Bookmarking Book Art – Nia Easley

a dozen deaths (2015)

a dozen deaths (2015)
Nia Easley
Case bound, cloth-covered book board, modified accordion structure. H7 x W9 x D1 inches, 24 pages. Text laser-printed on 90lb Neenah paper; interior images stencil-printed in acrylic, exterior pattern inkjet-printed on bamboo paper. Edition of 5.
Photo: Courtesy and permission of the artist.

Nia Easley’s birthday in 2012 felt very different. The day before, George Zimmerman had killed Trayvon Martin. Over the days, weeks and months after, the outpouring in the mainstream and social media in reaction to the event and the jury trial that followed only intensified and complicated the emotions and memories evoked on the day.

Turning to art, Easley asked twelve individuals to recount Trayvon Martin’s last moments based on their memories of the reported event. An implicit rule in Easley’s request led to the stories being told from the first person. Her only explicit rule for the retelling was that the imagined teller must die at the end. She recorded each retelling and, with the participant’s collaboration, polished it into a transcript.

Two double-sided bamboo-paper accordions are joined together, a structure influenced by The Diary of a Sparrow by Kazuko Watanabe. On their exterior is a horizontal gray-white pattern, ink-jet printed, that seems to shift between an image of house siding panels and that of backlit drawn venetian blinds. In the exterior valley folds of the accordions, gatherings of the twelve retellings, laserjet-printed, are sewn to book tape used to join the accordions together. With the twelve narrators, we are on the outside. For this white reader, here begins an uneasiness that will not ease.

The structural plan shows how the double-sided accordions attach to the cover and, in green, where the narratives attach.
Photos: Courtesy and permission of the artist.

On the inner side appear stencil-printed images in naples yellow, maroon, deep blue-violet, cobalt blue, moss green, neon orange and sienna brown; however, each copy in the edition differs in colors and orientation of the images made from two stencils of hoodie-wearing figures taken from neighborhood-watch signs. More uneasiness as the images’ shifting orientation creates a threatening abstraction, a suggestion of claws. Are they clawing to get in or out? Are the hooded figures real monsters whose shadows we see cast against the venetian blinds? Are they imagined from inside the house, projected on the venetian blinds?

Views of the stencil prints. Photos: Courtesy and permission of the artist.

The modified accordion structure lets the reader move through the work codex-fashion or extend it to its 4-foot length as a sculpture to be read/viewed in the round. When read the former way, the hooded images peek out from the edges of the interior; when viewed the latter way, the work takes on a sort of mise-en-scène of the event — or of Easley’s twelve gathered around a jurors’ table even though they are each taking on the role of the deceased Martin as witness to his own death.

Just as each copy of the edition differs in its colors and orientation of images, each of the twelve retellings differs. In selecting the twelve from her circle of acquaintances, Easley aimed for a representative diversity of members. Only at the end and then only their first names — Allison, Damien, Deandre, Derek, Doc, Jae, Molly#1, Molly#2, Natasha, Ronnie, Tanuja and Werner –are given and not in the order in which their retellings appear. As each of the twelve takes over Martin’s voice, we cannot tell whether it is actor, actress, young or old, or what race. The ground of identity and perspective under the reader/viewer’s feet keeps shifting.

Easley suggests, “the narratives are a meditation of sorts, into the kind of people we are together and how we see others.” The artwork’s epigraph — “Like narrative, imperialism has monopolized the entire system of representation” (Edward Said, Culture and Imperialism, 1993) — frames that meditation. By “destabilizing” narrative and perspective, a dozen deaths makes us uneasy. In that uneasy meditation, we may indeed recognize the kind of people we are together, how we see each other, and find a way to change the narrative.

Four copies of the work reside at Depaul University Library, Northwestern University, University of Iowa Libraries and the Joan Flasch Artists’ Books Collection, Art Institute of Chicago.

