Books On Books Collection – “Machines” by Michael Donaghy and Two Artists’ Books

Michael Donaghy (1954-2004) was something of a throwback to the Metaphysical Poets of the seventeenth century. Their love poetry excelled at extended metaphors designed to touch the heart and mind. “Machines” illustrates this best among his poems. It is worth a listen.

For Barbara Tetenbaum, intense listening to works of literature has provided a rich source of artwork. Her Mining My Ántonia (2012) is based on hours in a gallery at Reed College listening to a recorded reading of Willa Cather’s novel. Here is how she describes the artist’s book:

It features five automatic drawings made while listening to the novel, printed as etchings. A cloth-bound book of handset letterpress-printed excerpts accompanies this. A large fold-out map of how I see the novel, printed as a large etching with letterpress text, is housed inside the book along with one piece of text from the original Reed College installation.

Framed copy of the large fold-out map included in My Ántonia (2012). Photos: Books On Books Collection. With permission of the artist.

Decades earlier while working with Ron King, founder of Circle Press, Tetenbaum was engaged in a 10-year body of work of “marks on pages, marks as diary entries, marks as keeping time, marks as recording lived experience”. That work foreshadowed Mining My Ántonia — as did the result of meeting Michael Donaghy and his wife Maddy Paxman in 1986. That same year, when King and his wife left for an extended vacation in Eygpt, he gave Tetenbaum free rein to make any chapbook she wanted while he was away. She naturally turned to Donaghy’s melodic poetry to find the right one to react to with typesetting, paper choice, printing, binding and her own artwork — not to illustrate the poem but rather to create a companion experience for the reader.

The first of that companion experience comes from the warmth of the cover’s color, texture and weight.

Machines: A Poem by Michael Donaghy (1986)
Designed and printed by Barbara Tetenbaum at Circle Press, Guildford. Handset 14 pt Optima printed on rag paper, artwork printed on Himalayan mitsumata paper. Edition of 75, of which this is #72. Acquired from Circle Press, 22 June 2015. Photos: Books On Books Collection. With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

The cover is actually a large single deckle-edged sheet, trimmed at top and bottom then folded to quarters.

In addition to strengthening the cover, the folding protects the three-point single-thread binding that attaches two sheets of rag paper and one sheet of mitsumata paper to the cover.

Structurally the pages have a subtle imbalance. The first sheet of rag, bearing the title and colophon, folds to two slightly unequal panels. The title page is wider than the colophon page.

The second sheet folds to three unequal panels, the last bearing the dedication to Maddy Paxman on one side and the poem itself on the reverse. In a gestural embrace, the panels fold to envelop the sheet of mitsumata paper on which Tetenbaum’s marks appear.

Also folded in “slightly off” thirds, the soft translucent mitsumata has an additional subtle imbalance. Unfolded for “reading”, the panels show a steady increase in the number of marks from left to right. Oddly though, the first and third panels show vertical marks, while the second’s are horizontal and printed on the other side of the sheet.

With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

What is going on? The answer begins to appear from the view of the triptych of marks alongside the poem and its music. The columns of marks move left to right and down like the lines of verse. Taken together, the four panels achieve a forward-moving balance: vertical-horizontal-vertical- horizontal. Like a bicycle ride, the poem and marks start slowly, then move forward picking up speed — a natural outcome of a performative response to Donaghy’s poem.

But then, this is a view the artist did not fully intend. She writes, “The folding in the book was in part to allow the reader to have access to the poem without the intrusion of the visuals“. Listen though to Donaghy as he speaks the poem, which at the end appositely replies to the artist’s intention: “So much is chance, So much agility, desire and feverish care, As bicyclists and harpsichordists prove Who only by moving can balance Only by balancing move”. The same for the book artist. The varying folds and contrasting papers envelop, separate and blend art and text. Just as the asemic pulsing marks contrast with and mirror the rhythmic, rhyming text.

Before going on to the next artist, it is worth a short online detour for background on the mitsumata paper that Tetenbaum chose. The paper is handmade from the inner bark (or bast fibre) of a plant called mitsumata (argeli in Sikkim, India). A sustainable and renewable resource, the plants are cropped above ground level and reharvested after 3-4 years. Argeli’s scientific name is Edgeworthia gardneri, in honour of Michael Pakenham Edgeworth, botanist and civil servant in India, and for his half-sister, writer Maria Edgeworth. So much is colonial science, so much is literary chance.

