Booklyn Artists Alliance

Limited Edition Artist Book Publications

Streetopia, 2012

Kerbloom IV, 2010

Esmeralda Tree Cat and the Lonely Bear
ABC Series, Limited Edition Box Set, Volume I

Scream at the Librarian
The Slapdown

Found in Translation: an exhibition catalog

Little Gray Lecture Book, #1
Preamble to the Constitution

Haste with the Hasting Current

House of Ghosts
Nervous System
Bookmobile Catalog

Balm: the Flower Folio


Streetopia, 2012

"The book is special."
—Chris Johanson, Los Angeles, CA

STREETOPIA (the book), 2011

A variable edition of 30, 40 pages, 8.5 inches by 11.5 inches, each book is sub-titled with the name of a different San Francisco neighborhood.

A Booklyn Publication benefiting the Streetopia exhibition, a large group exhibition that opens at the Luggage Store Gallery in San Francisco in May 2012, is curated by writer, Erick Lyle, and the artists, Chris Johanson and Kal Spelletich. Proceeds from the sales of the Streetopia (the book) will be the primary funding source for the Streetopia exhibition.

Selected Collections:
#1 – Box Set @ Luggage Store
#2 – Es Eff (Felice) @ BOOKLYN
#3 - The Mission (Sarah Parkel) - Chapman University
#4 – Downtown (Sarah Parkel) @ Erick Lyle
#5 – China Basin - (Jonathan Romain), Yale University
#6 - South of Market - (Jonathan Romain)Bibliothèque d'art et d'archéologie de Genève, Switzterland
#7 - Noe Valley - (Sophia Kramer), private collector
#8 – Embarcadero (Felice Tebbe) @ BOOKLYN
#9 – The Fillmore (Sophia Kramer), Legion of Honor
#10 – The Tenderloin (J. Romain), MOCA
#11 - (Sophia Kramer) private dealer
#12 - Embarcadero (Jonathan Romain), priv. collector
#13 - Twin Peaks - (Sophia Kramer) @ Erick Lyle
#14 – Potrero Hill (Felice) @ Kal
#15 - Excelsior – (J. Romain, Ari Misfeldt) @ priv dealer
#16 – The Castro (Sophia), Cen Florida St University
#17 – The Sunset (Felice) @ Kal
#18 – Presidio (Felice) @ Kal
#19 – Haight Ashbury (Ariana Misfeldt) @ BOOKLYN
#20 – Cow Hollow (Felice) @ BOOKLYN
#21 – Yerba Buena, (Sophia Kramer) @ priv collector
#22 – Western Addition (J Romain) @ BOOKLYN
#23 – North Beach (Sophia Kramer) @ MW
#24 – Polk Gulch (Felice Tebbe), Temple University
#25 - Chinatown (J Kramer) The Hammer Museum
#26 – Hunters Point (Felice) @ BOOKLYN
#27 - Visitation Valley (Felice) @ BOOKLYN
#28 – Market Street (A Misfeldt), Priv Col, JAPAN
#29 – Upper Market (Felice) @ BOOKLYN
#30 – Golden Gate Park (Sophia Kramer)@ BOOKLYN

To buy a book and support the exhibition contact Marshall Weber.

Scott Williams & Monica Canilao (STREETOPIA #6, South of Market)

Streetopia (the book) is an assembling of original artworks by 24 current and former San Francisco artists and writers associated with the “Mission School” or, the “New Mission School” art movements. This is perhaps one of the last coherent schools of contemporary American art in the 20th Century.

Monica Canilao (STREETOPIA #6, South of Market)

Artists: Laurel Braitman, Monica Canilao, Bill Daniel, Bochay and Duskin Drum, Spy Emerson, Rebecca Giordano, Johanna Jackson, Chris Johanson, Arnold Kemp, Erick Lyle, Ivy Jeanne McClelland, Barry McGee, Mission Mini Comix, Kottie Paloma, Fred Rinne, Dave Schubert, Christine Shields, Dana Smith, Kal Spelletich, V .Vale, Tobin Yelland, Sy Wagon, Marshall Weber, Scott Williams

Erick Lyle (STREETOPIA #6, South of Market)

Concept: Erick Lyle, Marshall Weber
Editing and design: Marshall Weber
Binding @ BOOKLYN: Sophia Kramer, Aimee Lusty, Sara Parkel, Ariana Rae, Jonathan Romain
Media: airbrush, calligraphy, ink jet, laser print, offset, photography, painting, sewing, silkscreen, spray paint, stencil, typewriter, etc. etc.