Easley’s other work includes For Safety’s Sake (2015), It’s Just OK (2019), And you hold power (2020-21) and Annotated Graphic Design Timeline, an ongoing Instagram project addressed to the book Graphic Design Timeline (2000) by Steve Heller and Elinor Pettit. At the School of the Art Institute of Chicago, where she works as an Administrative Coordinator, she also teaches the graduate seminar “History as Material” and the course “Drawn to Print”.

Further Reading

Tia Blassingame“, Books On Books Collection. 17 August 2020.

Clarissa Sligh“, Books On Books Collection. 2 September 2020.

Gleek, Charlie. “Centuries of Black Artists’ Books“, presented at “Black Bibliographia: Print/Culture/Art” conference at the Center for Material Culture Studies, University of Delaware, 27 April 2019, pp. 7-8. Accessed 20 July 2020.

Said, Edward W. 1993. Cultural imperialism. New York: Knopf.

Books On Books Collection – Clarissa Sligh

Transforming Hate: An Artist’s Book (2016)

Transforming Hate: An Artist’s Book (2016)

Clarissa Sligh

Perfect bound softcover. Four-color offset lithography. Illustrated paper wrappers with flaps. Housed in foldout die-cut box with gold foil origami crane inserted into cover slot. H203 x W204 mm, 104 unnumbered pages including inserts. Edition of 1000 numbered and signed, of which this is #18. Acquired from Vamp & Tramp, 13 August 2020. Photos: Books on Books Collection with the permission of the artist.

A forthright Franklin Gothic typeface announces the title, descriptive subtitle and author’s name in brown, black, and brown on the warm golden yellow of the die-cut box. As it opens from its velcro fastener, it reveals a gold foil origami crane, inserted in the box’s internal flap. As the flap turns, the straightforward Franklin Gothic re-announces the title, subtitle and author’s name, this time on the book’s white cover. So far, the work gives a sense of simplicity, elegance and warmth. Only the title hints at something uncomfortable to come. Finding a book’s foreword on its cover flap is unusual, but that Franklin Gothic now matched with plain-spoken prose — “I am a black woman. I am an artist.” — reassures. By the foreword’s last line though — “Do we have the courage to live differently?” — the reader/viewer may sense a need to keep the gold foil origami crane close like a guardian angel.

The crane also provides an organizing or, more accurately, guiding principle. Across the double-page spread of near-translucent golden endpapers just before the half-title, the truncated instructions — “cut fold crease flatten turn over cut fold creas” — start to articulate how to alter another book’s pages into origami cranes. On a startling full-page bleed of reddish brown ink, “The Proposal” in yellow and its text in white names the book to be altered: The White Man’s Bible, a white supremacist screed. Wings extended against the reddish brown, the crane hovers over the text.

More startling is the following double-page spread with the artist’s acceptance of the challenge, yet doubt, on the left and a photo of the unopened box full of hate casting a shadow from light falling from the right. The photo on the right spills leftward over the gutter, encroaching on the artist, her acceptance and doubt. And yet, her diagram of a box pushes back, rightward against and into the encroaching shadow.

The guardian angel becomes a necessary angel over the next two double-page spreads. From the left page of the first spread —

My uncle was lynched in South Carolina before I was born. Rope around his neck, his broken body was tossed from a wagon to the yard in front of my mother.

— the text faces on the right a full-page bleed of black ink in which the transparent box diagram sits full of hate-red words. Turn the page.

What the double-page photo of hummocks of grass in the foreground and, in the far background, some fencing, a sandbox, houses behind a stand of brush and trees conveys, with its contrast to the preceding spread of text and image, sticks in the chest and throat.

In the next double-page spread, the box sits, still closed, now on the left in a reversal of its first appearance. The light that casts the box’s shadow shines across the gutter from the artist’s question on the right hand page — “Can it be transformed?” The artist seems to be drawing a deep, preparing breath, one that the next double-page spread implies is calming.

At the next turn, an organizing principle only implicit so far but now explicit in the words “When I was 3” joins the principle of the folding instructions “cut fold crease craft”. These instructions appear again on the same paper used for the endpapers, used here to mark the end of the book’s first section. The first section’s final words “A container to hold broken” fall between the instructions, leaving a warranted sense of foreboding. As the work proceeds akin to a growth chart — “when I was 5”, “when I was 11” and so on — can the necessary angel suffice?

