunset in the form of a flip book. 100 unnumbered pages. 15.5 x 11 cm. Perfect binding. Risograph printing. Flip book.

Roberta Di Paolo, an Argentinian artist, compiled a series of 21 mysterious drawings created during the quarantine of 2020 into the book Extrañas Vacaciones (Strange Vacations.) Images of an inner trip that emerge from the depths towards the uncertain twilight of a forest inhabited by goblins that collect mushrooms, fairies that are friends with the flowers, insects of all kinds, spirits and shadows. A dreamlike and symbolic walk through the enchanted and haunted mountain, where in every corner magical creatures appear to tell us a story. 46 unnumbered p.; 17 x 22 cm.; Japanese Binding;
Risograph printed.

An homage to Polish sculptor Katarzyna Kobro (1898-1951). [44] p.19.5 x 14 cm. Paperback. Glue Bound, Perfect Binding. Risograph printed. Edition of 150. Crossett own number 18.

[17] p. 23 cm. Risograph printed.

Mexican artist Rigoberto Díaz Julián has juxtaposed two texts: written instructions for police for the use of force and images from a 2016 confrontation between police and protesters in Oaxaca, Mexico. The protesters were blocking a highway, demonstrating against President Nieto’s educational reforms, and by the end of the protest 8 people would be killed by firearms. Throughout Nochixtlán, the instructional text moves through different levels of force used by police: verbal deterrence, physical restraint, use of non-lethal weapons, and use of lethal weapons. The calm and corporate tone of the instructions contrasts with the chaos of the images of protest, revealing the ease at which police violence occurs, and is excused. 32 pages. 11.5 cm x 16.5 cm. Perfect Binding. Risograph Printing.

Primordial Cooch is an exploration of anasyrma, which is the gesture of showing one's genitals in order to bring about laughter, fear, and/or to let go of sadness. A somewhat complicated term, it differs greatly from other exhibitionist behavior such as flashing. Not done with the purpose of sexual arousal, it's only for the effect on the onlookers. It's connected often with ancient rituals, magic, eroticism, and all around bawdy humor between women. If you want to learn more about anasyrma, read about the Greek mythological character, Baubo. A visual exploration and homage to women, Primordial Cooch combines imagery of ancient sculptures, vintage photography, text, and Paquita's drawings. 28 p. 15.5 x 9.5 cm., sewing machine binding, with rounded corners. Risograph printed using a mix of gold and burgundy ink. Third edition of 200.

"This is the second book in a body of work, titled, PRIMORDIAL COOCH. It was created and printed while doing a mini-residency/hangout at Extrapool/Knust in Nijmegen, Netherlands, in December 2016. It’s a mini (a single sheet of paper that folds into a book) celebrating feminine/vaginal/fertility representations, throughout time and different cultures. It was birthed from the toxic U.S. political climate of this past election and all the hatred that came spewing from it. While there is much work to be done in the coming years, after the election I needed to tap into some GODDESS/EARTH energies and charge up for the battles to come. To remember where we all have come from, no matter what color our skin is, what nationality we are, or how we identify sexually (only a few of the many ways we are taught to separate ourselves from one another). We all spent months in utero and have a common “home,” a place known as the “COOCH!” Used here as a broad sweeping word for all things feminine + for female reproductive organs, the COOCH used to be considered all powerful and something that people used to celebrate, rather than denigrate. Through my years of doing Risograph printing, I’ve become friends with the folks who are part of Extrapool (a longstanding artist space), who also run Knust Press, a world renown Risograph studio. I was able to work with them and use their A2 machine, which prints a whopping 16.5″ X 23.4,” compared to my machine that prints as large as 8.5″ X 14.” It was a joy to make this limited edition mini with them, which is also double sided—on the reverse side, there is a full size poster as well." Caroline Paquita. Risograph printed at Knust Press, Nijmegen, Netherlands. Fluorescent pink, blue, green, and orange. Folded: 5.75 X 8. Single sheet.