Spy Emerson (STREETOPIA #6, South of Market)

"STREETOPIA"by Erick Lyle

"The limited edition Streetopia book, the art show it is a fundraiser for, (and in some way attempts to represent) and the original book that Streetopia is based upon – all of these large scale collaborative creative efforts have sprung, you could say, from one ubiquitous tag I found scrawled into the sidewalk cement of San Francisco throughout the early 1990’s. You can still find a couple that survive to this day. On 21st Street near Capp in the Mission, up on Haight Street, looping script left that takes up the entire square of cement, cement graffiti from a lost San Francisco left for posterity: 'Glitter Doll.'

Dave Schubert & Barry McGee, (STREETOPA #6, South of Market)

"My fascination with these fragile traces of a lost city left in the streets led me to work on a book about the things people write in sidewalk cement in San Francisco. By 2008, few who walked over a Glitter Doll tag in the street knew anything about the story behind it. But some would inevitably wonder, as I found myself wondering about all the scratches, drawings, and names in cartoon hearts I passed on my epic walks through the city. Ultimately, I walked to all corners of the city and took thousands of photos of things my fellow San Franciscans had written in the streets in fleeting moments long ago.

Bill Daniels & Kottie Paloma, (STREETOPIA #6, South of Market)

"The Streetopia book and exhibition is loosely based on the themes of my upcoming book, The Cement Project: In Search of Lost Time in the City (Soft Skull Press, Fall 2012). In the book I walk the city and sift through layers of the city’s history to examine the ongoing conversation between lost political, art, and literary movements across different eras in San Francisco while reflecting on my own involvement in art and activism in the city. As they similarly navigate the built city in the gallery, audience members consider their own hopes and aspirations for the city they live in and where their own lives fall in the city’s long time-line.

Christine Shields (STREETOPIA #6, South of Market)

"Streetopia has evolved into a large-scale group show at The Luggage Store in San Francisco to open May of 2012. The main Streetopia installation will be a giant, collectively planned city to be built within the gallery in collaboration with numerous selected artists. The city-structure will span at least two floors of the gallery, An additional installation and event space will be built at the nearby Luggage Store Annex at the 509 Cultural Center. Several functional rooms will be built within the framework of this city i.e. a Free Cafe, a Free Store, a theater, a gallery/studio, a library, a garden. Inspired by San Francisco’s long tradition of Utopian political and art movements, the installation’s rooms will host a broad spectrum of free events, dinners, and workshops every night during the show’s run. The show is a laboratory where people can meet and prepare food together, learn things and have conversations. The general public will be encouraged to come forward and propose their own events in the city’s spaces – or to simply come and hang out in the city’s café or library. The simultaneous exhibitions in venues at both ends of the Tenderloin and Mid-Market neighborhood are intended to encourage public art projects and interventions that will spill out of the city installation into the city itself.

Dana Smith (STREETOPIA #6, South of Market)

"When the show is over, we dismantle the Utopian city, leaving behind only the ephemeral connections and ideas that came out of it.

Bill Daniels & V. Vale (STREETOPIA#13, Twin Peaks)

"From a single etching in the sidewalk this creative project has expanded like a Borgesian map of the world that is itself the size of the world. For this show we have proposals for a Black Panther Store, a 3D photobooth, ideas on decommissioning skyscrapers, ideas for establishing a non-monetary barter economy, a proposal to develop a rooftop café for a welfare hotel in the neighborhood, public murals, art for neighborhood billboards and storefronts, a proposal to turn the gallery into a giant camera, a proposal for a live variety show in the gallery city, proposals for training pigeons to carry messages around the neighborhood, and more. The show keeps growing and thus we have this book now, too, to promote the show. All of this from my initial search for Frankie Glitter Doll and my walks through the city!