In the four sections that follow, the artist’s life, fears and hopes intersect personally with painful local, national and international history. As she communicates her sense of living this history, she also charts her engagement with others’ history of subjection to hate. If any reader thinks that this somehow gives in to an “all lives matter” chorus, one corrective course is to lay hands and eyes on a copy of this artist’s book. If somehow that does not make plain the power of this artist’s voice, then a further corrective course is to listen to her read the text here. If that does not work, then follow the instructions on the back cover.

Inside flap of the die-cut box; back cover of the book.

I am a white man. I write about book art. Encountering this work of art is to stumble, fall, get up — cut fold crease flatten fold out cut fold in flip over turn again open — and begin to do the work toward acknowledging and accepting this necessary angel. Reminder to self: “again open”.

Further Reading

Adrian, Kathleen D. “The Decentralization of Subject in African American Feminist Photography: Constructing Identity based on Representation and Race in the Work of Lorna Simpson, Carrie Mae Weems and Clarissa Sligh“, disClosure: A Journal of Social Theory: Vol. 7 , Article 3, 1998.

Gleek, Charlie. “Centuries of Black Artists’ Books“, presented at “Black Bibliographia: Print/Culture/Art” conference at the Center for Material Culture Studies, University of Delaware, 27 April 2019, pp. 7-8. Accessed 20 July 2020.

Hubert, Renée Riese, and Judd David Hubert. The Cutting Edge of Reading : Artists’ Books (New York: Granary Books, 1998), pp. 212-16.

Lawrence, Carol. “Clarissa Sligh: Living A Life, the Personal and the Political“, Women’s Studio Workshop, 6 June 2019. Accessed 22 August 2020.

Sligh, Clarissa. “Witness to Dissent: It Wasn’t Little Rock”, IKON #12/13, 1992, pp. 110-15.

Sligh, Clarissa. “On Being An American Black Student“, Heresies 25: A Feminist Publication on Art and Politics, Vol 7 number 1, Issue 25, 1990.

Sligh, Clarissa. Interview with Steve Miller, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, 1 July 2006.

Stevens, Wallace. The Necessary Angel: Essays on Reality and the Imagination (New York: A.A. Knopf, 1951).

Tia Blassingame”, Books On Books Collection, 17 August 2020.

Bookmarking Book Art – An Online Annotation of “The Cutting Edge of Reading: Artists’ Books”

Renée Riese Hubert and Judd D. Hubert’s The Cutting Edge of Reading: Artists’ Books (Granary Books, 1999) is a signal work of appreciation and analysis of book art.  Nearly twenty years on, it can be read and appreciated itself more vibrantly with a web browser open alongside it.

To facilitate that for others, here follows a linked version of the bibliography in The Cutting Edge of Reading — a “webliography” Because web links do break, multiple, alternative links per entry and permanent links from libraries, repositories and collections have been used wherever possible. These appear in the captions as well as the text entries. Also included are links to videos relating to the works or the artists. At the end of the webliography, links for finding copies of The Cutting Edge (now out of print) are provided.

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Alechinsky, Pierre; Matta, Sebastian; Mansour, Joyce. Le Grand jamais. Paris: Aimé-Maeght Éditions , 1981. [See also video 1, video 2.]

Arnal, André-Pierre. Conviction du contresens. Paris. Self-published, 1994. [See also video.]

Barrett, Virginia. Sometimes Feeling Like Eve. San Francisco: VB Press, 1992.

Blais, Jean-Charles; Artaud, Antonin. Tuguri. Paris: Ric Gadella, ed.; Frank Bordas, Printer, 1996. [See also video.]

Boltanski, Christian. La Maison manquante. Paris: La Hune, 1990. [See also video.]

Boltanski, Christian. Inventory of Objects Belonging to an Inhabitant of Oxford introduced by a preface and followed by some answers to my proposalWestfalicher Kunstverein, 1973. [The entry here corrects and extends the title given in the book’s entry. The exhibition itself, held in different locations, appeared with a different title and at different dates.]

