Other Associated Artists

Doug Beube, Brooklyn, NY
Bulletspace, N.Y., NY
Ken Campbell, London, UK
Chuck Close, N.Y., NY
Beatrice Coron, N.Y., NY
Despalles Editions, Paris, France, Mainz Germany
Eric Drooker, Berkeley, CA
Dianne Fogwell, Canberra, Australia
Dylan Graham, Brooklyn, NY
Kathryn Gritt, San Francisco, CA
Jane Hammond, NY, NY
Caren Heft, Stevens Point, Wisconsin
Christine Hill, Berlin, Germany
Damara Kaminecki AKA Damara the Destroyer, Chicago, IL
M.T. Karthik ?, California,
Jonathan Lill, Brookyn, NY
Scott McCarney, Rochester, NY
Allyson Mellberg, Charlottesville, VA
Richard Minsky, Hudson, NY
Jeff Morin, Sailorboy Press, Stevens Point, Wisconsin
Lois Morrison, Leonia, New Jersey
Gordon Murray, Peekskill, New York
Nguyen Duy, HaNoi, Vietnam
Katrin Paul, Tokyo, Japan
Reach LA, Los Angeles, CA
David Rees, Beacon, New York, Get Your War On
Liz Roth, Madison, WI
Uta Schneider, Offenbach am Main, Germany
Jennifer Schulman, Cleveland, Ohio
Clarissa Sligh, Philadelphia, PA
Peter Spagnuolo, Brooklyn, NY
Ulrike Stoltz, Offenbach am Main, Germany
Mark Taylor, San Francisco, CA
Felice Tebbe, Felix Press, Brooklyn, NY
Robert The, Kingston, NY
C. David Thomas, Newton, MA
Mark Wagner, Brooklyn, NY
Uwe Warnke Verlag, Berlin, Germany
Elena Wen, Brooklyn, NY

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Doug Beube is internationally known as one of the few book artists working with aesthetic and intellectual integrity and creativity in the genre of altered books. He received an M.F.A. in Photography, at the Visual Studies Workshop, Rochester, NY and his work is collected and exhibited ubiquitously throughout the world.

Recent Solo Exhibitions
2005 The Jewish Museum, Philadelphia, PA
2003 "Revision,’ Limn Gallery, San Francisco, CA
2002 "REVISION,/REVISION," Frumkin/Duval Gallery, Santa Monica, CA
2002 "Inflorescence." SPIN Gallery, Toronto, ON
1997 "Hypertexts," University of the Arts, Philadelphia, PA
Selected Collections
Art Gallery of Ontario, Toronto, ON
Black Eagle Apothecary Museum-Istvan Kiraly Museum, Budapest, Hungary
Brooklyn Museum of Art, Brooklyn, NY
Special Collections, Univ. of Alberta, Edmonton, Alberta
Allan Chasanoff, New York, NY.
Dartmouth College, Hanover, NH
Jack Ginsberg, Johannesburg, South Africa
Arthur Jaffe, Miami Beach, Florida
Mueller-Schwann Publishers, curated by Helmut Löhr, Nuremberg, Germany
Museum of Modern Art, New York, NY
National Library of Canada, Special Collections, Ottawa, ON
Private Collections in, Belgium, France, Germany, Washington, D. C.
Ruth & Marvin Sackner Archive of Concrete Poetry, Miami Beach, FL
Visual Studies Workshop, Rochester, NY
Walker Art Center, Minneapolis, MN
York University, Toronto, ON

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Bulletspace, N.Y., NY
Your House Is Mine, ©1989 / 1991 Bulletspace, 19.5' x 24.5', 16 pounds, 40 pages, 11 double-sided, 29 posters on Mohawk vellum paper, editioned and signed by each contributing artist, silkscreen, lithograph, spray-paint, collage, two vellum end sheets, wood covers cased in lead, with a bolt binding. An edition of 150.
Your House Is Mine stands alone as a veritable history of the 1980's and 90's Lower East Side activist art movement centering on housing, economic, healthcare, gay and lesbian and other civil rights. But it also is a document of an impressive and provocative public art project featuring some of the most well known artists of that movement and the American art world of that time. Each of the 29 posters was printed in an edition of approximately 300, half formed the book and the others were posted in the neighborhood. These posters catalyzed and sometimes escalated the intensity of the dialog around the ongoing issues of gentrification, conservation, urban development and social justice that is the bedrock of the Lower East Side experience. And beyond that culturally the posters represent another 20th Century movement where artists combined innovative materials, design and aesthetics with radical and populist politics that had a great impact on the art world of New York and beyond
"Your House Is Mine is a collection of images and texts, defining and expressing the broad and essential issue of housing on the Lower East Side, and is a statement of the underlying force of 'art as a means of resistance'. It is both a documentation and expression of social/political issues in our neighborhood, and on a larger scale to symbolize similar conflicts in other parts of the world." It has been part of various exhibitions including: The New Museum, NYC and Exit Art, NYC.
Organized by: Andrew Castrucci
Edited by: Nadia Coen
Printed at: Bullet Space (an anarchist squatter community since 1982.), The Lower East Side Workshop, Black Cat Printshop, Cooper Union, Brandywine Workshop. Funded by: Art Matters, Artist Space, Northstar Fund, Andy Warhol Foundation
Writing by: ACT-UP, Miguel Algarin, Chris Burden, Yolanda Crespo, Paul Castrucci, Betzaida Concepcion, Nadia Coen, Anton Von Dalen, Dar, Daze, Allen Ginsberg, Eduardo Galleano, David Hammons, Pain, Adam Purple, Public Enemy, Sabrina Jones, Red Rodriguez, Sane, Sebastian Schroeder, Seth Tobocman, Walter Sipser, Bruce Witsiepe, Will Sales, Krystof Wodiczko, David Wojnarowicz, and many others.
29 Signed Posters by:
Paul Castrucci
John Fekner
Stash Two
Tom McGliynn & Emily Carter
Day Gleeson & Dennis Tomas
Nadia Coen
Anton Von Dalen
Juan Sanchez
Martin Wong
Miguel Pinero/Andrew Castrucci
Betzaida Concepcion
Seth Tobocman
Sabrina Jones
Red Rodriguez
Marguerite Van Cooke/James Romberger
Neighborhood News
David Wojnarowicz
Lee Quinones/Eduardo Galleano
Lady Pink
Sebastian Schroeder
Missing Fondation
Walter Sipser
Bruce Witsiepe
Will Sales
Vincent Galgliostro/Avram Finkelstein
Eric Drooker

In the collections of:
Brooklyn Museum, NY
Cooper-Hewitt, NYC
Fogg Museum, Harvard University, Cambridge, MA
Getty Institue, LA
Gutenberg Bibliotek, Germany
Herzon Museum, Germany
Mainz Bibliotek, Germany
MoMA, NYC
Museo del Commune di Milan, Italy
Offenback Bibliotek, Germany
Pesci Museum, Prato, Italy
Smith College, Northampton, MA
Spencer Collection, Yale University, New Haven, CT
Staadt Museum, Berlin
Stielich Bibliotek, Germany
University of Kansas, Lawrence
University of Wisconsin, Kohler Art Library, Madison
Victoria and Albert Museum, London, England
Wellesley College, MA
The Whitney Museum of American Art, NYC

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Ken Campbell, London, UK

Born in 1939 and still crawling from the wreckage, Ken Campbell is an artist working in print, painting and recently sculpture and computer graphics. The 20 books he has made since 1978 bring together arts and crafts deploying mainly his own poems and imagery. He writes, designs and prints his books by letterpress process, with the occasional deployment of etching, embossing and hand work.

His works are represented in many private and public collections in England, America and Germany. His exhibitions include a one man show of books and related works at the New York Public Library in the autumn of 1994, a one man show at the Gutenberg Museumin Mainz, Germany in the spring of 1995, in 1996 a retrospective show at theYale Centre for British Art, and an exhibition at the Herzog-August Bibliothek in Wolfenbüttel, Germany, March to May 2001.

Here follows a quote from the introduction to Campbell's self-published monograph "The Maker's Hand"

The effect of these books has been described (by Peter Townsend) as 'darkness shot through with light'. Pretty much the way the world is put together
—see the King James Bible, Genesis 1.

Please visit Ken's website and contact Marshall Weber at Booklyn if you desire to acquire or exhibit Mr. Campbell's exceptional artworks.

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Chuck Close, N.Y., NY

A Couple of Ways of Doing Something

2003

Chuck Close and Bob Holman's social self-portrait.

A book of 20 portraits by Chuck Close with 20 poems by Bob Holman. Published by Art of this Century and represented by BEYER. Booklyn has placed the book with: the Athenaeum Music and Arts Library, La Jolla, CA; Bucknell University, PA; the Getty, L.A., CA; the Joy of Giving Something Foundation, NY, NY; the New York Public Library, NY, NY; and other institutions.

Each portrait: 16 x 12 inches; Overall dimensions of book: 16 1/2 x 13 x 2 1/2 inches. Edition of 75, signed and numbered with one signed self-portrait of Chuck Close

In 1999, Chuck Close began taking photographs using the daguerreotype process, working with Jerry Spagnoli in his New York studio. Over the next two years he photographed Cindy Sherman, James Turrell, Gregory Crewdson, Elizabeth Murray, Kiki Smith, Ellen Gallagher, James Siena, Laurie Anderson, Philip Glass, Cecily Brown, Lyle Ashton-Harris, Bob Holman, Carroll Dunham, Lisa Yuskavage, Andres Serrano, Elizabeth Peyton, Terry Winters, Lorna Simpson, Robert Wilson and himself for this book.

Lyrical and concrete praise poems by Bob Holman, a celebrated New York School poet, were written to accompany these photographs and were completed in 2001-2003. Bob Holman recorded a spoken word version of each poem at Village Digital in New York City for a compact disc that is enclosed in each book.

Elizabeth Murray

The daguerreotypes were scanned and printed digitally by David Adamson in Washington, D.C. Each print is coated by a screened varnish with UV inhibitors to protect from light and reduce scuffing. Typography and letterpress printing was done by Booklyn artist Ruth Lingen in New York City. Mark Wagner, Booklyn artist and Director of Publications was a production assistant. Each edition was bound by Mark Tomlinson (in Easthampton, MA) in four elegant accordion fold books held in a box with a colophon folder that contains a Chuck Close self-portrait. Thus, while the book is eminently readable, it is also readily displayable for gallery exhibition. The paper is Somerset. The typefaces are foundry Bulmer and Bodoni, set by hand. The cloth is Buckram.A Couple of Ways of Doing Something was produced in an edition of 75 signed and numbered copies, with 20 artist proofs, 8 collaborator proofs and 8 hors de commerce proofs. An enclosed single self-portrait of the artist is signed and designated with a corresponding number.





Praise Poem for Elizabeth Murray

Elizabeth Murray she deserves more of these degrees she needs
One for every color on her palette which she spins like a plate-
Spinner a palettespinner! Colors spill all over her canvases yeah
Sure and hey hey hey the canvases are created by the colors
splashing
Spilling they collect into the shapes follow these words like her
paintings
Follow those shapes and give Elizabeth Murray a big round of
more
Honorary degrees and high honors her paintings are music too
opera
She listens to opera a lot of opera I have to drown it out to write
you can
See Donizetti Gluck Mozart Charpentier Bellini opera all over her
Paintings to escape let's dive into an Elizabeth Murray painting
c'mon
C'mon! Dive in a cup! You dive first. Ok. I'll jump first dive head
First into swirl whirlpool I dive you paddle with one of those
spoons
She does and we'll not escape (Chorus: no we'll not escape) we'll
not escape
(Chorus: no We'll never escape) till Elizabeth Murray gets more of
these
Award-things or we drown first, in art, in an Elizabeth Murray
painting,
Whichever comes first or maybe the oral tradition will make a
comeback
Thanks to poems like this and also the poetry club I'm trying to
start on
The Bowery and looking for investors to Buy Real Estate for Art
New Model
If interested see me after poem meanwhile we're all dippin in the
cup kickin in
The cups (meanwhile meanwhile kickin in the cups) (call and
response) we give
Praise! Oh yes praise hey ho I do love this griot job composing
praise poems
Is as easy as saying Elizabeth Murray totally great artist Dr.
Elizabeth Rose
Murray we are drowning in your Art and handing
overprizes
doctorates
Fellowships awards for what you give us is Incalculable and all we
do
In return is praise praise praise which humbly means thank you to
you

—Bob Holman

Contact Booklyn for more information.

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Beatrice Coron, N.Y., NY
A well know and respected book artist, papercutter, sculptor, teacher and conceptual artist; we highly encourage you to visit her website and check out her giant metal cut-out book sculpture.

Le mariage de M. Anselme des Tilleuls
by Jules Verne with notes de J.M. Margot, 2001, in French
with illustrations pochoirs, 6" x 9" x 1.5", in an edition of 25.
A brilliant codex model of a virtual hypertext inclusive of manual literary links: the text is printed by inkjet, words having notes are highlighted with the notes resting on pages hidden in a pocket inside each main page, a thread 'link' provides access to the notes. Each page also opens to reveal a photocopy of Jules Verne's original handwritten manuscript.

Despalles Editions , Paris, France, Mainz Germany

Started in 1982 as a printing, publishing and distribution house for graphics, paperworks and artist’s books, especially with bilingual typography (in french and german). Despalles' books are mainly printed on letter-presses (proof-presses), increasingly the scan and the laser- and inkjet-printer are used, as well.

Despalles now represents:
Françoise Despalles, Paris, France/Mainz, Germany
J.C. Loubières, Paris, France
François Righi, Paris, France
Johannes Strugalla, Paris, France/Mainz, Germany
and many other great presses and artists.