"And so the first page has become the last. A walk becomes a book, which becomes a show, which then becomes another book. We have come full circle.

Chris Johanson (STREETOPIA #6, South of Market)

Kottie Paloma (STREETOPIA #17, Sunset)

"The Mission School movement is generally considered to have emerged in the early 1990s around a core group of artists who attended (or were associated with) the San Francisco Art Institute. The Mission School is aligned with the larger street art movement, and can be considered to be a regional expression of that movement. Artists of the Mission School take their inspiration from the urban, bohemian, 'street' culture of the Mission District and are influenced by mural and graffiti art, comic and cartoon art, and folk art forms such as sign painting and hobo art.

(STREETOPIA #13, Twin Peaks)

"These artists are also noted for use of non-traditional artistic materials, such as house paint, spray paint, correction fluid, ballpoint pens, scrap board, and found objects. Many Mission School artists identify with anarchist, punk, and squatter political motivations familiar to S.F. Bay Area arts practice.

(STREETOPIA #6, South of Market)

"Streetopia exhibition artists, besides Johanson, Spelletich, and Lyle, artists already committed to participate include SWOON, Barry McGee, Emory Douglas, Sara Thustra, Rigo 23, Monica Canilao, Ivy Jeanne McClelland, Sy Loady, Spy Emerson, Christine Shields, Annie Danger, Arnold Kemp, Tim Kerr, Tobin Yelland, Marshall Weber, David Kennedy Cutler, Rebecca Giordano, Laurel Braitman, Bill Daniel, Greta Snider, Mike Brodie, Veronica Majano, Sam Green, Kari Orvik, and more."
—Eric Lyle, San Francisco, CA


KERBLOOM! VOLUME IV: ISSUES 64-84, Artnoose, 2010


Bound collection published by Booklyn Artists Alliance, 2010

20 issues that are 8 pages each bound together into cloth-wrapped, letterpressed, board covers.
all letterpressed.
Each issue of the zine is hand-numbered.

Ker-bloom! was one of the zines selected for the 2003 tour of North America by Mobilivre-Bookmobile, the travelling library of independent publications. It has been featured in The Utne Reader and The Zine Yearbook, among other places, and is in the collection of several libraries as well as UCLA and New York's MOMA.


Esmeralda Tree Cat / Lonely Bear
Pictures and story by Christine Shields.


A dos-a-dos style book, with two stories back to back that interweaves the two main characters. The two stories create a tale of isolation, transcendence, supernatural powers, and Love. Both human and ursine characters are loners with turbulent lives but a seemingly chance meeting brings lifelong friendship.


2008, a second edition of 50 books with 8 Artist Proofs published by Booklyn. Incandescently silk-screened in 5-colors by Brooklyn based and loved Kayrock Press. Meticulously hand-painted with acrylic and gouache by Eliana Perez and Sara Parkel. The cover is hand-sanded wood paneling (chosen for its nostalgic faux-likeness to bark as trees figure prominently in this tale) hand silk-screened by Candice Sering. The original, first edition of 6 with 2 AP's was published in 2006 by the artist.


Christine Shields grew up in rural Northern California around cowboys, hippies, punks and freaks, as well as an ever-changing cast of barnyard and forest creatures. At seventeen she moved to San Francisco and attended the Art Institute, played in bands, and reveled in a non-stop parade of fascinating characters.

She also lived in Brooklyn, and participated in the thriving zine, comics, and music scenes in both cities. For a short time she published her own comic, BLUE HOLE, and received the Xeric Grant for comics in 1996. Her paintings have been shown at: Yerba Buena Center for the Arts, San Francisco, Build Gallery, San Francisco, The Front Room Gallery, Brooklyn, Track 16 Gallery, Santa Monica, and New Image Arts, Los Angeles. Christine now lives in New York State, where she paints, writes, and plays music with her band SteepleChase.

Book: 9.25” x 12.25”, fur pouch: approx. 11” x 14”
Lap-case bound with navy bonded leather spine onto wood panel covers.
Artist proof copies bound with papyrus covers.
Housed in a fur pouch with glo-cord and toggle closure.