Mitsumata paper is made with the Japanese nagashizuki dipping and layering method of papermaking. From “Mountain Plants to Paper: A Sikkim Story“, documentary by Jaya Jaitly, Dastkari Haat Samiti, n.d. Accessed 25 September 2020.


Béatrice Coron has dived into the mechanical and musical metaphors of the poem and emerged with a knife-cut leporello pop-up incorporating text, images and metal gears.

Machines: Poem by Michael Donaghy (2017)
Béatrice Coron
Leporello pop-up, enclosed in box with closure of small gear and black thread. Box: H205 x W162 x D27 mm. Leporello: H195 x W143 mm (closed), W1125 (open). Acquired from the artist, 31 July 2017. Photos: Books On Books Collection. With permission of the artist. “Machines” © Michael Donaghy Estate.

The black thread unwinds from the sprocket on the fore edge of the box, and the box opens to a pastedown title page sprinkled with drops of solder. The enclosed leporello unfolds to a tour de force of paper engineering.

First photo: Books On Books. Second photo: Etienne Frossard. With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

The first double-panel spread presents a centered fanfolded pop-up, whose slits and folds across the crease deliver a stroboscopic effect. Or that of a speaker vibrating with music. The words of the first stanza bracket the pop-up like parentheses representing motion or sound.

Photos: Books On Books. With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

For the next double-panel spread, Coron takes the first line of the poem’s second stanza — “The machinery of grace is always simple” — and centers it appropriately at the top. The lines expanding on that statement are cut just below the teeth and into the circumference of interlocking gears. Along with their struts, rims and teeth, these gears are the only remains of this section of paper. Despite all that air and the weight of the small metallic flywheels and gears centered in the cutouts, the double-panel spread balances gracefully.

With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

The floating layer technique is used for the third double-panel spread. The whole note (or circle) in the center hovers over the musical staves by virtue of hinged multi-tier paper supports. The words appearing between the staves and inside the whole notes (or rests?) take in all of the third stanza and first line of the fourth.

With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.

The remaining lines of the poems are cut above, below and into two interlinked spiral pop-ups. Normally a spiral is cut from a circle on one page, and one end of it is attached to the facing page. Here, with this variant on the technique, Coron give us the two bicycle wheels linked by a chain, or perhaps two treble clefs fallen over.

With permission of Maddy Paxman and the artist. “Machines” © Michael Donaghy Estate.


Coron’s and Tetenbaum’s palettes reflect the rich diversity of book art. With a few elements in common from the book arts, these two very different works, engaging the same poem, speak to the eclecticism of the Books On Books Collection and some of its underlying themes. One is the meaningful materiality of book art as well as its haptic pleasure — be it in the structure, paper, the type or lettering or marking, the colors, the balance of image and text, or that of shape and space.

The second is a particular kind of engagement with literature. Not all of the book art in the collection engages with literature, but that which does performs a sort of ekphrasis in reverse, where the poem engenders the work of art. So distinctively different in their responses, the two works show that, even within that underlying theme, eclecticism seems inevitable.

And finally, the last of the three is chance. As noted, the poem itself addresses the role of chance in the “gadgetry of love” and creativity. But what of this then? When Donaghy reviewed the proofs of Tetenbaum’s typesetting, he called out the presence of one extra word that threw off the meter. The type had to be reset. When Coron’s rendering was opened and inspected, the collector called out the absence of a one word. The leporello had to return for recutting. Mirrored typos thirty-one years apart — now there’s chance.

Further Reading and Listening

Carter, David A. and Diaz, James, The Elements of Pop-Up, A Pop-Up Book for Aspiring Paper Engineers (New York: Little Simon, 1999).

Coron, Béatrice. Interview with Steve Miller, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, September 2011.

Coron, Béatrice. Interview with Helen Hiebert, Paper Talk Podcast, 22 August 2020.

Donaghy, Michael. Collected Poems (London: Macmillan, 2014).

Ferguson, Margaret W.; Mary Jo Salter; Jon Stallworthy (eds.). The Norton Anthology of Poetry (New York: W.W. Norton, 2005).

Paterson, Don. Smith : a reader’s guide to the poetry of Michael Donaghy (London: Picador, 2014).

Tetenbaum, Barbara. Interview with Claudia Hamilton, Book Arts Podcasts, School of Library Information and Sciences, University of Alabama, 13 January 2006.

Tetenbaum, Barbara. Interview with Sarah Lange, University of Wisconsin-Madison Book Arts: Oral History, 18 June 2018.