For an astounding example of encyclopedic typography and immaculate printing of a completely gymnastic text simply click ziemlich gedichtkopfkissen, 1994, text by Friederike Mayröcker, art and printing by Johannes Strugalla.

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Eric Drooker, Berkeley, CA

FLOOD! A Novel in Pictures by Eric Drooker

Introduction to the Second Edition of FLOOD! by Luc Sante.

Selected Quotes from Reviews of FLOOD!

ERIC DROOKER curriculae vitae

Please visit Eric's incredible website.

FLOOD! A Novel in Pictures

Booklyn is proud to represent one of the crucial comic and graphic artists of the United States, a progressive pioneer with rare political and ethical integrity. Visit mediafilter for more information and contact Booklyn. We are proud to announce that the original art from Drooker's

The Flood project archive has been acquired by the Library of Congress. It contains archived original artwork—

137 scratchboard illustrations:
- 44 pcs joined in 22 spreads measuring 9" x 12"
- 34 pcs measuring 5" x 7"
- 31 pcs measuring 8" x 11"
- 19 pcs measuring 9" x 6"
- 4 pcs measuring 7" x 10
- 3 pcs misc. sizes.

Publication history:
Four Walls Eight Windows first edition, 1992
First printing: 2,000
Second printing: 3,000
Third printing: 2,000
Quality Paperback Books fourth printing: 8,000
Harcourt, second edition, 2002, 5,000. Includes new wrap-around cover painting, and a new preface by urban and social historian Luc Sante.

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Introduction to the Second Edition of FLOOD! by Luc Sante

Eric Drooker’s FLOOD! is the last surviving document of a city that now lies as distant and irretrievable as Gondwanaland. Accrued time, money under the bridge, the fluctuations of memory separate us from that city as surely as the entire depth of the ocean. On the other hand, that city has merely changed masks. It remains as labyrinthine, as changeable, as deadly, but it has gotten itself a new face from a crooked sawbone and is attempting to pass itself off as some other critter. The city, as Drooker knows, is something ancient, maybe pre-human. I had a dream once in which somebody told me, "I saw the city before it had any people in it, when the buildings had been built but were not yet inhabited." On the other hand, all those decisions of life and death are made by humans. The city is merely their accomplice, their tool, if not their alibi. The city embodies something feral in the hearts of all those who live there. The city is a mirror of its inhabitants, and not necessarily a distorting mirror.

FLOOD! is a prophetic book, not in the sense of Edgar Cayce but in that of the Book of Amos. Maybe the events it depicts have already come to pass, maybe many times over, or maybe they never will, but either way the warning stands—and the promise, too, destruction and renewal being inseparably tied together. Drooker’s mastery of the pure stark elemental expressionist line not only suggests volumes in every stroke, but also places the images it depicts in an eternal, un-nameable tense that is not quite the present but remains poised somewhere between past and future. The book comes directly out of a historical moment—the upheavals of the city of New York in the late 1980’s and early 1990’s—that marked him, and me, and a few million others forever, but FLOOD! has wings that send it soaring above and beyond that moment and into the mystery.

topSelected Quotes from Reviews of FLOOD!

"A picture of a soulless civilization headed toward the apocalypse. . . . A poetic and lyrical novel . . . . The artist gains authority as he explores the form. . . . Drooker has discovered the magic of pulling light and life out of an inky sea of darkness."
—Art Spiegelman, New York Times

"Drooker’s old Poe visions of beauteous deathly reality transcend political hang up and fix our present American dreams."
—Allen Ginsberg, from the preface to the 1st ed.

"When the rush of war parades is over, a simple and elegant remainder of humanity remains—in the work of Eric Drooker."
—Sue Coe

"Drooker’s brilliant evocations of the menacing metropolis are wordless apocalypses."
—Lucy Lippard, New York Up Front

"Drooker documents contemporary events, but renders them as part of the tragic continuum of human history. This mythic quality helps explain [his] widespread appeal. Drooker’s iconic images have a way of lingering. I recently spied one of his stark cityscapes tattooed on the calf of a young traveller."
—Sarah Ferguson, The Village Voice

"A brilliantly colorful, almost Blakean lyricism suffuses Drooker’s . . . post-apocalyptic visions of urban bleakness."
—[Staff review], The New Yorker

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ERIC DROOKER: curriculae vitae

Born in 1958 in New York City, and raised on the Lower East Side.
Graduate of Brooklyn Friends High School.
BFA, Cooper Union, 1983.

Eric Drooker supports himself as a freelance artist and illustrator whose work has appeared many times in national newspapers and magazines, including the op-ed page of The New York Times, and The Village Voice. He has furnished seven covers for The New Yorker since 1995, as well as numerous covers for The Nation and The Progressive. Eric Drooker presently lives in Berkeley, California, where he moved in 1998.

Publications:
World War III Anthology, co-edited by Eric Drooker with Peter Kuper and Seth Tobocman, 1984-1989. Founded in 1980, WWIII continues publishing their comix-narrative digest, with issue #25 now available. Work by Eric Drooker is available in two anthologies: World War III Anthology: 1980-1989, Fantagraphics, 1990, Seattle; and WWIII: Confrontational Comix, Four Walls Eight Windows, 1995, New York.

FLOOD! A Novel in Pictures, Four Walls Eight Windows, 1992, New York. Winner of the 1992 American Book Award; a winner of New York Times Editor’s Choice/Notable Book of 1992; L.. A.. TImes Finalist, Best Books of 1992. To date, four printings have issued in the edition, most recently re-printed by Quality Paperback Book Club. A new, second edition is in preparation at this time, to issue in Spring, 2002.

Illuminated Poems, texts by Allen Ginsberg, Four Walls Eight Windows, 1996, New York. Both cloth and paper editions still in print.

Street Posters and Ballads, Seven Stories Press, 1998, New York. Winner of the 1999 Firecracker Alternative Book Award. This volume collects dozens of the author’s political street posters from the final decade of the 20th century, addressing political and community issues of the Lower East Side ranging from police brutality, and homelessness to squatting and real estate speculation. Still in print in paper edition.

NEWLY PUBLISHED:
Bloodsong: A Novel without Words, Harcourt, 2002 (to issue simultaneously with the second edition of Flood!). Uncensored edition by Dark Horse Books, 2008, with original censored introduction by Mumia Abu-Jamal.

Exhibitions:
Holly Solomon Gallery, New York, Summer 1996: solo retrospective of paintings and drawings.
Exit Art, New York, 1997, "Art and Activist Posters, 1951-1997." Traveling exhibit.
Exhibition of original cover art for The New Yorker :
Galleria Communale d’Arte Moderna e Contemporanea, Rome, 1999.
Wilhelm Bush Museum, Hanover, Germany, 2000.
Alex Meyerovich Gallery, San Francisco, 2001.

L’Association, Paris, Comix 2000, publishers of an international anthology of wordless narratives, with traveling exhibit, "Comix 2000 Tour." Appearing in Paris, K`ln, Milano, and elsewhere. Drooker’s Musical Slide Lecture, a performance with musical accompaniment, New York (Poetry Project/St. Mark’s Church in the Bowery), San Francisco, Amsterdam and various locations, 1996—2001.

Works Collected:
Paintings in the private collections of Tina Brown, Clare Cooke, Gene Avel, Karl Kierstead.

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Dianne Fogwell, Canberra, Australia

Dianne Fogwell is an extraordinary person making extraordinary books, prints and paintings. The works subtly reflect all the complexities of her home town and country. She has a profound and visceral relationship to the creation of images and texts through the art of printmaking.

Please visit her website and contact us for more information on artwork of hers available in the United States.

Detail from While you are Sleeping, 2002
Unique wall-installation book, linocuts, 2500 x 350 m

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Dylan Graham, Brooklyn, NY

Dylan makes very small books.
His books are a somewhat hybrid of the modern day American comic strip and the book form—essentially picture books, in the tradition of Edward Gorey or Maurice Sendak—executed with a minimalist aesthetic that is almost miserly. Most of Dylan's small books have been produced with the support of Christopher Wilde's Artichoke Yink Press under it's Artichoke Yink Comics imprint. Dylan has also worked extensively with Mark Wagner, who has provided a wealth of support and encouragement. Other big influences on our cynical cartoonist include David Last and Kip Rood. Some of his work can be seen here: A Quicktime Format Slideshow (145KB). More of his work can be seen here: Pinkey.com

Kathryn Gritt, San Francisco, CA
Please visit the wonderous website of Booklyn artist/photographer K. Gritt A book of her fabulous Japanese Vending Machines, project was published and produced by Mark Wagner and Bird Brain Press and is currently available from Booklyn.

Jane Hammond, NY, NY

The Stamp Book, 1993–2005

"This is a book of sixty-four postage stamps. They were inspired by the stamps of Monaco. Each postage stamp is based on a unique, large-scale oil painting I made between 1993 and 2005. These sixty-four paintings comprise the complete “John Ashbery Collaboration.” The Paintings were inspired by titles created by the poet at my request. There is one stamp for each painting. The stamps were created in 2004 and 2005".
—Jane Hammond

The stamps are digitally printed on an Epson Stylus Photo 2200 with archival inks on Hahnemuhle’s “Natural White” paper. They are hand cut. The book is made of Speckletone’s neutral ph “Madero” and “Natural” papers, neutral ph bookboard, cotton thread and silk bookcloth.

There are six of these books plus two artist’s proofs. Three of these fabulous books are now available for a limited time only at a cost of $4,500.00.

With grateful acknowledgements to: Damara Kaminecki, Craig McNeer, Jared Rosenbaum, Nelee Sim, and Vanessa Viola.

Jane Hammond was born in Bridgeport, Connecticut, in 1950, and was educated at Mt. Holyoke College and the University of Wisconsin at Madison. She moved to New York City in 1980.

In 1989, the first solo show of her paintings was mounted at Exit Art in New York. Since then she has had ten solo exhibitions in New York and other solo exhibitions in Stockholm, Amsterdam, Barcelona, Bilbao, Milan, Detroit, Chicago, Seattle and Kansas City.

Solo museum exhibitions have been organized in 1990 at the Honolulu Academy of Art, in 1993 at the Cincinnati Museum of Art, in 1994 at the Orlando Museum of Art and in 2002 at the Whitney Museum of American Art at Philip Morris.

In 2001 the Cleveland Center for Contemporary Art organized a one-person show, “Jane Hammond: the John Ashbery Collaboration 1993-2001”, which then traveled to the Contemporary Museum in Honolulu, the Madison Art Center and the Blaffer Gallery at the University of Houston.

In 2003, the Weatherspoon Museum in Greensboro, NC organized “Jane Hammond: The Rebus Paintings.”

Her paintings have been written about in the New York Times and Los Angeles Times, Art in America, The New Yorker, Artforum, Art on Paper, Modern Painters, Art News, Art & Antiques, BOMB Magazine, The Village Voice, FlashArt, Arts Magazine and many others.

She is the recipient of the Louis Comfort Tiffany Foundation Grant, the Ludwig Vogelstein Foundation Grant in Painting, two New York State Council on the Arts Grants, the National Endowment for the Arts Fellowship and the Joan Mitchell Foundation Grant Award.

Ms. Hammond lives in New York City where she is represented by Galerie Lelong.

Please note that inquiries about THE STAMP BOOK from those in New York City, (or from ANY clients of Galerie Lelong) should be addressed to Galerie Lelong.(Offer good only outside of the New York City Metro Area, other limitations may apply.)

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Caren Heft, Stevens Point, Wisconsin
Caren Heft is the sole proprietor of the Arcadian Press that produces books concerned with women and their place in the world and provides a voice for people who otherwise would not have a voice. She lives in Stevens Point, Wisconsin. Visit Heft's magnificent website and then contact Booklyn for exhibition or aquisition information.

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Christine Hill, Berlin, Germany


"Volksboutique draws its name from the East German construct Volks-Eigenen Betrieb, the socialist term for collective ownership and industry—products made by the people, for the people.

"Volksboutique examines concepts of “value” in our culture and re-invests discarded appurtenances with meaning and use. We're trying to point viewers’ attention to specific objects and events in life that risk being overlooked as being too quotidian or too common.

"We are interested in defining select arenas where art should be lived. We become hobby archivists and activist librarians and are invested in keeping inventories of certain daily life phenomena. We like keeping track and taking stock.

"We take pride in maintaining a productive workshop. We like the continuum—that the machine is humming, that things are ebbing and flowing insofar as industry is concerned, and that many disparate factors contribute to the so-called Process. We feel that lists, tallies, and the organization of details in setting up projects start to become their own project—and that that is compelling and worth being conveyed. And we believe that people can relate to these organizational elements, and the juxtaposition of introversion and extroversion within their own lives.

"We also tend to employ the "Royal We", and our numbers fluctuate from project to project. We are constantly seeking out new communities and enjoy the satisfaction and pride that comes from a good day's labor and a job well done."
—Christine Hill, Proprietor, April 2007

The Volksboutique Workshop is located in Prenzlauer Berg, Berlin.

Christine Hill is Professor and Chair of Media, Trend and Public Appearance at the Bauhaus University in Weimar. Her students oversee a number of Volksboutique Organizational Ventures from the workshop there.

Please consult:

Inventory: The Work of Christine Hill and Volksboutique. Published by Hatje/Cantz in 2003. Essays by Doris Berger, Barbara Steiner and Lucy L. Lippard. Texts by Christine Hill. Designed by Markus Dreßen.

Christine Hill: Minutes. Published in conjunction with the 52nd Venice Biennale—Think with the Senses, Feel with the Mind: Art in the Present Tense—by Hatje/Cantz in 2007. Forward by Rick Moody. Texts by Christine Hill. Designed by Markus Dreßen.