Binding by Sara Parkel and Eliana Perez.
Sewing and letterpress printing by Sara Parkel.
Pre-press and pre-press coordination by Amy Mees.
Color separation by Panayiotis Terzis
Produced by Booklyn.
Thanks to: Two-Seven Woodworking, Eco Fibers, Marcus Scaffer (oldscratch, and Build It Green NYC (

Visit Christine's website.

Another Booklyn Chapbook (ABC)—Volume 1, Limited Edition Box Set, 2008


    Edition: 50
    Slipcase: 4.5” x 7.5” x 1”
    Wraped in midnight blue cloth with orange caps including letterpress label and AIGA emblem.
    Series design: Mark Wagner and Amy Mees
    Label design: Amy Mees
    Boxes and printing by Sara Parkel


Scream at the Librarian, limited edition, 2007


Sketches of our Patrons in Downtown Los Angeles

Authored by Joel J. Rane with illustrations by Raymond Pettibon & Cristin Sheehan Sullivan, 9-3/4 x 7 x 3/4 inches, 94 printed pages, edition of 50, signed by author and illustrators


"After five years at the central library, I seriously doubted the humanity of my peers."
—Joel P. Rane

For serious blog action!

An instant cult classic, Scream at the Librarian sucks you into the flop house grime of downtown Los Angeles at a time when it was abandoned by all but the terminally desperate. The Screamer, Mr. Brain Damage, The Devi . . . these are just a few of the unforgivable characters that people Rane’s real-life accounts from deep within the stacks of a library which had become a refuge for squatters, drug addicts, and the mentally deranged.


Each story is accompanied by stunning new illustrations by native Californian Cristin Sheehan Sullivan and Raymond Pettibon, progenitor of LA's punk rock art scene. Printed in two-color silkscreen, the deluxe, hardcover edition is an elaborate art object, loaded with novel idiosyncrasies throughout. The front of the “inside out” cover sports a circulation card signed by author and artists, alongside an amalgam of library stickers, stamps, cataloging numbers, and thumb divots.


Designed by Amy Mees and Mark Wagner
Silkscreen printing by Kayrock, Brooklyn, NY.
Letterpress printing and binding by Sara Parkel
Production assistance by Eliana Perez, Cat Glennon, Candice Sering, and Jamie Munkatchy.


A diminutive chapbook version of Scream at the Librarian is also available, (bringing Rane, Pettibon, and Sullivan's vigor to a wider audience at a proletarian price) look for it on the Buy Booklyn portion of our website.

Clark Humanities Museum of Scripps College in Claremont, CA.


The SlapdownSLPDWN_hands.gif

Edition of 50, 10-3/4 x 8-1/2 x 3/4 inches.

The Slapdown uses both the kinetic and auditory aspects of the flag-book structure to create a flurry of thwacking and smacking hands. Printed on both sides of the hands, the text assembles and reassembles in a Mad Lib of curse and cuss. Both poetry and construction evoke the dog-eat-dog tension and petty backstabbing of the cramped urban environment.

WATCH! Slapdown the movie!

Hard covers wrapped in red Iris linen bookcloth with black foil-stamped title. Flag-book binding with letterpress printed Perma Dur concertina spine and 2-ply die-cut museum board flags. Housed in a gray painted wood and bookboard slip case with blind and black foil-stamped title. 16 flag pages (with 37 printed surfaces), signed by artist and author, concept and drawing by Damara Kaminecki, text by Jeremy Schmall, production design by Mark Wagner and Sara Parkel with Amy Mees, printed and bound by Sara Parkel and Cat Glennon with Jamie Munkatchy.



Found in Translation
An edition of 250 numbered copies, the catalog for the Booklyn exhibition of artist books and multi-media works, curated by Marshall Weber. The catalog was designed by Mark Wagner and Amy Mees.



Little Gray Lecture Book, #1
Designed by Mark Wagner to accompany a lecture of the same name.

A Revisioning of the Preamble of the Constitution of the United States

Jen Benka, 2003, published by Booklyn in a bourgeois first edition of 50 and a proletariat edition of 500.