Boltanski, Christian. Sachlich. Wien/Munchen: Gina Kehayoff Verlag, 1995.

Boni, Paolo; Butor, Michel. La Chronique des asteroïdes. Paris: Jacqueline de Champvalins, 1982.

Paolo Boni and Michel Butor
La Chronique des asteroïdes (1982)

Braunstein, Terry. On Wrinkles. Self-published, 1978.

Broaddus, John Eric. France I. Altered book, n.d. [See also video 1video 2, video 3, video 4.]

Broaddus, John Eric. Satyricon. Altered book, 1973.

Broaddus, John Eric. Space Shot. One-of-a-kind book, n.d. Wellesley College Library, Special Collections.

Broaddus, John Eric. Sphinx and the Bird of Paradise. New York: Kaldewey, n.d. [See also video.]

Broaddus, John Eric. Turkestan Chronicle. One-of-a-kind book, n.d. Private collection.

Broel, Elisabeth. Aus dem Liederbuch des Mirza Schaffy. Unikatbuch no. 2. Altered book of Bodenstedt’s, 1992.

Broodthaers, Marcel. Reading Lorelei. Paris: Yvon Lambert, 1975.

Brunner, Helen. Primer of Ritual Elements (Book 1). Washington, D.C.: Offset Works, The Writing Center, Glen Echo, MD, 1992.

Chen, Julie. Octopus. Berkeley: Flying Fish Press, 1992. [See also video.]

Octopus (1992)
Julie Chen
Poem by Elizabeth McDevitt
Letterpress on paper
13.4 X 10.75 in.

Chopin, Henri. L’Écriture à L’ENDROIT. Limoges: Sixtus Editions, 1993.

Chopin, Henri. Graphèmes en vibrances. Paris: Les Petits Classiques du Grand Pirate, 1990.

Chopin, Henri; Zumthor, Paul. Les Riches heures de l’alphabet. Paris: Les Éditions de la Traversiere, 1995.

Closky, Claude. De A à Z. Paris: n.p., 1991. [Compare with Scott McCarney’s Alphabook 13 (1991).]

Crombie, John; Rimbaud, Arthur. Une illumination. Paris: Kickshaws Press, 1990.

Dautricourt, Joelle. Sentences. Paris: Self-published, 1991.

Delaunay, Sonia; Cendrars, Blaise. La Prose du Transsibérien et de la petite Jehanne de France. Paris: Les Éditions des Hommes Nouveaux, 1913. [Title corrected.]

Dorny, Bertrand; Butor, Michel. Caractères. Paris: Imprimerie Nationale, 1993.

Dorny, Bertrand; Butor, Michel.  Lug à Lucinges. Paris: Self-published, 1993. [Butor added; title corrected.]

Dorny, Bertrand. Supermarché. Paris: Self-published, 1992.  [Butor added.]

Dorny, Bertrand; Deguy, Michel. Composition 7. Paris: Self-published, 1992.

Dorny, Bertrand; Deguy, Michel. Écrire. Self-published, 1992.

Dorny, Bertrand; Deguy, Michel. Éléments pour un Narcisse. Paris: Self-published, 1993.

Dorny, Bertrand; Deguy, Michel. Le Métronome. Paris: Self-published, 1984.

Dorny, Bertrand; Guillevic, Eugène. Si. Nice: Jacques Matarasso, 1986. [First name of Guillevic corrected.]

Dorny, Bertrand; Noel, Bernard. Matière de la nuit. Paris: Self-published, 1990.

Dorny, Bertrand; Smith, William Jay. The Pyramid of the Louvre. Self-published, 1990.

Drucker, Johanna. Narratology. New York: Druckwerk, 1994.

Ely, Timothy; McKenna, Terence. Synesthesia. New York: Granary Books, 1992. [See also video.]

Ely, Timothy. Approach to the Site. New York: Waterstreet Press , 1986. [See also Getty interview; see also video.]

Ely, Timothy. Octagon 3. One-of-a-kind book, 1987. Houghton Library, Harvard University.