And do note:

www.volksboutique.org

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Damara Kaminecki AKA Damara the Destroyer, Chicago, IL

Please visit Damarak the Destoryer's website at http://www.damarakthedestroyer.com/

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M.T. Karthik, ?, California
M.T. Karthik is a writer, artist and activist working in a multiplicity of media to compose work that communicates socially. Karthik produces cross-cultural objects and events of a unique character and has exhibited and published internationally.

CURRENT WORK:
Iran is a Stone/Iran Es Una Piedra
5 x 7 inches, edition of 7
Indian vegetable paper, and Italian “camel sweat” paper in turmeric dye, India ink, rubber stamp, collage, 3” audio cd. A hand-painted poem in English and Spanish, with French and Tamil elements, a theme of international humanism and an audio magazine of sounds from around the world

AUDIO
Japanese Medley featuring cicadas, a junior high school band tuning up in their school gymnasium in Kamakura, Japan; more cicadas; Katsuya Nonaka playing a shakuhachi of his own maufacture at his studio in Tokyo mixed with shakers and bells, piano and Gil Evans’ arranged horn section from Miles Davis’ Sketches of Spain (all instruments played and produced by MTK unless otherwise noted) – spring and summer 2005; the sound of a tinker who fixes umbrellas and sharpens knives, walking up the stone streets of Lisboa’s Biarro Alto district blowing a whistle to let people know he is walking past and a Portuguese woman calling out the name “Eugenete”- February 2005; the sound of a horse on the cobblestone streets of old Hebron, in Palestine; Japanese atm machines mixed with LKJ’s horn section from the 70’s ska hit, “Smash Their Brains In,”attorney Jahan Jerrar of Addameer Prisoner’s rights group in Ramallah, Palestine, mixed with beats by D Sonny Black – December 2003; Marina Drummer discussing the horrible difficulties families face trying to get in to see their loved ones at Angola prison, Louisiana – New Orleans 2006; a lone harmonica player doing We Shall Overcome at a women’s rights rally in Los Angeles, April 2004; Islam is not the problem vocals, by MTK with C. Wilde and P. Spagnuolo and finally, Meditations in the Absence of Them, duet for cello and guitar, the first music produced by MTK and CKW after the attacks on New York in 2001
and
CURRENCY COLLAGE SERIES:
Crowding Our Biggest Mammals To Extinction
1. Tyger, Tyger Burning Out, 13 x 6 inches
2. Forgetting the Elephant (Who Never Forget), 5.75 inches diameter

M.T. Karthik 2007
Indian 2, 5 and 10 Rupee notes
edition of 4 framed digital prints
Selected Collections
Corcoran Art Library, Washington DC
Fales Library, NYC
Getty Research Institute, Los Angeles
Museum of Modern Art, NYC
Occidental College, Los Angeles CA
Otis College of Art and Design, Los Angeles
Smith College, Northampton, MA
Stanford University, Palo Alto, CA
University of California Irvine
University of Southern California, Los Angeles
Wellesley College, MA

The Rupee Ganesha Project [2005-2007]some videos by mtk [2007]The First Contact Project [2005-2007]

recordings of people describing first experiences with computers

Audible Palestine [2004]

recordings, interviews from twelve days in the Occupied Territories upon launch of the Israeli Wall and of the Geneva Accords, December 2003

Karthik has been collecting and experimenting with sound for decades:

Listening Station"After Po-Mo. And Before We Agree," artists talk, June 21, 2007; certitude, Auroville, IN

"vous êtes ă Puduchcheri," mural, Qualithes Hotel, Puduchcheri, India

Found in Translation at The Center For Book Arts, Minneapolis, MN, Spring 2007; New York Center for Book Arts, NY, NY, Sep. 29–Dec. 9, 2006

"bin Laden is dead—is al Qaeda CIA?" Mass Hypnosis&Underground History Since the Polarizing Events of 2001, Booklyn Artists Alliance, Greenpoint, Brooklyn, NY, Sep. 5, 2006

"Found in Translation", San Francisco Center for the Book, San Francisco, CA, May 12–Jul. 21, 2006

"Tricycle Museum" [as a part of Jam Sessions: Rigo 23-84], Center Das Artes Casa Das Mudas, Calheta, Madeira Island, Portugal, Feb. 18 - May 30, 2006

"kotataki art," permanent installation, Sun's Preschool, Kamakura, Japan

"Pan-Asianism Central to Exile Activists Ideology", A. Jeffs, The Japan Times, Nov. 19, 2005

"Embracing the Gadfly: the Interviewed thoughts of M.T. Karthik", M. Herbst, The Journal of Aesthetics and Protest, Volume 1, Issue 4, Sep. 2005

"Media Pluralism in the Age of Surveillance", C-Level, Chinatown, Los Angeles, CA, Feb. 24, 2005

"Radio as Meta-Medium", The New College, San Francisco, CA
Dec. 05, 2004

"News Director", Pacifica Radio Station KPFK 90.7fm Los Angeles, Feb. 10, 2003 - Nov. 26, 2004

"Troubled Sleep: Art in the Age of Bush", California Institute of the Arts Valencia, CA, [panel with Marc and Robby Herbst, Mariana Botey, Andrea Bowers, Josh On and Laura Owens], Thursday, Nov. 4, 2004

"Visible Palestine" [with M.E. Gonzales], Echo Park Film Center, Los Angeles, CA, Feb. 25, 2004

. . . even the birds were on fire . . . , University of New Hampshire, Durham, Mar. 11-May 11, 2003

"Art and Political Communication", University of California at Davis, Feb. 10, 2003

"That's for Hiroshima! That's for Nagasaki!", Track 16 Gallery, Los Angeles, Jan. 27, 2003

"US=THEM" featuring "1984" a performance reading, of Orwell's novel on September 11, 2002, 33&1/3 Books, Los Angeles, Sept. 11–Oct. 7, 2002

"Rare Books of The Future" [with Booklyn Artists], Center for the Book Arts, NY, Jan. 25–Apr. 02, 2002

. . . even the birds were on fire . . . , Track 16 Gallery, Los Angeles, [performance with M. Weber], Nov. 14–Dec. 4, 2001

"What to the Slave is the 4th of July?", performance reading of Frederick Douglass' speech, on the steps of the New York Public Library, July 4, 2001

"Books by Artists", Nicole Klagsbrun Gallery, NY, Spring 2001

"The Voting Chamber" Movements Gallery, Austin, TX, Feb. 20–Apr. 20, 2000

"There's No Such Thing As The 21st Century", installation performance at Greenpoint Riverfront Artists, NYC, Dec 5–12, 1998

The Mr. Wouldenhead Show cafe installation in Williamsburg, August 1998

Pulaski Bridge Drop, Brooklyn/Queens border, NYC, Jun 10, 1998

SELECTED COLOPHONS

"Taiwan" [2005]
"Discourse on the Polarizing Events of 2001" [2005]
"Dereliction"
"The Big-Time Pitch"
"US=THEM" [2001]
"26 Days" [2002], edition of 26
"AWM" [2002], edition of 17
"eleven" [2002], edition of 29
"The USA Sucks"
"El Toro Corrido" [2002]
"Soon" [2002]
"Marathon"
"The Very Idea" [2001]
" Europe" [2001]
"The Shut Up Book" [2000]
"Thousand Year Wu" [1999]
"Yankee Gone Home Run" [1999]
more . . .

"Taiwan" [2005]
(for Rigo 23)
Ink, acrylic, collage of scraps and prints, color 35mm photos, handmade cover of leaves bound with natural fibers, notations and snaps from two trips to Taiwan separated by ten years (1991, 2001) and composed as a political commentary on the radical transformation of local politics from KMT to DPP control. Presidents Bush 41 and Bush 43 regimes are described in relation to the island. From the vantage point of a U.S. American foreigner visiting as an English teacher and then a radio journalist and finally an artist's assistant, policy toward Taiwan is assessed under Bush 41 as he was busily conducting his war on Iraq - the so-called Persian Gulf War. Bush 41 was the first to sell weapons to the island - a policy continued to this day by Bush 43, who went further to try to divide and polarize relations across the Taiwan Strait, pumping up military sales to Taiwan while sending Secretary of State Condi Rice to tell European countries not to sell weapons to the PRC. The book ruminates on manipulations of local politics by the U.S. C.I.A. and includes art by Hung-Chi Chih and Rigo 23 during a period of warming relations across the Strait.

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"dereliction" [2005]
Click the link above to read the complete colophons. Seafarer's maps salvaged by G. Borsa from a derelict tugboat on the Newtown Creek that separates the boroughs of Queens and Brooklyn, NY; gouache, acrylic, ink, and collage of printed paper, and prints from digital media by M.T. Karthik; binding by C.K. Wilde. Initially authored during the Republican National Convention as it was taking place in New York City, "dereliction" [2005] begins with a slap across the face of the Prince of Wales in 2001 and moves through land and sea, ultimately ending in a cosmological Haiku.

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"Discourse on the Polarizing Events of 2001" [2005]
collaboration with A.P. Ferrara

Part One: The Polarizing Events
Part Two: The Division of Society
Part Three: The Discourse Recast
Part Four: 2002 = 1984 (a Library)

Acrylic, oil, marker and pen ink, blood, hair, photocopied text, reprinted e-mails, white-out, output from digital media and library of zines and books, Discourse On The Polarizing Events of 2001 is an archive of documentation concerning the events of September 11, 2001, in the United States of America [and in particular in New York, NY], collected in the 85 days after the skyjacking of aircraft in Boston. It includes a Bibliography of zines produced in 2002 and various books, parallel texts, images and dvds produced by victims, friends and families of victims, academics and extremely literate independent U.S. Americans in the five years since the Polarizing Events of September 11, 2001, a.k.a. nine-one-one, nine-eleven, September the Eleventh and September eleven. Composed from e-mails, discarded documents and images found in Manhattan and Brooklyn, and transcripts of television broadcasts, and video and audio recordings, THE DISCOURSE includes daily entries of events by independent authors, texts of the political opposition as well as contemporary news coverage of the events, printed copies of laws passed in the wake of the attacks and other public documents and includes the first New York Post, New York Times and New York Times magazine, New Yorker magazine, Time magazine, Economist magazine, Le Monde Diplomatique, Le Figaro, Greenpoint Gazette, and more, published after the attacks and purchased in New York upon their release. The collection also contains personal remnants of eyewitness documentation including napkins, scraps of paper, posters, flyers, banners retold memories of witnesses and victims through audio and print, an immense collection of material from the streets of New York.

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"26 Days" [2002], edition of 26
[with B. LaFore and T.R. Watson]
acrylic, marker ink and inkjet print on cotton paper. The title is taken from the period of 26 days between the attacks of 9/11/2001 and 10/07/2001 when the U.S. began bombing Afghanistan in vengeful retaliation. The centerpiece of this golden-colored 7" x 4" antiwar zine is a letter from former U.S. President Jimmy Carter to the New York Times dated April 2002 - shortly after violent Israeli incursions into the West Bank cities of Ramallah, Jenin, Nablus, Hebron and Jerusalem, but 6 months before Carter won the Nobel Peace Prize - in which Carter proposes ways in which the sitting U.S. President can take steps toward peace in the middle east. An intensely detailed set of 8 maps of Israel and Palestine - researched, composed and graphically designed by B. La Fore - emerge from the centerfold of this letter. 26 Days contains a pull-quote from Malaysian Prime Minister Mahathir bin Mohammad and writings by Phillip Knightley, Francis Boyle, Dr. Firoz Osman, Stephen Zunes and from an e-mail by a group of Palestinian doctors and intellectuals in Nablus. 26 Days was first exhibited at "US=THEM" [2002] at 33 1/3 Books and Gallery, Los Angeles. With cover art by T.R. Watson, this book can be read at the Museum of Modern Art in New York, NY at The Getty Museum and The Otis College of Art and Design in Los Angeles, CA and seven of the remaining 26 editions found homes in educational institutions around the country.

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"AWM" [2002], edition of 17
inkjet on paper, with screened denim cover, a staple-bound collection of printed e-mails by Raj Balas, a South Asian man murdered in Brooklyn, NY in the days following the Polarizing Events. These E-mails, entitled "Anti-War Movement", and numbered 1 - 6 were sent to dozens of publications and institutions between Sep. 11 and Sep. 24, 2001, the collected emails compose a haunting posthumous plea for sanity in a time and place when vengeance-madness took the life of the author. Text on the denim reads, "J'accuse l' etat". The screened fabric is fashioned into a slip-cover designed by T.R. Watson. Also in the collection of the MOMA and Getty and at Occidental College in LA and other educational institutions and private collections.

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"eleven" [2002], edition of 29
(with Booklyn), details and colophon available on Booklyn Exhibitions page

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"The USA Sucks" [2003],edition of 500, it sucks more oil, water, energy and resources than anyone else anywhere else, ever. So begins this small zine created from the transcript of an editorial aired by MTK on Pacifica Radio station 90.7fm in Los Angeles, KPFK, July 4, 2002. Click on The USA Sucks link above to find an mp3 of the audio

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"El Toro Corrido" [2002]
(for and with TIFA and containing art by: Rigo02, M. Weber, A. Noble, B+, G. Jehan, T. Krahn, G. Slay, A.M. Watson, A. Roma, AP, Drs. M. Bates and M. Dwight and the very first print work of O.M. Milan), photographs, ticket stubs, marker ink, acrylic, oil, color copy, white-out. Begun possibly on the night of conception -El Toro Corrido is a journal, a novel, an essay, a guidebook and a preface to the lifetime of our son. This book was composed from ticket stubs, photos, flyers and other items found and created during a year of pregnancy and delivery.