American Book Review, volume 25, #2, January/February, 2003 features a fabulous review of Jen Benka's tour de force of poetry.

Reviewer Bob Grumman wrote that the Preamble "...was a collection of poems, good poems..." with the final poem of the book described as "...a masterful poem...". He finishes his review with the observation that the ...The Preamble... [book] is appealingly designed by Mark Wagner..." - Booklyn's director of Publication.

NYC poet Jen Benka wrote one poem for each of the fifty-two words in the Nation's Preamble to the Constitution in an effort to examine, expose, and rewrite the document one word at a time. Designed by artist Mark Wagner, the book offers handy index tabs, hand-sewn bindings and letterpress-printed covers. Wagner's artist books have been collected by museums and libraries from sea to shining sea, and exhibited in New York both by the Brooklyn and Metropolitan Museums.

Jen Benka lives in New York City and is the managing director of Poets & Writers, Inc. She has published work in So To Speak, Off Our Backs, Ms. Magazine, The Progressive, and on and La Petite Zine. She has received grants from the Poetry/Film Workshop, Xeric Foundation, and Intermedia Arts. She was also awarded a 2001 poetry fellowship from the Wisconsin Arts Board. She co-organized a 24-hour reading of the complete poems of Emily Dickinson, which took place in June 2002 in New York City.


IX XI MMI, Mac McGill, 2003


This heroically-scaled book collects all eight of McGill’s tumultuously emotional pen and ink images of the events of 9/11, first seen in issue 32 of World War III Illustrated.


The work was also featured in the group show Reactions at Exit Art (26 January—30 March, 2002), and in Booklyn's Even the Birds Were On Fire touring exhibition.


This original work was subsequently purchased by the Library of Congress for its permanent collection.


This book design by Mark Wagner. Published by Booklyn in an edition of 65 plus artist’s proofs. The book measures approximately 11 by 14 inches, with 22 inch page spreads. The images are letterpress printed from magnesium plates, with text in lead type, onto Rives heavy weight paper. End sheets are of blood-red Moriki, with laminated jet-black buckram covers. The folios are pamphlet-stitched.


Bucknell University, Lewisville, PA;
Brooklyn Museum of Art, Brooklyn, NY;
Bucknell University, Lewisburg, PA;
Columbia University, New York, NY;
Dartmouth College, Rauner Library, Hanover, NH;
The Library of Congress, Washington, DC;
Lafayette College, Easton, PA;
Long Island University, Brooklyn, NY;
Louisiana State University, Baton Rouge, MI;
Library of Congress, Washington, DC;
Minneapolis Institute, of the Arts, MN;
Occidental College, Los Angeles, CA;
Reed College, Portland, OR;
Swarthmore College, Swarthmore, PA;
University of Central Florida, Orlando, FL;
University of Chicago, Chicago, IL;
University of Colorado, Boulder, CO;
University of Louisville, Louisville, MO;
University of Minnesota, Minneapolis, MN;
University of Missouri, Kansas City, MO;
University of Vermont, Burlington, VT;
University of Virginia, Charlottesville, VA;
University of Washington, Seatle, WA;
University of Wisconsin, Madison, WI;
University of Utah, Larome, UT;
Walker Art Center, Minneapolis, MN;
Yale University, New Haven, CT.


Mac McGill artwork has been published by . . . The Progressive Magazine, Tikkun Magazine, Seven Stories Press (Mumia Abu-Jamal, "All Things Censored"), Four Walls Eight Windows, World War 3 Illustrated, The Source, The Amsterdam News, The Black Panther Community News Service, The City Sun, The Shadow, Madburger Magazine and Warburger Magazine (Slovenia) and numerous other publications.

Mac has exhibited his artwork and performed slideshow presentations of his work at....BD Amadora (Portugal), Babel Festival (Athens, Greece), HUI9 Underground Festival (Milano, Italy), Forte Presentino (Roma, Italy), School of Visual Arts (NYC), Theater for the New City (NYC), San Francisco Art Academy, Umbrella Haus (NYC) and ABCnoRIO (NYC). Some of his drawings are now on tour with the Drawing Resistance Show

Mac is now working on a book of his work to be published by Futura Publications (Athens, Greece). Mac currently works at a neighborhood shelter for homeless youth.