Ely, Timothy. Saturnia. One-of-a-kind book, 1995. Private collection.

Ely, Timothy; Kelm, Daniel E. Turning to Face. One-of-a-kind book, 1989. Houghton Library, Harvard University.

Epping, Ed. Abstract Refuse: A Heteronymic Primer. New York: Granary Books, 1995.

Ernst, Max; Eluard, Paul. Les Malheurs des immortels. Paris: Librairie Six, 1922.

Ernst, Max. Une Semaine de bonté. Paris: Pauvert, 1963. [See also video.]

Fahrner, Barbara; Cage, John. Nods. New York: Granary Books, 1991.

Fahrner, Barbara; Schwitters, Kurt. A Flower Like a Raven. Translations by Jerome Rothenberg. New York: Granary Books, 1996.

Finlay, Ian Hamilton. Ocean Stripe Series 3, Wild Hawthorn Press, 1965.

Gerz, Jochen. 2146 Steine: Mahnmal gegen Rassismus. Saarbrucken and Stuttgart: Haje Verlag, 1993. [See also video.]

Gerz, Jochen. Die Beschreibung des Papieres. Darmstadt: Luchterhand, 1973.

Gerz, Jochen. Les Livres de Gandelu.  Liège: Yellow Now, 1976.

Golden, Alisa. They Ran Out. Berkeley: Nevermind the Press, 1991.

Groborne, Robert. Une lecture du Livre des ressemblances [d’] Edmond Jabès. [Xonrupt-Longemer, France]: Æncrages, 1981.

Hamady, Walter. Gabberjab 6. Mount Horeb, WI: The Perishable Press Limited, 1988.

Gabberjab No. 6 (1988)
Walter Hamady

Hamady Walter. Gabberjab 7. Mount Horeb, WI: The Perishable Press Limited, 1997.

King, Ron; Fisher, Roy. Anansi Company. London: Circle Press, 1992. [See also video.]

King, Ron; Fisher, Roy. Bluebeard’s Castle. Guilford, England: Circle Press, 1972. [See also video.]

King, Susan E. Always a Bridesmaid, Never a Bride. Los Angeles: Paradise Press, 1978.

King, Susan E. HomeStead. Los Angeles: The Power of Place, 1990.

King, Susan E. I Spent Summer in Paris. Rochester NY: Paradise Press at Visual Studies Workshop Press, 1984.

King, Susan E.  Salem Witch Trial Memorial. Santa Monica, CA: Paradise Press, 1994.

King, Susan E. Treading the Maze. Rochester, NY: Montage 93: International Festival of the Image, 1993.

King, Susan E. Women and Cars. Rosendale, NY: Paradise Press, 1983. [See also video.]

Koch, Peter; McEvilley, Thomas. Diogenes Defictions. Berkeley: Peter Koch, Printers, 1994.

Kosuth, Joseph. Two Oxford Reading Rooms. London: Book Works, 1994.

Labisse, Félix. Histoire naturelle. Paris: Chavane, 1948.

Histoire naturelle (1948)
Félix Labisse
Histoire naturelle (1948)
Félix Labisse

Lacalmontie, Jean-François. Le Chant de sirènes. Limoges: Sixtus Editions, 1995. [See also video.]

Laxson, Ruth. [H0 + G0]² = It. Atlanta: Nexus Press, 1982. [See also video.]

[H0 + G0]² = It  (1982)
Ruth Laxson

Laxson, Ruth. Measure/Cut/Stitch. Atlanta: Nexus Press, 1987. [See also video.]

Laxson, Ruth. Wheeling. Atlanta: Nexus Press, 1992.

Le Gac, Jean. La Boîte de couleurs. Amiens: Fonds Régional d’Art Contemporain de Picardie, 1995. [See also video at 4’55”.]

Lehrer, Warren; Bernstein, Dennis. French Fries. Rochester/Purchase: Visual Studies Press, 1984.

French Fries (1984)
Warren Lehrer and Dennis Bernstein

Ligorano, Reese. The Corona Palimpsest. New York: Granary Books, 1996.