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"Soon" [2002]
acrylic, ink, white-out, ticket stubs, cardboard, paper made from cotton, twigs and leaves, black felt cover. This rumination on loss starts with a lesson on the politics of suicide bombing and ends in an audio cassette recorded from within the Alamo Dome in San Antonio, Texas, during the final pro basketball game played there by the San Antonio Spurs. The Alamo Dome is an example of the public swindle of stadium-building that took place all over the US in the 1990's. The game is lost to the Los Angeles Lakers when Laker guard Kobe Bryant, in the final 2.3 seconds, cuts through the lane, steals an offensive rebound and sticks-back the ball for the victory to eliminate the Spurs from playoff contention in 2002. A 35 mm photograph of the court at this exact moment from a perspective that includes the Jumbo-Tron monitor hanging over the court, captures the instant before Bryant cuts through the lane from two separate angles in one shot - the ball is frozen in midair rebounding off the rim. This very unique and very American book was composed on the Greyhound bus running between Los Angeles and San Antonio - a distance of some 1800 miles. It contains a poetic reference to and quotations from Charles Mingus, created as the bus passes his birthcity of Nogales, AZ. In the centerfold, a drawing entitled, "Portrait of the 20th Century" is accompanied by a quote from collage and book artist C.K. Wilde.

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"Marathon" [2001], edition of 101
color copy, ink, gold vellum, inkjet, compact disc. This audio magazine appeared as an edition of Karthik's books with soundtracks. In this case, the sound of literally tens of thousands of runners approaching the hill at the halfway point of the New York City Marathon on the Pulaski Bridge between Queens and Brooklyn. The book contains poetry and prose on marathoning in New York at the end of the 20th century. But the cd is the real artifact here - a work of endurance and grace, Marathon (2001), contains sustained sequences of runners at their limit and in their element. Engineered and produced by M.T. Karthik and mastered by A.J. Tissian. The cover features an image of mic position during the 2000 Marathon by Brooklyn photographer M. Lethem. Graphic Design by A.E. Williams.

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"The Very Idea" [2001]
100% cotton paper, acrylic, oil, plane ticket stub, water and multicolored variants of marker ink in silk box.
This 4" x 7", 400-word English narrative began as "The Very Idea Corporation," became a gorgeously elegant anti-TV sentiment and moved into a suspenseful moment in the air between a 40-something-year-old man and a 13-year-old girl that never resolves...

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"Europe" [2001]
plane, train, bus and metro ticket stubs, ink, acrylic, oil
A narrative collage of text and various scraps found in Europe [Madeira, Azores, Portugal, France, Amsterdam] December 25, 2000 - January 25, 2001. The book is handmade from leaves and bound with twigs in Indonesia.

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"The Shut Up Book" [2000]
ink, acrylic, white-out, oil, blood, cassette tape
A 4"x 5" unique that contains as its centerfold a photo of a 5' x 6' anti-death-penalty graffiti mural tagged by the author onto a police station in Williamsburg, Brooklyn. The book was exhibited at Phoebe's Coffee Shop two blocks from the site of the mural in summer 2000. The Shut Up Book contains a personal, pithy and playful anti-death-penalty poem with an audio magazine on cassette tape that includes Jimi Hendrix Axis: Bold As Love, Pacifica Station WBAI's coverage of the execution of Shaka Sankofa in Texas (June 2000) as well as a mix of ambient sound and music from radio in turn-of-the-century New York City.

In the collection of J. Rosencrantz, Los Angeles
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"Thousand Year Wu" [1999]
(with C.K. Wilde and E. Weil)
Algerian goat leather cover with cast plates. Fabriano cotton wrapped in Seikishu Japanese mulberry, India ink.

This very large (18" x 14") book was "made a thousand years ago." Drawings of forms from Tai-Chi Chuan, Kung-Fu and other disciplines are accompanied by pictographic text elements literally thousands of years old. Cotton paper wrapped in Japanese mulberry gives the appearance of a faded, well-traveled instructional text with an "evident" patina from use. Source material for the graphic elements included the more than 700-year-old Mustard Seed Manual of Painting. The original Chinese text by M.T. Karthik consists of variations on the theme of decrying the rational to favor the transcendental in engagements. This book was commissioned by the performance artist RZA (Wu-Tang clan) for use in a digital film project.

In the collection of The RZA (yo send it back bra')
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"Yankee Gone Home Run" [1999]
[with C.K. Wilde and M. Weber]
Ticker tape, buy/put/sell cards, confetti, Yankees ticket stubs, plastic, ink

The pages of this wickedly colorful book are composed of ephemera collected from the "ticker-tape parade" in New York City for the 1998 New York Yankees that have been plasticized into independent collages of remarkable detail. The pages play host to an original poetic rumination by M. Weber in the spirit of the game. This book can be read at the Milwaukee Public Library's rare book room.
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"Symphony with one rest" [1998]
"Mood" [1997]
a novel
"Truthful Conceits" [1997]
a collection of essays
"Sucka Free" [1997]
a collection of short fiction
"An Examiner's Chronicle" [1997]
a collection of poetry and prosaic fragments

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Jonathan Lill, Brookyn, NY
A founding Booklyn artist, and professional Librarian, brilliant designer of Booklyn's database!

Scott McCarney, Rochester, NY
Are We Ready Yet?

A series of books by Scott McCarney which were conceived post 9/11/01. They address the shifting landscape of language, psychology and politics of national homeland security. The title of the series is derived from a Federal Emergency Management Agency (FEMA) publication titled Are You Ready? A Guide to Citizen Preparedness.

Safe

2003, 7 x 7 in., 40pp, edition of 10.

This book was composed for Love And / Or Terror, an exhibition and conference at the University of New Mexico Museum of Art in Tucson in 2003.

It is a sequel to In Case of Emergency, Nexus Press, 1985. This text was downloaded from the US Department of Homeland Security website. The preface makes reference to In Case of Emergency. The photographs from the Wizard of Oz are used for that book. This blending of images from Virginia countryside. These were taken during a drive home to Rochester, in February of 2003, through a blizzard. The storm shut down the east coast from Washington DC to Boston—it was the scariest thing the artist had ever done in my life. The “sampler” text is from the DHS website preparing us for a chemical attack. This includes the infamous duct tape / plastic sheeting instructions for chemical warfare. These instructions inspired the binding of Safe and State of the Union. The language and checklist form is eerily reminiscent of the text which was used in In Case of Emergency. This was taken from a government pamphlet published in 1954. The year after the birth of the artist. It is a simplistic checklist of what to do in case of a nuclear disaster. Nearly 50 years later, our government is providing the same panacea when it comes to terrorism. The instructions are a thinly veiled update of duck and cover.

This text appears to be stitched into decorative squares which are a ratty carpet runner in the artist's basement. The complexity of this book lies in the variety and arrangement of images. These are images that the artist made since 9/11. The title of the book is an homage to Todd Haynes’ film of the same name made in 2001. Julianne Moore is brilliant as a quiet, devoted suburban housewife and mother who becomes sensitive to the common toxins in today's world. Her stunned-helplessness and resignation, at the end of that film, is an apt metaphor for my own feelings toward this administration's war on terrorism and the management of homeland “insecurity.”

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State of the Union: Live

2003, 7 x 7 in., 24pp, edition of 10.

"The source of images for State of the Union was the 1992 television broadcast of George W. Bush’s State of the Union address. My boyfriend had recently given me a small point-and-shoot digital camera for my birthday. I was curious what a digital image from television would look like. I did not have this book in mind at the time, and I set up my camera on a tripod and turned down the volume on the TV. The resulting images of Bush emphasized the odd tics and expressions that had become a trademark of this president. In the forthcoming political cartoons, these expressions have mirrored the massacre of language which he is known for world-wide. The live tag in the frame of the television screen transformed into evil and then into vile. On the internet, and the resulting anagrams for The State of the Union became a text-crawl which separated Bush’s expressive eyes from that of his mouth. This binding made with plastic sheeting and duct tape is suggestive of the Department of Homeland Security use of readiness for chemical and biological terrorist attacks."
—Scott McCarney

Booklyn is delighted to represent the provocative and politically challanging and installations of Scott McCarney.

Please contact Marshall Weber for information regarding his installations.

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Allyson Mellberg, Charlottesville, VA

Integrating mad skills with an emotional pallete of evocative depth—Mellberg's books, drawings, installations, and prints take you into a unique allegorical universe. The images are just the tip of the Mellberg hot-iceberg. Stay tuned for two new books by Mellberg and Marshall Weber, The Emotional Tourist and Twilight in the Adolescent Empire. Mellberg is also a member of art 'collective' Team Lump. Check them out.

Forest 5, collograph, 2004

Trying to Eat, collograph, 2002

Underbird, collograph, 2001

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Curriculum Vitae
Education
2004—University of North Carolina at Chapel Hill, Master of Fine Art
2000—Milwaukee Institute of Art and Design, Bachelor of Fine Art in Painting and Printmaking
Solo Exhibitions
2005—Nohomebody, Cinders Gallery, Brooklyn, NY
2004—Small Girl, T and L Gallery, Raleigh, NC
2002—Ghosts, Garfield Artworks Gallery, Pittsburgh, PA
New Works, Atomix, Chicago, IL
2000—Monsters, Beans and Barley, Milwaukee, WI
Group Exhibitions
2006 –New Works by Allyson Mellberg and Jeremy Taylor, Branch Gallery, Carrboro, NC
–Team Lump, Lump Gallery, Raleigh, NC
2005 –Two for the See-Saw, Branch Gallery, Carrboro, NC
–Also Awesome! Hallway Bathroom Gallery, San Francisco, CA
–New Breed, DCAC, Washington D.C.
–Potato and Sweat, Needles and Pens, San Francisco, CA
–Paper Awesome! Pigman Gallery, San Francisco, CA
–Yearning Lines Growing, Hallway Bathroom Gallery, San Francisco, CA
–SECCA Biennial, Team Lump, SECCA, Winston Salem, NC
–I Find You, Cinders Gallery, Brooklyn, NY
–Door and Window Alteration Project, Baltimore, MD
–Domestic Policy, Southern Graphics Council Print Portfolio Show, W.D.C.
–Row Boats Home, Old Dominion University Gallery, Norfolk, VA

2004
–Coloring Book, Branch Gallery, Carrboro, NC.
–Goodbye Says It All, Atlanta Museum of Contemporary Art, Atlanta, GA
–Babylon Lexicon, Barristers Gallery, New Orleans, LA
–Sloppy Slobbering Monster, Your Face, Kansas City, MO
–Deux, La Collecte Press Papier, Various openings in Luxembourg, Sao Paolo, Denmark
–Hot and Cold Volume 7, Buzz Gallery, Oakland, CA
–Lost Weekend, Lump Gallery, Raleigh, NC
–Bunker, Clean Room Gallery, Carrboro, NC
–Lucky Day, Branch Gallery, Carrboro, NC
–Art Array 2, Primary Space Gallery, Hamtramck, MI
–Spring Loaded, Primary Space Gallery, Hamtramck, MI
–Go Home Little Black Cloud, Firefly, Raleigh, NC
–New Currents in Contemporary Art, MFA Thesis Show, Ackland Art Museum, Chapel Hill, NC
–Heraldic Pomp, Fire Proof Gallery, Brooklyn, NY
–Ballbusters /Team Lump, Rebus Works, Raleigh, NC
–Sweetness and Light, Lump Gallery, Raleigh, NC

2003
–Beggars and Thieves, Plus Ultra Gallery, Brooklyn, NY
–Bits and Pieces, Primary Space Gallery, Hamtramck, MI
–Unconscious, Studio 1300 Gallery, Cleveland, OH
–Pink Pow, Second Year MFA duo show w/ Wendy Aracich, Alcott Gallery, Chapel Hill, NC
–Bad Touch #5, The Rose Museum, Boston, MA
–All Hail The New Flesh, Greensboro, NC
–Art Array, Primary Space Gallery, Hamtramck, MI
–Milwaukee’s Best, Mitten Gallery, Harrisonburg, VA
–Engaged, 1st Year MFA Candidate Show, Alcott Gallery, Chapel Hill, NC
2002 –Stuffed, Mitten Gallery, Harrisonburg, VA
–The Art Is Formally Known as Prints, Print Collaborative group show, KM Art, Milwaukee, WI

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2001
–Home Sanctuaries, Remington-May Workshop Gallery, Racine, WI
–Badwater Book Club Invitational Show, UW Parkside Library and Milwaukee, Golda Meir Library, Milwaukee, WI

2000
–Serious Play, Adambomb Gallery, Milwaukee, WI, curated by Columbia University, NY, MFA candidates.
–Recent Graduate Work In Printmaking, Milwaukee Institute of Art and Design, Milwaukee, WI
–New Generation, Artists Gallery, Racine, WI
–Hermark, Woman Made Gallery, Chicago, IL Juror: Mary King
–Rust Spot, Group show in temporary gallery space, Milwaukee, WI
Awards and Scholarships
2003-04, Teaching Assistantship, University of North Carolina at Chapel Hill.
2002-03, Graduate Assistantship for the Printmaking Department, University of North Carolina at Chapel Hill.
Selected Publications
2005—BUST Magazine Illustrator, Fall Issue; Venus Magazine Featured Artist, Spring Issue; Local Tea Cover Illustrator, Spring;
2004—Coloring Book, Branch Gallery Publication, Edition of 100; Mollusk Rap, Artist Book Drawing Collaboration, Salt Tooth Press, Edition of 40; Schritte Ins Offene, Featured Illustrator, Switzerland; The Drama Magazine, Issue #3
Hot + Cold Zine Volume #9; Welcome to the Forest, Single copy artist book produced for MFA Thesis Show; Repellent Magazine Issue #3, “Heraldic Pomp”; Muscle Crap, Artist Book Drawing Compilation, Salt Tooth Press, Edition of 250; La Collecte International, Press Papier, ISBN 2-921635-43-7
2003—Hot Iron Express: A Collection of Original Artists Postcards, Edition of 130; CD cover/booklet and all promotional materials for Rainer Maria " Long Knives Drawn" LP and "Ears Ring" EP, Polyvinyl Records “Ears Ring” music video illustrations for Rainer Maria featured on MTV2. and “Anyone Who Loves You Already Knows” DVD Polyvinyl Records

Selected Collections
La Maison Rouge, Paris, France; Fogg Museum, Harvard University, Cambridge, MA; Sloan Art Library, University of North Carolina, Chapel Hill; University of Washington State, Special Collections, Curator, Sandra Kroupa; Milwaukee Art Museum, WI. Prints and Drawings, Curator: Kristen Mackholm; Baltimore Art Museum Library, Baltimore, MD

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Richard Minsky, Hudson, NY
A towering figure in the field of artists books, Minsky is the founder of The Center for Book Arts, and a primary force for reinvigorating binding as both an art form in and of itself and as an important component of sculptural and conceptual artworks. Numerous awards and prestigious exhibitions along with an immense body of work in collections throughout the world mark Minsky as a unique creative influence and an important artist of global stature.