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

In Tarot, García has collected and compiled advertisements for tarot card reading services around Querétaro and other parts of Mexico. The advertisements are uncanny conglomerations of the occult and capitalism, illuminating the ways in which spirituality is used and sold to people as a remedy for a wide range of issues and ailments. Gold Rain Books, the publisher, is an imprint of Da Substanz, an artist-run space and gallery based in Querétaro, Mexico. 38 p.; 28 x 21.7 cm; Risograph printed; Edition of 60. Signed and numbered.

Images by Alex Cavalco, Asa Lory, Aida Hasanovic, and Terrance Purdy. Text by Taylor Carter. TaCEP is a collaborative effort to facilitate the travel of carparks around the world. This publication re-frames the observation of carparks and their surrounding landscape as an act in everyday life; Demonstrating the context and importance of this piece of humble architecture depends on this gesture more than ever. Through the gaze of the various international artists, these pieces of the mundane landscape can see what we take for granted—the rest of the world around us. Using them as piece of everyday inspiration to explore our modern day existence — We can only convey that you do the same. [20] p. 15 x 25 cm. Risograph printed. Loose sheets in a folded map poster. Edition of 235.

"A meditation on earthly pleasures by Chicago-based illustrator Clay Hickson. Though more of a celebration of pleasure than of pain, Hickson's Vice plays out like a movie montage of a weekend bender's climactic peak just before everything goes all wrong." 41 cm (folded to 21 cm) Risograph printed. Edition of 200.

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

An incomplete formal study of certain ornamental forms and their relationship to one another, combined with something like a journal of related ideas and questions. New four-dimensional and "impossible" ornaments are presented. Topics such as chirality, acupuncture, the helix, and consciousness are discussed. "A personal account of a group of questions which sprang up around a particular group of shapes. Topics such as chirality, gesture, Traditional Chinese Medicine and 4-dimensional space are discussed. Features a new "split blackletter" typeface." [158] p., 17 x 11 in. Digital printed. Bristol board case. Staple bound.

"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.

Set of twelve postcards from Robert Jacks featuring his signature square hand-stamped compositions. 15.5 x 9 cm. Loose Leaves. Edition of 200.

Accounting' was designed, printed and bound by Maureen Cummins in the year 2011 in honor of the centennial anniversary of the Triangle Factory Fire. All first-person survivor accounts used in this book were excerpted from Leon Stein's classic text The Triangle Fire. Half bound with black cloth spine and tips and brown paper sides. The title "Accounting" tooled in gold on front board. Image of factory building on lining papers. The pages are divided and dated like a ledger book with handwritten text recounting the stories of survivors of the fire. Along the bottom of the pages is the text of the management's report of losses from the fire. Based on meticulous research, the artist listed over a dozen items ranging from “480 sewing machines” to “500 dozen shirtwaists,” before ending with: “146 workers—mainly girls.” Cummins allowed the original marks on the pages of the diary—handwritten lists of daily expenditures that were crossed through, then Xed out with great physicality—to serve as a chilling counterpoint to the text. Limited edition of 30 copies, numbered and signed by Maureen Cummins. Crossett copy number 19. Silkscreen and letterpress. 60 pg. 14″ x 4″ x 1/4″

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.

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 & 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 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. 8 1/2” x 14” Paper: Rives Heavyweight and Mohawk. Printing method: Etching and Silkscreen. Structure: Moveable Book, Tunnel Book

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

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 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, 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.

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

"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.

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.

"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 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.

4 folded leaves : ill. ; 13 cm. No. 37 of 40 copies. Silkscreen printed

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 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.

A selection of 13 letterpress prints, all in an edition of one, selected by the artist for their navigation of specific themes of status, excess, ego and connoisseurship. Brannon has selected text from two of the author’s seminal works, Less Than Zero and Lunar Park. Cheerful depictions of liquor bottles, Hollywood awards and 1980’s accoutrements screen-printed on full color pages act as a sympathetic companion to Ellis’s letterpress-laid excerpts. Offset and letterpress printed. Signed by the author and the artist and boxed in a screen printed slipcase designed by the artist. 10 1/4 x 7 1/2 x 3/8.

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 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.

Screenprinted and hand bound. Eight pages, 12.5 x 8 cm

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.

"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 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.

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

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.

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.

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 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.

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.