Lohr, Helmut. Visual Poetry. Berlin: Galerie Horst Dietrich, 1987.

Visual Poetry (1987)
Helmut Lohr

Lovejoy, Margot. The Book of Plagues. Purchase, NY: SUNY Visual Arts Division, 1994.

Lown, Rebecca. Procrustes’ Bed. Purchase, NY: Center for Editions, 1990.

Lyons, Joan. The Gynecologist. Rochester, NY: Visual Studies Workshop Press, 1989.

Malgorn, Jacques; Mabille, Pierre. En N’Ombres. Limoges: Sixtus Editions, 1993.

Mallarmé, Stéphane. Un coup de dés jamais n’abolira le hasardCosmopolis, mai, 417-28, 1897.

Manet, Edouard; Mallarmé, Stéphane. L’Après-midi d’un faune. Paris: Derenne, 1876.

Martinez, Roberto. Moi Aussi j’aurais peur si je recontrais un ange. 1. La Bataille de Midway. Paris: n.p., 1991.

Martinez, Roberto. Moi Aussi j’aurais peur si je recontrais un ange. 2. L’Anatomie d’un ange. Paris: n.p., 1991.

Masson, André; Mallarmé, Stéphane. Un coup de dés jamais n’abolira le hasard. Paris: Amateurs du Livre et de l’Estampe Modernes, 1961.

Un coup de dés jamais n’abolira le hasard (1897; 1961)
Stéphane Mallarmé; André Masson

Masson, André; Rimbaud, Arthur. Une saison en enfer. Paris: Société de femmes bibliophiles Le Cent Une, 1961.

Matta, Sebastian; Jarry, Alfred. Ubu roi. Paris: Atelier Dupont Visat, 1982.

Matta, Sebastian. Garganta-tua. Florence: Edizioni della Bejuga, 1981.

McCarney, Scott. Diderot/Doubleday/Deconstruction. Rochester, NY: Visual Studies Workshop Press, 1994. [See also video.]

McCarney, Scott. Memory Loss. Rochester, NY: Visual Studies Workshop Press, 1988. [See also video.]

Memory Loss (1988)
Scott McCarney
2 1/2 x 22 in., 40 pp.
offset edition of 500

Meador, Clifton. Anecdote of the Jar. Purchase, NY: SUNY Visual Arts Division, 1989. [See also video.]

Meador, Clifton. The Book of Doom. Barrytown, NY: Zimmerman Multiples, 1984. [See also video.]

Messager, Annette. D’Approche. Paris: Jean-Dominique Carré Archives Librairie, 1995. [See also video at 5’56”.]

Messager, Annette. Mes ouvrages. Arles: Actes Sud, 1989.

Nannucci, Maurizio. Art as Social Environment. Amsterdam: Lugo, 1978.

Nannucci, Maurizio. Provisoire et définitif. Écarts, 1975.

Newell, Peter. Slant Book. New York: Harper Bros., 1910.

Osborn, Kevin. Real Lush. Arlington, VA: Bookworks, 1991.

Osborn, Kevin. Tropos. Arlington, VA: Osbornbook, 1988.

Tropos (1988)
Kevin Osborn

Osborn, Kevin. Wide Open. Arlington, VA: Bookworks, 1984.

Penck, A.R. Analysis. Berlin: Edition Klaus Staeck, 1990.

Phillips, Tom. A Humument. London: Thames & Hudson, 1980.

Polkinhorn, Harry. Summary Dissolution. Port Charlotte, FL: Runaway Spoon Press, 1988.

Reese, Harry. Arplines. Isla Vista, CA: Turkey Press, 1988.

Roth, Dieter. Daily Mirror. Köln: Hansörg Mayer, 1961. [See also video.]

Roth, Dieter. Bok 3C. Stuttgart: Hansörg Mayer, n.d. [See also video.]

Rullier, Jean-Jacques. 10 exemples. Limoges: Sixtus Editions, 1994.

Ruscha, Edward. Twentysix Gasoline Stations. Los Angeles: National Excelsior Press, 1963. [Publisher added; see also video.]