Booklyn is proud to acquire Minsky, and is currently touring his video active rendition of George Orwell's Nineteen Eighty-Four throughout the country. We are also encouraging people to explore his massive and profound ten volume edition, The Bill of Rights. For further information on Richard Minsky and his book artworks or to schedule viewings or exhibitions of his work contact Booklyn.

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Jeff Morin, Sailorboy Press, Stevens Point, Wisconsin

Sacred Space

2003, editionof 35.

His most recent book, Sacred Space, is a letterpress book housed in a box that also contains the parts for a chapel, to be put together by the viewer. The chapel incorporates elements of a previous book as the stained glass windows feature the sacred alphabet. The alphabet was developed by his collaborator for the project, Steven Ferlauto, and was used as the subject of the book, The Sacred Abecedarium. The text for Sacred Space is, in part, by William C. Bunce, former director of the Kohler Art Library, University of Wisconsin-Madison. This book departs from the conventional perception of what constitutes a book by the incorporation of the “glass” chapel kit. It looks back to do-it-yourself books, to erector sets, to a time past, before television, when people used their hands to make stuff for pleasure. Perhaps Morin made models from kits as a boy. The book engages the viewer directly, actively. Books, per se, are passive objects. The viewer reads or looks at the illustrations. This book requires that the viewer be an active participant as to fully understand the book, one must build the chapel, locate all the parts, and understand the printed book as part of the whole. In this departure from the traditional book object, Morin has also incorporated more traditional book elements. The book has a text, printed letterpress, an outdated, laborious process in which individual letters are set by hand, as Gutenberg did. He uses reduction lino prints to great advantage here as well as typographic illustrations—overprinting letterforms to make a whole that is more than the individual letters. - Caren Heft, curator Carlsten Art Gallery, University of Wisconsin at Stevens Point
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The Twelve Articles, 2000, edition of 40
"As a young man confronts both his life and his death via AIDS his rituals and visions parallel those of Joan of Arc. Morin uses tactile handcolored papers to form landscapes for his gorgeous illuminations and sublime woodcut prints. The texts, the pallatte, and the intensity of the relic (a lock of the deceased protaganist's hair is attached to every book in the edition) make this book an exemplarary rare book of the future, Marshall Weber, Booklyn curator.

"The text is based on the articles of accusation that were leveled against Joan of Arc and are part of the court record. To deal with his sense of persecution John folded his life into Joan's and there are probably several other Johns on our landscape dealing with life in a similar way. The paper was made from discarded cloth, Judi Conant built the boxes, and reduction woodcuts were crafted from the bodies of Michael Salchert and Gary Datka. Shawn Williams cut his teeth as a studio assistant on this project and may never be willing to distribute type again. The text type is Bodoni as cast by Mackenzie and Harris, with additions from our own typographic plunder. The illuminated letters are loosely based on Goudy's Cloister Initials. This book and other projects have received generous support from the University of Wisconsin at Stevens Point."
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Two Months
October 16, 2002 - Heavy frost today. clear and pleasant but cold. this project started 18 months ago but the idea has been with me since 1983. the text remains uncorrected on varied papers, some with gelatin sized color. the two months are taken from Horace Smith's diary in the Archives Division of the Wisconsin Historical Society. The images evoke scabs, pitiable scraps, and how these things become badges of honor. within days of printing the September 11 citation, disaster struck and it was impossible but to acknowedge the event by adding to the text. - Jeffrey W. Morin, sBp. Visit SailorBOY Press

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Lois Morrison, Leonia, New Jersey
Lois is well known for her intricate drawings and books. Her fabric books are astounding works of art, and her books reside in most major collections throughout the world.

Gordon Murray, Peekskill, New York

Crimes of Silence
Bio
PDF Artist's Statement
PDF Resume

Gordon Murray started the Crimes of Silence project by constructing photographic collages from iconic historical moments (often remixing bits from various photographs producing unfamiliar compositions from familiar fragments). He then hand cuts large woodblocks to recreate these images in large and obviously labor intensive woodcut prints. The hewn feel of these massive images is resonant with both their historical import and Gordon's concern's with recontextualizing labor history as a necessary component of mainstream history rather than a sidebar. Crimes of Silence is an important piece of photographic/printed American art with a powerful statement urgently pertinent to our times. Gordon was a featured artist at the 2003 Rutgers Book Arts Symposium. Link to photos of his mini-exhibit and to a review of his artist talk.

CRIMES OF SILENCE
The book illustrates the urgent statement by Lutheran Minister Martin Neimoller. (Below is an excerpt from the text withlinks to images from Crimes of Silence.) "... They came first for the Communists, and I didn’t speak up, because I wasn’t a Communist. Then they came for the Jews, and I didn’t speak up, because I wasn’t a Jew. Then they came for the Catholics, and I didn’t speak up, because I was a Protestant. Then when they came for me, there was no one left who could stand up for me..."
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Neimoller was one of the few major German religious figures to loudly protest against the Nazi regime (he was condemned to the death camps but miraculously survived). Murray takes the essence of this quote- that to be neutral in the face of evil is to be a collaborator - and extends it back into the past and present struggles for human rights thoughout the world with a focus on the United States. A forceful moral statement Murray's artwork evidences an aesthetic and ethical integrity rarely seen.

This enormous book (30 inches wide by 24.5 inches high) 16 page is composed of hand cut images and text on wood panels using both Dremel and traditional wood gouges. The colors are applied by hand using manually cut stencils, and some images implement secondary blocks of non-black images. After the application of the color or colors, the main black block is printed. The type is hand cut from a modified “Attic” typeface and was manipulated before and during cutting. The paper is Rieves Heavyweight. The book comes in a handcrafted but rough hewn wooden box that includes a woodcut block of the artists choice. This is a signed and numbered edition of 15 and is available with an accordion binding or as separate prints. There are now ten copies available.

THE ORIGINAL WOODCUTS
Each of the color edition books will receive one of the original woodcuts after the curatorial process of the edition. Since many of the images are composed of both full size as well as partial cuts for spot color; the artist retains the right to choose how best to distribute the cuts and pieces that comprise this book. These woodcuts may include the primary cuts of images or text, as well as those of color, or secondary cuts. The transfer of these cuts in no way, or under any circumstance, diminishes the rights of the artist. The cuts are intended to enhance the understanding of this type of handmade book. These cuts are traditionally displayed by dusting with talcum powder and then lightly wiping the surface to show the contrast. Under no circumstance may anyone other than the artist print these cuts.

Crimes of Silence is in the collections of:
Collection of the Artist, Hudson, NY
Private collection, Boston MA
Stanford University, CA
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Biography
Born in Astoria Queens, New York, and now living Peekskill, New York, Gordon has been putting ink on paper for more than thirty years. A graduate of The New York State University at Purchase, he has worked in both commercial and fine art print. He enjoys working in printmaking and is often drawn to the sequential form of image and text as in artists' books. His works often contain political or social themes that examine the human condition. His work is in a number of private collections both here and abroad. His book “Scarecrow” is in the Artists Books of the Ben Shan Gallery of William Patterson University of NJ.

Education
1999, SUNY Purchase, BFA, with an additional Certificate in Art History.
2002 - present, CUNY, Lehman, MFA

Professional Experience
2001 - 2003, Putnam Arts Council - Instructor (Printmaking)
1997 - 2001, State University of New York at Purchase, Teaching Assistant
1973 - present, Graphic Arts & Design

Guest Lecturer
2003, Rutgers Newark, Open Book Symposium
2001, State University of New York at Purchase
2000, Parson’s School of Design
1998, Parson’s School of Design

Recent Exhibitions
2003-04, Dana Library, Rutgers University, Newark, NJ
2002-03, Ben Shan Gallery, Museum of William Patterson University, NJ
2001, School House Gallery, Croton Falls, NY
2002, Casola Gallery, Peekskill, NY

Fellowships and Grants
1999, Puffin Fellowship for “BLUES”

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Nguyen Duy, HaNoi, Vietnam
Nguyen Duy is an acclaimed Vietnamese poet. His new limited edition artists book is an enormous and beautiful work of scholarship, poetry, photography and printmaking. Its an illustrated survey of the formative years (800 ACE to 1400 ACE) of Vietnamese Bhuddhism through poetic texts produced by Vietnamese Bhuddhist Monks. Translated from the original texts to contemporary Vietnamese then arranged in contemporary poetic form by Nguyen Duy and then tranlated into English by a team of scholars from the William Joiner Center for the Study of War and Social Consequences at the University of Massachusetts, Boston. Published in 2005 in an edition of fifty, with rosewood covers, inkjet printed on handmade ya paper.

Read more about Nguyen Duy on the website of his American publisher Curbstone Press

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Katrin Paul, Tokyo, Japan
Tokyo Trilogy
Edition of 5, Tokyo 2004 with slipcase holding the three below books.
Slipcase Cover made from red linen.
W 28.6 cm H29.4 cm D 5 cm
W 11.26 inches H 11.42 inches D 1.97
Recently acquired by the New York Public Library

skindeep, 1998, 37 pages, edition of 8.
74 Photographs copied on color copy paper. Japanese binding.
Letterpress printed in English by zinc-clichèes on gray board with red foil.
W 20.5 cm H28 cm D1.5 cm
W 8.07 inches H 11.2 inches D 0.59 inches

skindeep focuses on the Japanese representation of women in advertising, print-media, and Manga (Japanese comics and graphic novels). I am especially interested in conventional concepts of beauty, as well as their connection to the role of women in the family unit, and the modification of this role from one generation to the next. I have "quoted" these representations by photographing them from print and/or as they appear in their public locations. I combined these images with my photographs of "real" women and places. One important aspect of this juxtapositioning is the resulting connection to Western stereotypes of Japanese women - either as sex symbols or as symbols of tradition. Another result is the frequent impossibility of distinguishing between the quoted image and the real portrait, showing the subjects’ tendency to emulate the "public" ideal of beauty, or the dream world of Manga.

Playing Summer, 1999, 146 pages, edition of 8.
146 Photographs copied on color copy paper. Japanese binding.
Letterpress printed in English by zinc-clichèes on gray board with red foil.
W 20.5 cm H28.5 cm D2 cm
W 8.07 inches H 11.26 inches D 0.79 inches
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For the work Playing Summer I photographed ganguro girls celebrating their youth and the last summer of the century in a very playful way. Ganguro, which translates to "dark face", is a short-lived phenomenon that started in Tokyo in late 1998, had its peak in the summer of 1999, and disappeared again soon after the beginning of 2000. The ganguros are an "anti-cute" embodiment of ultimate narcissism. These girls tan their skin; they wear high-heeled shoes to lengthen their legs, have colored contact lenses, and bleach their hair, denying any physical characteristics that are supposed to be typically Japanese. They also have been called yamamba, "mountain witch", a figure from traditional Japanese fairytales due to their garish make up. In stumbling pairs or groups, the ganguro girls hang out at Shibuya. Their colors of preference: pink, baby-blue and silver.

The work Playing Summer uses a "double-take" technique: two similar images taken shortly after each other and juxtaposed on one double-page spread. At first glance they appear to be the same. But the small shift in perspective creates an illusion of movement as well as an element of surprise—equally startling as the ganguros themselves.