Contact Mac




by Marshall Weber, 2003.
An edition of 35, 28 pages, 8 inches by 5.5, 10 AP copies numbered 1960-1969, on Mohawk Vellum paper and other archival papers and clothes. Digital layout and printing by Amy Mees. Book design and production by Mark Wagner. Collage and page design by Marshall Weber. Signed by the artists, with different talismanic vintage portraits taken from the original to suggest the appearence of the artists. The Galaxy yearbook, in a slipcover.
Souvenir is a deconstruction of The Galaxy, Marion Rudiwitz's 1969 High School Yearbook (from Francis Lewis High School in Fresh Meadows New York, on Long Island) into an old stamp album.

One night early in 1999, I found the yearbook in a pile of (Marion's) belongings, which had been tossed onto the curb on Bleecker Street in Greenwich Village. It was an obvious eviction / split quick / death / illness / landlord-threw-stuff-into-the-street situation. I took the book home and my friends and I cruelly laughed at it for a few days. Then in an act of nostalgic piety and apology I spent the next three years tearing the yearbook apart and reassembling it into a vintage stamp album.
—Marshall Weber

Souvenir is a simulacrum of the acclaimed unique collage book of the same name. The original collages were digitally scanned at a high resolution, color corrected so that the high quality Fiery Laser Jet printed pages match the unique book’s pages. It is constructed with cellophane interleaves that visually and tactilely recreate the reading experience of the unique book.
Souvenir is a talismanic antidote to revisionist attempts to diminish the legacy of the 60’s—a decade which still holds a revealing ethical mirror to our present-day consumer culture’s brutality and arrogance. It recalls a time when college students in the United States had class-consciousness with interests different from those of their parents. The student class, at the time, had idealistic goals beyond securing a super-sized version of their parent’s lifestyle. This traditional class-consciousness, which is an heir to the ‘Fourth Estate’ of Revolutionary France, survives. Yet it is in fragments and has been greatly degraded.





by Marshall Weber, 2001

72 pages, 9 x 6", edition of 29, digitally printed Fiery color copies on high gloss photographic quality paper. Hand bound with black Laval velvet, includes an audio CD. Book design: Marshall Weber, Christopher Wilde of Artichoke Yink Press, Brooklyn, NY, and Sara Parkel of Filter Press, Brooklyn, NY. Page design: Marshall Weber and Alison E. Williams of Doublevision Press, Bisbee, AZ. Text design: Alison E. Williams. Binding: Sara Parkel. Illustration: Isabelle Weber.

A photographic essay by Marshall Weber documenting the visual and text environment of downtown New York City in the weeks after 9/11 with texts by various New York writers. The book has an innovative structure of alternating vertical and horizontal page-spread orientation. The alternating orientation prompts the reader to rotate the book 90 degrees with each page turn.


A small white or black silhouette of the WTC Towers rises from the bottom right hand corner of every page-spread to assist the reader with keeping the proper page orientation. Two recessed bars on the front both recall the missing Towers and also act as a mnemonic device to remind the reader where the front of the book is located since the direction of page turning varies with the page orientation. The constant re-orientation produces a visceral experience of vertigo that evokes the intensely disorienting atmosphere of 9/11 yet still keeps the reader engaged with the texts and images. In exhibition the Eleven book is mounted on a turning table for easy manipulation by readers.

Accompanied by a CD (set into the back inside cover) produced by Christopher Wilde, featuring texts from the book recited by the authors: writer Ellis Avery, Judith Foster (director of the Neighborhood School, a downtown Manhattan public elementary school), artist/journalist MT Karthik, poet/chanteuse Jane LeCroy, poet/civil rights activist Peter Spagnuolo and M. Weber.




A photo essay of New York City by Marshall Weber and Mark Wagner. which was photographed all in one day on December 11. 2001. The book focuses on various displays of the American flag and each image has lyrics from the classic song America the Beautiful printed on its back (in antique steel die Empire font no less).