Sharoff, Shirley; Lu Xun. La Grande Muraille/The Great Wall. Paris: Self-published, 1991.

La grande muraille/The Great Wall (1991)
Shirley Sharoff
La grande muraille/The Great Wall (1991)
Shirley Sharoff

Sicilia, Jose Maria; Lux, Thomas. You Are Alone. Paris: Michael Woolworth, 1992.

Sligh, Clarissa. Reading Dick and Jane with Me. Rochester, NY: Visual Studies Workshop Press, 1989. [See also video.]

Sligh, Clarissa. What’s Happening with Momma? Rosendale, NY: Women’s Studio Workshop, 1988.

Smith, Keith. Construct. Rochester, NY: Visual Studies Workshop Press, 1985. [See also video.]

Spector, Buzz. Broodthaers. 1988. Altered book. [See also video links embedded in the artist’s name below.]

Spector, Buzz. Kafka. 1988. Altered book.

Spector, Buzz. Malevich. 1988. Altered book.

Spector, Buzz. A Passage. NY: Granary Books, 1994.

Spector, Buzz. The Picture of Dorian Gray. 1987. Altered book.

Spector, Buzz. Silence. 1989. Altered book.

Staritsky, Anna; Albert-Birot, Pierre. La Belle histoire. Veilhes, Tarn: Gaston Puel, 1966.

Staritsky, Anna; Butor, Michel. Allumettes pour un bûcher dans la cour de la vieille Sorbonne. Paris: Self-published, 1975.

Staritsky, Anna; Guillevic, Eugène. De la prairie. Paris: Jean Petithory, 1970.

De la prairie (1970)
Eugene Guillevic (text)
Anna Staritsky (art)

Staritsky, Anna; Iliazd. Un de la brigade. Paris:Atelier Lacourière-Frelaut, 1982. [Publisher identified.]

Staritsky, Anna; Lemaire, Jacques. Le Zotte et la moche. Moulin du Verger de Puymoyen, 1969.

Stokes, Telfer; Douglas, Helen. MIM. Deuchar Mill, Yarrow, Scotland: Weproductions, 1986. [See also video.]

Stokes, Telfer; Douglas, HelenReal Fiction: An Inquiry into the Bookeresque. Rochester, NY: Visual Studies Workshop Press, 1987.

Stokes, Telfer; Douglas, Helen. Spin Off. Deuchar Mill, Yarrow, Scotland: Weproductions, 1985.

Van Horn, Erica. Scraps of an Aborted Collaboration. Docking, Norfolk: Coracle Press, 1994.

Van Horn, Erica. Seven Lady Saintes. New York: Women’s Studio Workshop, 1985. [Publisher identified.]

Van Horn, Erica. Ville aux dames.Vitry-sur-Seine: n.p., 1983. One-of-a-kind. [Title corrected.]

Walker, Anne; Coppel, Georges. Les Formes de l’univers (ou l’univers des formes). Paris: L’Oeil du Griffon, 1995. [Name of publisher corrected.]

Wegewitz, Olaf. Mikrokosmos. Edition Staeck, 1992. [Publisher identified; date reflects publisher’s information; see also video.]

Yvert, Fabienne. Transformation. Marseille: Éditions des Petits Livres. 1995.

Zelevansky, Paul. The Case for the Burial of Ancestors. New York: Zartscarp, Inc. and Visual Studies Workshop Press, 1981.

Zimmermann, Philip. High Tension. Rochester, NY: Visual Studies Workshop Press, 1993. [See also Craft in America video and video of High Tension.]

Zimmermann, Philip. Elektromagnetism. Barrytown, NY: Space Heater Multiples, 1995.

Elektromagnetism (1995)
Philip Zimmerman

Zubeil, Francine. Panique générale. Marseille:  Éditions de l’Observatoire, 1993.

Zweig, Janet. This Book is Extremely Receptive. Cambridge, MA: Pyramid Atlantic, 1989.

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The Cutting Edge of Reading: Artists’ Books by Renée Riese Hubert and Judd D. Hubert available:

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