Even at 88..., 32 pages, 200, 32 pages, edition of 8.
94 Photographs copied on color copy paper.
Letterpress printed in Japanese by zinc-clichèes on gray board with silver foil Handwriten Haiku by Ms. Shioya.
W 28 cm H19 cm D 0.8 cm
W 11.2 inches H 7.52 inches D 0.31 inches

This work is a portrait of Japanese women who are aged over 70 years. A generation that grew up with a different appreciation of womanhood, in which the woman subordinates herself to her family and suppresses her own urges.
Several portraits will be arranged to on sequence. By showing them that way a slight movement should be suggested like in very slow film-like sequences.
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Resume
City of Origin, Frankfurt am Main, Germany
Education
2001·2004 Doctoral Program Tama Art University, awarded doctorate Ph.D.
1997·2001 Master Program Tama Art University, awarded M.A.
1997 Diploma Media-Art, Hochschule für Gestaltung Karlsruhe
1992 Diploma Photo-Design, Fachhochschule Dortmund.
Exhibitions
2004 KEOPS Project / The Flanders Center Photographic Gallery, Osaka (S)
International Art Book Fair, Seoul, Korea (G·C)
Tama Art Museum, Tokyo (G·C)
2003 Wanakio, Okinawa (G)
2002 Yokohama Museum of Art, Yokohama Portside Gallery, (S·C)
Wanakio, Okinawa (G)
10-Jahres-Ausstellung HfG Karlsruhe, Karlsruhe (G·C)
2001 Best 12, Contemporary Art Factory, Tokyo (G)
FIELDWORKS, Contemporary Art Factory, Tokyo (G)
2000 Gallery Shimada, Tokyo (S)
Fuji Photo Salon, Tokyo, Osaka (S)
Gallery Ohm, Munich (S)
Nikon Salon, Tokyo (S)
Gallery Space 21, Tokyo (S)
1999 LIGHT WORKS, Yokohama (S)
Murata & friends, Berlin (S)
Commutation, Yokohama Civic Gallery, Yokohama (G·C)
1998 Art Festival in Tsurugi, Tsurugi (G)
Yamagata Landscape Art Festival, Shinjo (G)
1996 Begegnungen mit dem Fremden, Reiss-Museum der Stadt Mannheim,
Mannheim (G)
1995 Multimediale 4, Karlsruhe (G·C)
Gallery Canolfan, Nagoya (S)
Art Festival in Tsurugi, Tsurugi (G)
Ausstellungsraum c/o Raile, Karlsruhe (S)
1994 Widerstand – heute?!, Galerie Villa Merckel, Esslingen (G·C)
Stellwerk, Design-zentrum Nordrhein-Westfalen Essen (G·C)
1993 Dauerbrand, Badischer Kunstverein, Karlsruhe (G·C)
Focus Museum für Kunst und Kulturgeschichte, Dortmund (G)
1992 Zeche Zollverein, Essen (G)
1989 The Other Photography, Gerrit-Rietveldt Academy, Amsterdam (G)
Focus Museum für Kunst und Kulturgeschichte, Dortmund (G).
(S) Solo (G) Group (C) Catalogue
Awards·Scholarships
2000·04 Monbukagkusho Scholarship Tokyo
2000 New Face Price, Fuji Photo Salon, Tokyo.
Juna 21, New Face Price, Nikon Salon, Tokyo
1997·99 DAAD-Scholarship Tokyo
1998 Yamagata Public Art Grant, Landscape Art Festival, Shinjo
1996 Award for Art and Media Technologies, ZKM, Karlsruhe
1994 Grand Prize, Student Exhibition, Nagoya U. of Art and Design, Nagoya.

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David Rees, Beacon, New York, Get Your War On
Perhaps you've heard of the comic book that rocked the post-9/11 world . . .
Booklyn is pleased to offer a special, signed artist's edition of 50 from the second Get Your War On book. Proceeds benefit the Adopt-A-Minefield program of the United Nations. Plunk down $100 and $62 will go straight to the Adopt-A-Minefield program of the United Nations. For information, contact Marshall Weber. Don't forget to visit the Get your War on website.

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Liz Roth, Madison, WI
Liz Roth qualifies as an amazing artist, She provides a much needed sense of humour in her intimate, perceptive and somewhat cryptic artworks. Cheeseburger Soup her book of etchings and droll social commentary boasts her consumate talent as a printmaker. As usual for Liz, it is best to let her speak for herself... "You can't choose your family, and for the most part, you can't choose your coworkers either. Who are these people with whom we spend more time with than members of our own family?

Cheeseburger Soup seeks to answer these questions about a group of Wisconsin Department of Transportation civil servants. The project is comprised of oil paintings, an editioned suite of chine collé etchings, and an editioned artists' book with portraits and pointed written descriptions that describe co-workers everywhere ("36 days to retirement," or "Fired. Excessively competent.") The title refers to a regional dish served at the Wisconsin DOT cafeteria, and was chosen for the title because it seemed an unlikely collection of ingredients forced to function together."
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Uta Schneider, Offenbach am Main, Germany
A consumate conceptual and book artist. Former Unica T member, current usus publishing partner with Ulrike Stoltz, member of the 13+ group (an informal group of European book artists touring the world with exhibitions and observations), and managing director of the Bookart Foundation (Stiftung Buchkunst).
Curriculum Vitae
Since 2002: continuing the collaboration with Ulrike Stoltz under the imprint usus
1986 founder and member of book artists collective Unica T a ficticious person making real books)
Since 2001: managing director of Stiftung Buchkunst (Bookart Foundation, Frankfurt am Main and Leipzig, Germany)
2001: artists-in-residence at Nexus Press, Atlanta, together with Ulrike Stoltz, producing the book “boundless”
Since 1995: occasionally teaching typography and book art/design at Fachhochschule Mainz (University of Applied Sciences, Mainz, Germany); Hochschule fuer Gestaltung, Kunst und Konservierung Bern, Switzerland; Kunsthochschule Kassel (University for Fine Arts, Kassel, Germany); Buchinformationszentrum (Center for Book and Information) Bucharest, Romania
Since 1994: artist-in-residence at Kuenstlerhaus Ahrenshoop, financed by Stiftung Kulturfond Berlin, Germany
1979—1985:
studied Visual Communications at Hochschule fuer Gestaltung Offenbach am Main (Academy of Art and Design, Offenbach am Main, Germany)
1959: born in Reutlingen, Germany
Exhibitions
I have been exhibiting my work (solo or with Unica T or with usus or in group exhibitions) since 1986; this list dates 2004—2000:
2004:
International Frankfurt Book Fair, Frankfurt am Main, Germany (represented by Edition Despalles (Paris/Mainz);
“trans-lation”, Hochschul-Galerie, Hochschule fuer Bildende Kuenste Braunschweig, Germany (usus solo exhibiton);
“13+: Contemporary Book Art from Germany“. National Library, Tallinn, Estonia (group exhibition);
Art Frankfurt, Frankfurt am Main, Germany (represented by Editions Despalles (Paris/Mainz);
“trans-lation”, Galleria il Sotoportego, Scuola Internazionale di Grafica, Venezia, Italia (usus solo exhibiton).
2003:
“Préfiguration d‘un leu pour le livre d‘artiste”, Despalles Editions, Paris, France (group exhibition);
“13+: Contemporary Book Art from Germany“. University of the Arts, Philadelphia, USA (group exhibition);
International Frankfurt Book Fair, Frankfurt am Main, Germany (represented by Edition Despalles (Paris/Mainz);
“Outside of a Dog: Paperbacks and Other Books by Artists”. BALTIC The Centre for Contemporary Art, Gateshead, GB (group exhibition);
“Do–Don’t/Can–Can’t”. IMPACT 3, Michaelis School of Fine Art, University of Cape Town, South Africa (group exhibition);
Carré Livres d’Art(istes). With Editions Despalles. Nîmes, France (group exhibition);
“700 Jahre Bilderbogen? 50 Jahre Klingspor Museum!” Klingspor Museum, Offenbach am Main, Germany (group exhibition);
Art Frankfurt, Frankfurt am Main, Germany (represented by Editions Despalles (Paris/Mainz);
“gondolibri”. Galleria il Sotoportego, Scuola Internazionale di Grafica, Venezia, Italia (usus solo exhibiton);
2002:
“einblicke/insights”. Contemporary German Artists Books. Takeo Showroom, Tokyo, Japan (group exhibiton);
“The Boatbook-Project”. International Center for Information and Content Management (icicom), Frankfurt am Main (usus solo exhibition);
International Frankfurt Book Fair (represented by Editions Despalles (Paris/Mainz);
“By Chance: Serendipity and Randomness in Contemporary Artists‘ Books”. The Art of the Book Collection, Yale University Library, New Haven, CT, USA (group exhibition);
Art Frankfurt (represented by Editions Despalles (Paris/Mainz);
“Sock & Kiss”. A Letterpress Portfolio. The Center for Book Arts, New York City, USA (group exhibition);
“Zu guter Letzt – Ein Abschied / Best Before End – Farewell: Unica T”, Klingspor Museum, Offenbach am Main, Germany (Unica T solo exhibition);
“usus: Modelle für Zusammenarbeit“ (“: models of collaboration”),
Hochschule fuer Gestaltung, Kunst und Konservierung, Bern, Switzerland (usus solo exhibition);
2001:
Biennale »Les Editeurs, La Foire«, St. Yirieix, France
International Frankfurt Book Fair (Unica T);
“BIBLIOthek”. Stadt- und Universitätsbibliothek (University Library) Frankfurt am Main, Germany (group exhibition);
“13 x Künstlerbücher/Livres d’Artistes/Artists Books”. L’Allemagne au Salon du Livre, Paris, France (group exhibition);
„Jeder wusste um was es ging“(„everybody knew what it was all about“), drawings an collaborative book-projects, Klingspor Museum Offenbach am Main (solo-exhibition Uta Schneider and Thomas Dahmen);
2000:
“Learning Curves”. San Francisco Center for the Book, USA (group exhibition);
Mainzer MiniPressenMesse de Luxe (Special Edition of the Artists‘ Book Fair) Mainz, Germany;
International Frankfurt Book Fair, Germany (Unica T);
“13x”, Conference Association internationale des Bibliophiles, Staatsbibliothek, Berlin (group exhibition);
“Fréquence livre”, Kulturhuef, Grevenmacher, Luxembourg (artists book fair, Unica T);
“A new surprise ..... to our readers!” 3rd International Artists Books Exhibition. King St. Stephan Museum + City Gallery Déak Collection, Szekesfehervar, Hungary (group exhibition);
“Transparenz: Ungewöhnliche Bücher.” (“Transparency: unusual, extraordinary books“.) Stadtbibliothek (municipal library) Ludwigshafen, Germany (Unica T solo exhibition):
Editionale Köln (Cologne, Germany) (Unica T);
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Public Collections:
Works of Uta Schneider (usus/Unica T) have been bought by numerous libraries, museums, and institutions worldwide, among others by:
Germany:
- Klingspor Museum Offenbach am Main
- Stadt- und Universitaetsbibliothek (university library) Frankfurt am Main
- Museum fuer angewandte Kunst (museum of applied art) Frankfurt am Main
- Gutenberg Museum Mainz
- Herzog August Bibliothek Wolfenbuettel
- Bayerische Staatsbibliothek Muenchen
- Niedersaechsische Landesbibliothek Hannover
- SMPK Kunstbibliothek Berlin
- Deutsches Buch- und Schriftmuseum Leipzig
International:
- Meermanno Museum van het Boek, Den Haag, The Netherlands
- Bibliotheque Nationale Paris, France
- Centre Pompidou, Library, Paris, France
- V & A Museum Library London, GB
- Tate Gallery Librar London, GB
- Robundo Publishing Inc., Tokyo, Japan
U.S.:
- New York Public Library
- MoMA Library NY
- SF MoMA Library
- School of the Art Institute of Chicago
- Wellesley College
- Rhode Island School of Design Library
- Fogg Art Museum, Harvard, Cambridge
- Houghton Library, Harvard, Cambridge
- University of California at Santa Barbara

Jennifer Schulman, Cleveland, Ohio
Booklyn is proud to introduce Jennifer Schulman, an immensly talented artist whose work is evocative, subtle and passionate.

Poisonous Pedagogy

A Puzzle Book by Jennifer Schulman, 2005, edition of 30.

Poisonous Pedagogy, is based on the unspoken rules found in dysfunctional families. The image on the top surface of the blocks depicts a little girl from a found photograph who is affectionately called Susie. Susie stands on a tree stump reminiscent of a chopping block. Her arms are outstretched with her hands held by the hands of two different adults. These hands support Susie on the block, appearing to pull her apart, just as the blocks literally separate. As each block moves, a window opens to reveal a map. The small sections of the map are symbolic of Susie's slight opportunity for escape.

The structure of the book is fabricated by hand using traditional clamshell box building techniques. The letters found on the painted wooden blocks are hot foil applied by hand press. The photographs found on the top and bottom of the blocks are applied using a water slide transfer paper that melts the image into the wood. Each photo has been sealed with an oil-based polyurethane. The directions found in the hidden drawer at the base of the box are printed on rice paper with an ink jet printer. The exterior of the book appears as a precious box fastened by an antique gold finished button, disguising the unexpected turmoil within.
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I am a compiler of ideas old and new, interested in how we process information and come to understandings. In my work, I present small elements of an idea and make it possible for the viewer to put them together to build an understanding of a complex issue. Growing up, I fell behind in school because I couldn’t understand concepts the same way that the other students could. I had to develop personalized tools to find clarity and comprehension. Discovering these tools enabled me to break down information and find connections and comparisons, beyond the norm. In my work, I apply this skill to familiar objects resulting in unique comparisons and strange twists on today’s concerns. The issues addressed in my work are brought about by the experiences I have had peeking into today’s family unit. My background as an art educator at many different grade and economic levels has granted me a unique vantage point at which I can peer into these worlds. The disturbing aspects of childhood conflict that I have observed have driven me to research today’s various family structures and concerns. This research has led to my desire to create work that will bring awareness to childhood struggles, including oppressive families and home environments that foster failure.

My images come from antique photographs depicting children from the past. They symbolize an uncorrupted child without the new pressures of the present. I integrate these children into the structures of familiar family games. It is difficult to explain the exact procedures used to create these works because each one has an individualized medium. Depending on the piece, the photographs are either screen printed or made into a water slide decal enabling the image to transfer to wooden surfaces. The images are intended to appear as if they are old and have had always existed in the work. Mediums I prefer to mix include: textile screen printing, printing on wood, hot foil stamping, clay, glass, found objects, paint, metal etching and photogram. I strive for the media to reflect the familiar form of the original game. The familiar form gives the viewer a sense of nostalgia to attract them to the work as well as enhance their interactive aesthetic experience. Many of my larger works incorporate fabric and stitching of the various components on the surface. The hand stitching is an old technique that gives the work a timeless appeal. Text is a crucial component, achieved through hot foil stamped letters applied by hand press and/or hand stamping. My smaller works take the form of untraditional books with text hidden within the moving components. The hand-held scale and interactive aspect of these works give the viewer a more intimate experience. Overall, my intention is for the media to reflect a combination of the fun aspects of a game contrasted against the serious issues presented.