It is the little sister of the Eleven book.


Out of print.

In the collections of: Boston Athenaeum, MA; Marjorie Cohn (private), Boston, MA; Dartmouth College, Hanover, NH; New York University, NYC; Reed College, Portland, Oregon; Smith College, Northampton, MA; University of California, Irvine; University of Minnesota, Minneapolis; Trinity College, Hartford, CT; University of Vermont, Burlington Exhibitions: March/May 2003, University of New Hampshire, Durham; Sept./Oct. 2002, 33&1/3 Gallery/Bookstore, LA, CA


Haste with the Hasting Current

A lyric and romantic photo essay bty Peter Spagnuolo about New York City in the months before the 9/11 attack. The poems are written from the perspective of a poet / paddler in a canoe on the East River and on Newton Creek. The excerpts from Walt Whitman's poem of the same name are overlaid on poet Peter Spagnuolo's hand-printed photographs. Edition of 12.

Exhibitions: March/May 2003, University of New Hampshire, Durham; Sept./Oct. 2002, 33&1/3 Gallery/Bookstore, LA, CA



House of Ghosts

2000, by Marshall Weber, C.K. Wilde, and Mark Wagner. The first edition was 49, second edition of 35, box—20 x 9 x 3 inches, book—11 x 14” inches. The typography and book design was created by Christopher Wilde, and the covers were designed and relief printed by Mark Wagner.
First edition: 2000, 28 pages, 6 x 8 3/4 inches, edition of 50, black and white Epsom ink jet printing over penciled found architectural drawings on onion skin paper. The text is printed backwards on architectural drawings of suburban New Jersey development houses circa 1986. The pliable onionskin paper is then folded over so one sees the ghostly text floating behind the faint drawings. With a relief printed Mylar cover and Japanese stab binding.
Second edition: 2002, 28 pages, 8 x 8 3/4 inches, edition of 35, black and white Epsom ink jet printing on blueprints of the Manhattan water treatment plant. The text is matched and printed backwards on every verso page giving the illusion of transparency to the pages. With a relief printed Mylar cover and Japanese stab binding.
A unique artists' book and box, metal fixtures, plexiglas, various papers, calligraphy, chalk, charcoal, collage, drawing, pencil, and ink. Concept, documents, pages and text, calligraphy and collage by Weber with the binding, book and box construction, by Wagner.
“In House of Ghosts,… a unique book resides in a wood assemblage shaped like a house. The pieces of wood are parts from various lathes, pictures frames and rulers. A book rests inside a box with a Plexiglas window, a found brass fixture in the shape of a skull over the opening of the niche. The concept, documents, text, calligraphy, collage and pages treated with ink, chalk, charcoal and pencil are by Marshall Weber; the binding and box construction by Mark Wagner. The poem is written in a codex book sewn on linen tapes from a variety of papers with hand-drawn architectural plans. The underlying conceit for book and box is the architectural structure of the house as a metaphor for the human body in which a journey of psychic exile and repatriation traverses the interior emotional terrain of the body. The skin acts as pages together with a physiological substratum upon which the story is written, a literal embodiment of a narrative map.” —Constance Woo, Dean of Libraries, Long Island University, unpublished paper for the Rutgers Book Arts Symposium, 2003


Nervous System

By Organik, (Marshall Weber, Kurt Allerslev, and C.K. Wilde). This book was published in 2000 (edition of 13) with a second hard cover edition in 2002, multi-media, 2nd ed. of 9, and 40 pages. Multiplely printed, over-laid, and reprinted with Fiery digital printers, relief press, hand calligraphy, black and white photocopy machines.
The Nervous System smells of ink and sweat sweet sour electricity. Lush dense compositions explore the interconnectedness of nerve form, flower structure, letter form and the cognitive processes of human imagination.


Bookmobile Catalog

edition of 100. Out of print.


Balm: the Flower Folio

Kurt Allerslev, Amanda Taylor, Christopher Wilde and Marshall Weber, unique

This page is maintained by Marshall Weber. All contents property of Booklyn Artists Alliance. Art is property of the creator. Rights reserved.
For editorial concerns, contact Booklyn staff.