Tetenbaum, Barbara. Correspondence with Books On Books. 22 September 2020.

Books On Books Collection – Nicholas Phillips

Egyptian Hours (1979)

Egyptian Hours (1979)

Nicholas Phillips

Bound in a leather folding case, a set of 7 hand-colored and variously collaged / cut / embossed etchings, plus title page, on Hot Pressed Saunders paper. H160 x W160 x D40 mm. Edition of XXXIX signed copies in existence, of which this is #XXXVII. Acquired from the artist, 6 August 2020. Photos: Books On Books Collection.

   

Egyptian Hours falls somewhere between book and portfolio box. Somewhat like photos and captions in a photobook, text and relief images play off one another, but only somewhat: at a distance the table of contents names and orders the hours; only the Arabic number glyphs from the “table of contents” mediate the named hours. If the table of contents is held apart as in the photos, the distance shortens.

In the western tradition, the named hours suggest the medieval book of hours, another signal that this is more than a portfolio of prints. There is pleasure in trying to remember the name of the hours from their numbers or guessing it from the evocative images — the image of a window lattice through which to watch, an image of a tile fragment — but the name of the fourth implies a mystery narrative at which to guess.

Who is watching from the window? What does the broken pattern of tiles mean to the watcher? Were the numbered shards found beneath the tiles? What clue do the images of papyrus plants give, or the overlying image of a plot of land (?) bringing the plants into green, the diagonal pattern into blue and black, and the sheet of papyrus into burnt umber? Whose seal holds the folded sheet closed? Whose shroud? Whose garland or necklace with its thread weaving in and out of the intaglio?

The watcher could spend hours turning or spreading the panels out and guessing — and just contemplating this artwork as an evocation of ancient time and time passing.

Egyptian Hours — Addenda

This comparative view of the un-colored embossed prints — especially for the “Hour of Watching” and “Hour of Fragments” — enhances an appreciation of Phillips’ artistry.

Set of 7 blind embossed etching prints, plus 1 intaglio title page. Letterpress numerals. Unnumbered copies. 160 x 160 mm each.  Acquired from the artist, 6 August 2020. Photos: top row, Books On Books Collection and, bottom, courtesy of the artist.

Egyptian Cards (1978)

Egyptian Cards (1978)

Nicholas Phillips (with Fiorenza Bassetti)

Pack of magic playing cards. Offset litho, silkscreen, die cut and held in a silkscreened box. H110 x W62.5 x D22.5 mm. Edition of 10, of which this is #2. Acquired from the artist, 6 August 2020. Photos and video: Books On Books Collection.

Egyptian Cards may be the joker in the pack for the Books On Books Collection. A deck of cards? A magic trick? A dos-à-dos flip book? Without doubt, it is another evocation of different frames of time passing. In one time frame, Nefertiti becomes a mummy.

In another time frame, day dawns on the Pyramids.

And in a third and fourth time frame — the time of the artists’ collaboration and that of a magic trick — a joker (a self-portrait of Fiorenza Bassetti) appears.

Phillips, who has turned to watercolors of a photographic intensity yet pastel texture, continues to layer time in ways that lead the viewer as much into meditation as appreciation. Fitting, then, that these two early works strike that lasting chord.

Further Reading

An Online Annotation of “The Book Made Art” (1986)“, Bookmarking Book Art, 8 May 2020.

Henry, David J. Beyond Words: The Art of the Book (Rochester, NY: Memorial Art Gallery of the University of Rochester, 1986). Catalogue for the exhibition held 31 January – 30 March 1986. Catalogue designed by Scott McCarney.

Kahn-Rossi, Manuela. Fiorenza Bassetti (Bellinzona, Switzerland: Salvioni, 2010). In English, 2013.

Phillips, Nicholas, and Salma Nasution Khoo. Best Foreign Language (London: Jonathan Cooper Park Walk Gallery, 2011). Catalogue for exhibition, 17 November – 3 December 2011.

Rolo, Jane, and Jennifer Walwin. Book Works (Bracknell, UK: South Hill Park Arts Centre, 1981). Catalogue for the touring exhibition 28 March 1981 – 4 April 1982. Title page designed by Ron King.

Taylor, Michael. “Books for Whose Sake?”, Crafts, No. 63, July/August 1983, pp. 15-18. Excellent color photo of “Hour of the Clue” in context with works by Roy Fisher, Walter Hamady, Ron King, Katherine Kuehn and Toby Lurie.

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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