Collections
Long Island University, Brooklyn, NY
University of San Diego, CA
Wesleyan University, Middletown, CT
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(Jennifer is also one of the mysterious forces behind the Psychoreindeer.com phenomenon.)

RESUME
Education
Bachelor of Arts,Kent State University, Kent, Ohio May 1999
MFA/AE, Kent State University Major: Art Education, Masters: Liberal Studies
Summa Cum Laude
Awards
1998 Ohio Art Education Association scholarship award, Toledo, Ohio
1995 Freshman Art Scholarship, Kent, Ohio
Professional Affiliations
2005 Steinert Glass School member
1998-present Ohio Art Education Association (O.A.E.A.)
Solo Exhibition
1999 Senior review, Kent, Ohio
Group Exhibitions
2005 Frankfurt Book Fair, Frankfurt, Germany
Fine art bookmaking workshop, Kent, Ohio
2003 Faculty show, Cuyahoga Falls, Ohio
2001 Diary Painted furniture workshop exhibition, Oxford, Ohio
Children’s book workshop exhibition, Oxford, Ohio
1995 Drawing I group show, Kent, Ohio
Collections
Kent State University printmaking archives, Kent, Ohio
Long Island University, Brooklyn, NY
University of San Diego, CA
Wesleyan University, Middletown, CT
Employment
2001-present Elizabeth Price Elementary, Art Teacher, Cuyahoga Falls, OH
2000-2001 St. Vincent St. Mary High School, Art Teacher, Akron, Ohio
1999-2000 St. Hilary School, Art Teacher, Fairlawn, Ohio

Clarissa Sligh, Philadelphia, PA
B.F.A., M.F.A, Howard University
M.B.A, University of Pennsylvania
Widely exhibited independent artist. Layered investigations involve photography, writing, drawing, computer manipulations. Work questions family, society, ethnicity, gender by integrating personal and communal experiences. Books and installations include Reading Dick and Jane with Me, Hiroshima Hopes and Dreams, Anatomically Correct.
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Peter Spagnuolo, Brooklyn, NY

Ten By Fourteen, 2005

Ten sonnets by Peter Spagnuolo, letterpress, with cover art by Mark Wagner; double pamphlet, stitched. 7.5" x 5.75", 24 pp. Numbered edition of 200 in French's Duro-Tone. Lettered, signed edition of 26 in Fabriano Roma. Printed by the author at Booklyn. Contact the author via BuyBooklyn!

A Squatter's Midden, 2001

Numbered, signed edition of 100 in letterpress wraps, photocopy text-block, 7" x 4". 24 pp. Tipped-in title page illustration by C.K. Wilde. A chapbook of poems filthy with a decade of radical housing on New York's Lower East Side. Read the title poem at the Reading Room at the Threepenny Review. Then kindly subscribe to that fine quarterly. You'll be glad you did. OUT OF PRINT.

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Ulrike Stoltz, Offenbach am Main, Germany

Ulrike is one of the primary artist and intellectuals working in the German and European book arts field today. She was one of the primary members of Unica T (a collborative group defined as a fictitious person making real books), and is now part of usus with Uta Schneider and the 13+ group an informal group of European book artists touring the world with exhibitions and observations.

since 2002: collaboration with Uta Schneider under the imprint
1986—2001: founder and member of book artists collective „Unica T“
(„UnicaT is a ficticious person making real books“)
since 1999: professor for typography and book design at Hochschule fuer Bildende Kuenste Braunschweig (Academy of Art and Design Brunswick, Germany)
1999/2000: „Love Letter to Gutenberg“: organizer of the competition and curator of the exhibition, both in the context of the events for the „Man of the Millenium“, Mainz, Germany
1991—1999: professor for typography and book design at Fachhochschule Mainz (University of Applied Sciences, Mainz, Germany)
1977—1985: studied Visual Communications at Hochschule fuer Gestaltung Offenbach am Main (Academy of Art and Design, Offenbach am Main, Germany)
1972—1975: studied paedagogics and psychology at Johann-Wolfgang-Goethe-Universitaet Frankfurt am Main (Frankfurt University, Frankfurt am Main, Germany)
1953: born in Frankfurt am Main, Germany

Exhibitions
I have been exhibiting my work (solo or with Unica T or with or in group exhibitions) since 1986; this list dates 2004—2000:
2004:
October: International Frankfurt Book Fair, Frankfurt am Main, Germany
(represented by Edition Despalles (Paris/Mainz);
June: Hochschul-Galerie, Hochschule fuer Bildende Kuenste Braunschweig, Germany ( solo exhibiton);
June: „13+: Contemporary Book Art from Germany„. National Library, Tallinn, Estonia (group exhibition);
May: Art Frankfurt, Frankfurt am Main, Germany (represented by Editions Despalles (Paris/Mainz);
February/March: Galleria il Sotoportego, Scuola Internazionale di Grafica, Venezia, Italia ( solo exhibiton).
2003:
December: „Préfiguration d‘un leu pour le livre d‘artiste“, Despalles Editions, Paris, France (group exhibition);
November: „13+: Contemporary Book Art from Germany„. University of the Arts, Philadelphia, USA (group exhibition);
October: International Frankfurt Book Fair, Frankfurt am Main, Germany
(represented by Edition Despalles (Paris/Mainz);
September—May 2004:„Outside of a Dog: Paperbacks and Other Books by Artists“. BALTIC The Centre for Contemporary Art, Gateshead, GB (group exhibition);
August: „Do–Don‘t/Can–Can‘t“. IMPACT 3, Michaelis School of Fine Art, University of Cape Town, South Africa (group exhibition);
June: Carré Livres d‘Art(istes). With Editions Despalles. Nîmes, France
(group exhibition);
May/June: „700 Jahre Bilderbogen? 50 Jahre Klingspor Museum!“
Klingspor Museum, Offenbach am Main, Germany (group exhibition);
May: Art Frankfurt, Frankfurt am Main, Germany
(represented by Editions Despalles (Paris/Mainz));
April: „The History Book That Never Was“. A show in the context of „Making Histories: Revolution and Representation“. Southern Graphics Print Conference, Boston, MA, USA (group exhibition);
February/March: „gondolibri“. Galleria il Sotoportego, Scuola Internazionale di Grafica, Venezia, Italia ( solo exhibiton);
2002:
October: „einblicke/insights“. Contemporary German Artists Books. Takeo Showroom, Tokyo, Japan (group exhibiton);
October: „The Boatbook-Project“. International Center for Information and Content Management (icicom), Frankfurt am Main ( solo exhibition);
October: International Frankfurt Book Fair (represented by Editions Despalles (Paris/Mainz);
August—November: „By Chance: Serendipity and Randomness in Contemporary Artists‘ Books“. The Art of the Book Collection, Yale University Library, New Haven, CT, USA (group exhibition);
June/July: „DreiVier“. Mediathek, Bühl, and Zollhafen, Mainz (group exhibition)
May: Art Frankfurt (represented by Editions Despalles (Paris/Mainz));
April/June: „Sock & Kiss“. A Letterpress Portfolio. The Center for Book Arts, New York City, USA (group exhibition);
February/March:„Zu guter Letzt – Ein Abschied / Best Before End – Farewell: Unica T“, Klingspor Museum, Offenbach am Main, Germany (Unica T solo exhibition);
January/February: „: Modelle für Zusammenarbeit„ („: models of collaboration“), Hochschule fuer Gestaltung, Kunst und Konservierung, Bern, Switzerland ( solo exhibition);
2001:
November: Biennale »Les Editeurs, La Foire«, St. Yirieix, France
October: International Frankfurt Book Fair (Unica T);
June—August: „BIBLIOthek“. Stadt- und Universitätsbibliothek (University Library) Frankfurt am Main, Germany (group exhibition);
June/July: „Pest Control – Schädlingsbekämfung“. Galerie hofgrün, Berlin (group exhibition);
March: „13 x Künstlerbücher/Livres d’Artistes/Artists Books“.
L’Allemagne au Salon du Livre, Paris, France (group exhibition);
February/March: „Eine kleine Bibliothek der Schulhefte“. Hartmut Andryczuk (hybriden Verlag) at BuchDruckKunst e.V. Hamburg (group exhibition);
2000:
December—January 01: „hybriden.gartenkunst – Die Gärtnerei in der Galerie“. Galerie auf Zeit, Braunschweig, Germany (group exhibition);
October—January 01: „Learning Curves“. San Francisco Center for the Book, USA (group exhibition);
November/December: „Volumes (of Vulnerability)“. Buchgalerie Mergemeier, Düsseldorf, Germany (group exhibition);
November: Mainzer MiniPressenMesse de Luxe (Special Edition of the Artists‘ Book Fair) Mainz, Germany;
November: „Volumes (of Vulnerability)“. (the humber house), Hull Literature Festival 2000, Hull, England (group exhibition);
October: International Frankfurt Book Fair, Germany (Unica T);
September:„13x“, Conference Association internationale des Bibliophiles, Staatsbibliothek, Berlin (group exhibition);
September: „Fréquence livre“, Kulturhuef, Grevenmacher, Luxembourg (artists book fair, Unica T);
August/September: „Volumes (of Vulnerability)“. Lopdell House Gallery, Auckland, New Zealand (group exhibition);
May—July: „Lebendige Archive. Der hybride Garten.“ Galerie am Kreuzberg hofgrün Berlin, Germany (group exhibition);
May/June: „A new surprise ..... to our readers!“ 3rd International Artists Books Exhibition. King St. Stephan Museum + City Gallery Déak Collection, Szekesfehervar, Hungary (group exhibition);
May/June: „Volumes (of Vulnerability)“, San Francisco Center for the Book, USA
(group exhibition);
May: „Volumes (of Vulnerability)“, Muzeum Ksiazki Artystycznej, Lodz, Poland
(group exhibition);
April/May: „Volumes (of Vulnerability)“, The Dean Clough Galleries, Halifax, GB
(group exhibition);
March: Art Frankfurt (represented by Editons Despalles (Paris/Mainz);
February/March: „Transparenz: Ungewöhnliche Bücher.“ („Transparency: unusual, extraordinary books„.) Stadtbibliothek (municipal library) Ludwigshafen, Germany (Unica T solo exhibition):
February: Editionale Köln (Cologne), Köln, Germany (Unica T);
January: „Volumes (of Vulnerability)“. Standpoint Gallery, London, England (group exhibition).

Public Collections:
in Germany:
Klingspor Museum Offenbach am Main
Stadt- und Universitaetsbibliothek (university library) Frankfurt am Main
Museum fuer angewandte Kunst (museum of applied art) Frankfurt am Main
Gutenberg Museum Mainz
Herzog August Bibliothek Wolfenbuettel
Bayerische Staatsbibliothek Muenchen
Niedersaechsische Landesbibliothek Hannover
SMPK Kunstbibliothek Berlin
Deutsches Buch- und Schriftmuseum Leipzig
abroad:
Meermanno Museum van het Boek, Den Haag, Netherlands
Bibliotheque Nationale Paris, France
V & A Museum Library London GB
Tate Gallery Librar London GB
Robundo Publishing Inc., Tokyo, Japan
in the U.S.:
New York Public Library
MoMA Library NY
SF MoMA Library
School of the Art Institute of Chicago
Wellesley College
Rhode Island School of Design Library
Fogg Art Museum, Harvard, Cambridge
Houghton Library, Harvard, Cambridge

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Mark Taylor, San Francisco, CA

Sensing the World by Echo

2006, 37 pages. 8.5" x 7.125"

Fifteen copies and 5 artist proofs on Canson Acid Free Colorline paper hand bound with Iris book cloth and signed by the artist. Cover foil stamped by Monarch Gold Printing, San Francisco. Pages printed with Century Schoolbook font on Epson Stylus Photo R800 printer. Includes NTSC DVD. 17:31. Color. Stereo. 2006.

Sensing the World by Echo is a “Frankenstein’s monster” of a movie, stitched together with parts robbed from the graveyard of B-movie horror and sci-fi films. A colorful, animated paper collage, the video is assembled from scraps of 1950s and ‘60s children’s books, how-to manuals, science texts and encyclopedias. Sensing the World by Echo is a “biography” using science fiction elements to explore the classic ideas of that genre (otherness, paranoia, alternate reality).

The video is a life story constructed from pieces of other stories, much the way we base our ideas of self on pieces of information we receive from our environment. Form follows content, as my main character "re-imagines" his reality, I re-contextualize found sounds and images to tell his story. The book (stylistically modeled on Isaac Asimov's children's science book, Satellites in Outer Space, printed in 1960 by Random House) grounds the experience of the video in a more traditional narrative form. As a children's book, it is meant to express how we are all "lost in space," all improvising to deal with the unfamiliar.

Collections: MoMA, NYC; University of Connecticut, Storrs; University of Southern California, L.A.; private collections.

Please kill some time at Mark's website

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Robert The, Kingston, NY
Robert is an expert. His lathe press expertise results in beautiful and sardonic commentaries on human literacy. Visit The.

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Felice Tebbe, Felix Press, Brooklyn, NY
Please visit her excellency's most illuminating website. You will not be dissappointed.
The management.

C. David Thomas, Newton, MA
An Artist Portrait of Ho Chi Minh, 2002,

Booklyn is proud to distribute C. David Thomas' and Charles Fenn's amazing artists book about the life and mythos of Ho Chi Minh. An Artist Portrait of Ho Chi Minh will also be featured in Booklyn's Found In Translation exhbition which tours through the United States. Please visit An Artist Portrait of Ho Chi Minh's website. For more details and contact Marshall Weber at Bookyn for sales or exhibition information. For other information about the arts in Vietnam please visit the cultural exchange organization that David founded the Indochina Arts Partnership.

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Mark Wagner, Brooklyn, NY
See Mark Wagner Books (.MOV)

Peruse Mark's recent creations at:
Pavel Zoubok Gallery
Booklyn co-founder and proprietor of the Bird Brain Press. Wagner's impressive hand to-eye coordination is much remarked upon internationally. His prowess as a publisher was evidenced by both his tenure (1999-2007) as 2006 AIGA award-winning head of Booklyn Publications) as well as by the impressive demand for his own Bird Brain Press publications.

TAG, 2005

by Mark Wagner, Photographs by Kathryn Gritt, Lettering by Dylan Graham, Bird Brain Press (A.K.A. Bird Brain Scriptorium), 11 x 7 3/4 x 1 inch, 1 pound 1 ounce, 58 pages, Edition of 12.Each book contains: 19 trompe l'oeil painted note-book pages, 77 yards of hand-ruled line, 1190 words of handwritten text, 9 photographs, over 300 garment labels, & over 200 yards of thread.

Fiction. A man discovers that the garment tag itching at the back of his neck is not attached to his shirt, but to himself. The tag becomes a metaphor for the private humanity within every individual.
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Semi-rigid laminated perma dur covers drummed in quilted clothing tags with embroidered title patch and hinged navy spine. Sewn on English vellum tapes with black buckram concertina guard and hand-sewn headbands. Paint, color pencil, copy pencil fixed with methyl cellulose, black and white photographic fiber prints, photo corners, machine sewing, and pen on two-ply fabriano ingres paper. Accompanying 12-page colophon book contains lint, thread ends, and tag scraps from production in polyethylene bag. Housed in navy drop-spine box with embroidered title patch.

The variable nature of tag selection and hand applications makes Tag tantamount to an edition of one-of-a-kind books. Book number 10 from the edition is assembled as unbound page spreads and available for framed display. The story Tag was published originally as a small pamphlet in 2001 and included in 2002's Library in a Book.

topRESUME
EDUCATION:
University of Wisconsin - Madison (1991-1995 BFA)
University of Wisconsin - Marathon Center (1989-1991)

EMPLOYMENTS:
President, Booklyn Artists Alliance (2004-present)
Publications Director, Booklyn Artists Alliance (1999-present)
Proprietor, BirdBrain Press (1997-present)
Print and binding assistant for Ruth Lingen (2000-2004)
Printer, Woodside Press (1999-2000)
Designer, Art Industry (1998-2000)
Illustrator, The Progressive magazine (1996-1999)
Paper conservator, State Historical Society of Wisconsin (1994-1996)
Book conservator, Memorial Library, Madison WI (1992-1994)

COLLECTIONS:
Boston Public Library, Boston, MA
Brooklyn Museum of Art, Brooklyn, NY
California College of Arts and Crafts, Oakland, CA
Corcoran Museum, Washington, DC
Clark Library, UCLA, Los Angeles, CA
Dennison Library, Mills College, Claremont, CA
Elmer L. Anderson Library, Minneapolis, MN
Getty Center for the History of Art and Humanities, Los Angeles, CA
Golda Meir Library, Milwaukee, WI
Herzog August Bibliothek, Wolfenbuttle, Germany
Houghton Art Library, Cambridge, MA
Klingspoor Museum of Art, Offenbach am Main, Germany
Kohler Art Library, Madison, WI
Library of Congress, Washington, DC
Long Island University Library, Brooklyn NY
Louisiana State University, Baton Rouge, LA
Mata and Arthor Jaffe Collection, Boca Raton, FL
Metropolitan Museum of Art, New York, NY
Minneapolis Institute of Art, Minneapolis, MN
Multnomah Public Library, Portland, OR
Museum of Modern Art, Library Collection, New York, NY
New York Public Library, New York, NY
Newark Public Library, Newark, NJ
Reed College, Portland, OR
Rhode Island School of Design, Providence, RI
San Francisco Museum of Modern Art, San Francisco, CA
Smithsonian Institution, Washington, DC
Stanford University, Palo Alto, CA
Sterling Memorial Library, New Haven, CT
Swarthmore College Library, Swarthmore, PA
UCSB, Santa Barbara, CA
UVM, Burlington, VT
Walker Art Museum, Minneapolis, MN
Wesleyan University, Middletown, CT

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PUBLICATIONS:
Tag, 2005, with Kathryn Gritt & Dylan Graham.
Dylan Graham’s Library in a Book, 2004.
The Tragic Tale of Dan Foreman of Construction, 2004, with Dylan Graham.
"In This Together," essay, 2004, Turn a New Page catalog.
A Revisioning of the Preamble..., 2003, with Jen Benka.
IX XI MMI, 2003, with Mac McGill.
Souvenir, 2003, with Marshall Weber & Amy Mees.
“If Libraries were Cafeterias”, short story, 2002, Link Magazine.
Library in a Book (Seven Books in One), 2002.
12/11, 2001, with Marshall Weber.
Japanese Vending Machines, 2001, with Kathryn Gritt.
Tag, 2001.
Professor Plumb and the Kissing Report, 2001.
The Fastener Incident, 2001.
The Man Who Married the Sky, 2001.
The Honey Broker, 2001.
Incident at the Butcher’s, 2001.
Printing Wheel, 2001.
Flag, with Marshall Weber, 2000
House of Ghosts, with Marshall Weber, 2000
Fortune, with Scott Teplin, 2000.
Lvs., 2000, with Patrick Flynn.
“The Princess and the Pee”, review, 1999, Artzine Magazine.
Cover Illustration, February 1999, Progressive Magazine.
Smoke in My Dreams, 1998.
“Stain,” fake show review, November 1998, Artzine Magazine.
"Cityscape," benefit print for Artzine Magazine, 1998.
“What’s in a (Written) Name”, essay, September 1997, Artzine Magazine.
Cover Illustration, December 1996, Progressive Magazine.
Tragic Book issues 3-9, 1993-2005, included art.
Ceci n’est pas un exchange, curated print exchange, 1995.
Travel By Dancing, 1994.

SOLO EXHIBITIONS
2003 Library in a Book in a Library, Parson’s school of Design, NYC
1997 Would I, Wood Eye, assemblage, Gallery 214, Madison, WI
1996 New and Used Art, collage and assemblage, Memorial Union Gallery, Madison, WI

GROUP EXHIBITIONS:
2005 Artists Turn To The Book, Getty Research Institute, LA, CA
2004 Jonathan Mason, Christian Uhl, Mark Wagner, 7/3 Split, Chicago, IL
A Perfect Union...More or Less, Renaissance Society / University of
Chicago, IL.
What the Book?, Flux Factory, Queens, NY.
Another Voice, Decker Gallery, Maryland Institute of Art, Baltimore.
Artists Interrogate Politics and War, Milwaukee Art Museum, WI.
Selfish: Self portraits by 128 artists, Gallery 128, NYC.
This Thing We Do, Western Exhibitions, Chicago, IL.
Making Meaning: The Artist Book, Kansas City Art Institute.
So Far..., Occasional Art, St. Paul, MN.
2003 Rutgers Books Arts Simposium, Rutgers University, Newark, NJ.
Overlooked and Looked Over, Occasional Art, St. Paul, MN.
Home Office, Ronald Feldman Fine Art, NYC.
Five Degrees, White Couch Gallery, Brooklyn, NY.
Even the Birds Were on Fire, University of New Hampshire, Durham.
Hamady’s Problems, Columbia College, Chicago, IL.
2002 Rare Books of the Future, Center for Book Arts, NYC.
Parallel Botony, Bryn Mawr College, Bryn Mawr, PA.
Highlights from the Kohler Art Library, Memorial Library, Madison, WI.
Chance Encounters, Yale University, New Haven, CT.
2001 Million Dollars, art made of money, 16 Beaver Group, NYC.
Scott’s Tissues, 16 Beaver Group, NYC.
Growing Books, University of Massachusetts, Amherst.
Lawn D’Art, Pyramid Art Center/Memorial Art Gallery, Rochester, NY.
2000 Artists Books, Brooklyn Museum of Art, Brooklyn, NY.
Recent Acquisitions from the Print Department, Metropolitan Museum, NYC.
Made in Book Land, Long Island University, Brooklyn, NY.
Books by Artists, Nicole Klagsbrun Gallery, NYC.
1999 Artwork from the 1999 Progressive Calender, Ground Zero Gallery,
Madison, WI.
Supermarket II, Slop Art Shop, Kansas City, MS.
1997 Document-uh, performance arts festival, Madison, WI.
Documents and Documentation, Gallery 214, Madison, WI.
Supermarket, Madison, WI.
1996 Well-Worn Text, Columbia College, Chicago, IL.
That’s Incredible, Gallery 214, Madison, WI.
1995 Elective Surgeries, Commonwealth Gallery, Madison, WI.
Pieces and Pieces of Pieces, Humanities building, Madison, WI.

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BIBLIOGRAPHY:
Review Magazine, February 2005, "Making Meaning" show review.
Hamady’s Problems, 2004, show catalog with featured photograph.
Overlooked and Looked Over, show catalog with essay and featured photographs.
Artist’s Book Yearbook, Impact Press, 2003-2004, Article with featured photograph.
Made in Book Land, 2000, show catalog with featured photograph.
Artists Books, 2000, show catalog with featured photograph.
Supermarket II , 1999, show catalog with featured photograph.
“Mark Wagner, Would I Wood Eye”, Artzine, July 1997, show review and featured photograph.
Isthmus, February 21, 1997, show preview and featured photograph.
Supermarket, 1997, show catalog with featured photograph.
Chicago Reader, November 29, 1996, featured photograph.
Isthmus , July 14-20, 1995, Elective Surgeries show review and featured photograph.

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Uwe Warnke Verlag, Berlin, Germany

Para Schwarte—Schaut auf Diese Haut (Look at this Skin), 2004

Booklyn is proud to be the exclusive source in the United States for sculptor Micha Brendel's new book Para schwarte—schaut auf diese haut (Look at this skin) in an edition of 5, with text by Ulf Stolterfoht who is the winner of the 2003 Ernst-Meister award, the 2004 Heimrad-Bäcker award, and the 2005 Anna-Seghers-award.

In the collections of the Berlin State Art Library, Germany and Bowdoin College, Brunswick, Maine.

Please visit Brendels website for an look at this dramatic book constructed almost entirely from animal skins and organs.

muscles flexed. next, instant access: as preface. it all be-
gins with the trimming. twittering from the lime paste. prose
insert the tanners. then: the real test. grain scratches. a kind
of damage report. it was zealous in the grind. subgenre lyr-
ical tissue. and in the end: a load of bearing amino groups
like: virulent shaver-box calf softies. in decency, distance
was taken from songlike approxi sweet chamois leather dresser.
—Ulf Stolterfoht, Para schwarte—schaut auf diese haut

Warnke and his press are an iconoclastic and critical aesthetic intellectual force in the developing literature of German literature and art. His singular and piercing perspective originates in part with his work in the Samizdat publications of the East German socialist (not yet Bolshevist) resistance to the Soviet styled former East German government. Warnke's work as a publisher and an artist now explores the political and cultural deficits of the somewhat wholehearted German acceptance of Western capitalist / consumerist culture while maintaining a sense of humor and aesthetic integrity.

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Elena Wen, Brooklyn, NY
In the Modern Era Fortune Curses Happiness

2005, Joe Felice, 2nd edition of 15

Illustrated, designed and bound by Elena Wen and written by Joe Felice. In The Modern Era Fortune Curses Happiness is a surreal parable of bloody class war told from the perspective of a sheltered child of the leisure class. Our narrator grapples with the brutality that surrounds her by retreating into a fantasy world that blends a child's mis-understandings of genocide, reproduction, and entitlement into a bizarre reality -- as bizarre as any rationale constructed by an aristocracy to obviate the guilt they face as stewards of a tragic, diseased society.

The book is 6x10 in. with 22 fold out pages of illustration and 22 corresponding text pages. The illustrations were done with pen and ink, and printed on a Epson stylus Photo 2200 printer. Hand made hard cover.

The ingenius structure of the book consisits of a double accordion fold attached on either side of a codex appearing cover. You pull the text folds on the right down as you push the image folds up on the left. It a little bi-cameral brain teaser. "Sort of like rubbing your stomach and patting yoour head." responded one librarian, while another conjectured that reading the book was, "like chewing gum and walking at same time.".

Elena Wen was born in Taiwan, and raised in Costa Rica. She has studied illustration and is currently pursuing motion graphics/ animation at the School of Visual Arts in New York, City.

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Joe Felice is a 25-year-old graduate of NYU's Experimental Theatre Wing. Formerly a door-to-door cemetery plot salesman, Joe writes songs of incendiary political invective. His play, Uncle Sam's Secrets, adapted from an 1896 American Civics textbook, was performed at The Mint Space in 2002.

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Reach LA, Los Angeles, CA
I Protect Myself2004

REACH LA is an youth and artists run AIDS and health education organization. I Protect Myself is a youth designed condom compact with a mini-accordion fold book about girl empowerment, safe sex and condom use instructions. This is a shining example of an artist book that has actually saved people's lives!! After expenses money raised from sales benefit REACH LA.

This page is maintained by Marshall Weber.