handmade papers, walnut dye, ink
10 x 6.25 x 0.125
edition size: 10
©
Direction is an everyday activity, physically and psychologically. When things don’t go as they seem, we say, “we have lost our way”. This attempt at this immense subject is imbued with personal and cultural ideas. The walnut dyed cover looks like leather and feels like a field journal. The book is drum leafed. Each page is handmade paper with a pulp image applied to the wet sheet during the papermaking process. North -collograph, south -letterpress, east -intaglio & lino, west -lithography
Andrea Peterson, internationally exhibiting artist and educator, co-owns with her husband, Hook Pottery Paper in northwest Indiana. Her work is multifaceted exploring all types of paper fibers and processes including prints, artist books, and environmental installation pieces. She has lectured and taught extensively.
Fabriano Accademia paper, machine embroidery threads, linen thread and grey board
4.2 x 3 x 1.25
edition size: 3
© 2013
The fragments of embroidery which inspired this book were once a part of larger pieces which originated in India in the eighteenth century. Motifs from the embroideries are expressed by Collagraphic prints and these form the pages. The embroideries have decreased in size over the centuries like the pages of the concertina book.The two components are stitched together with pamphlet stitches
Annwyn Dean taught Textile Art and wrote articles for the Embroidery press for many years. Paper was always her preferred medium and she now concentrates upon creating books in many forms. Her work is inspired by her collection of antique lace and embroidery. She lives in the north of England and exhibits widely. She has books in the collections of the Victoria and Albert Museum and Sheffield and Northampton Universities and has two books in 500 Handmade Books Volume 2.
paper, ink, brass, wood, plastic rod
2.75 x 3.5 x 3.25
edition size: 100
© 2014
Lurking beneath the surface like demons of the subconscious, sea monsters are full of mystery. The creature in this tale washes ashore like a force of doom, bringing tragedy and despair to the people of a small coastal town. The map covering the box is an intaglio print. The text was printed on a letterpress as were the diorama elements which were then painted with water color. When the brass ring is pulled, the waves move, the sailboat rocks, and the arm of the monster rises threateningly.
Bryan Kring wanted to be a writer. He had a typewriter and a bottle of rum but found that he didn’t have many stories to tell. Instead he saw pictures so he took up painting. He went to art school and filled his home with large canvases. When he ran out of space he took up printmaking and fell in love with the beauty of paper and the intimacy of small hand-made objects. Now, later in years he has found a few stories and is enjoying making works which combine printing, painting, and writing.
paper, ink
10 x 18
edition size: 147
© 2013
“Nightsong” is the 18th broadside in the Dead Feminist series, an ongoing collaboration between illustrator Chandler O’Leary and printer Jessica Spring. This print features a quote by Sarojini Naidu (1879-1949), also known as “The Nightingale of India.” A politician and a poet, she wrote beautiful lyrical poetry, focused on Indian themes, to inspire the nation. A lush dream menagerie features Naidu’s words: “What hope shall we gather, what dreams shall we sow?”
Chandler O’Leary is the proprietor of Anagram Press, specializing in illustration, lettering and printmaking. Chandler received her BFA from the Rhode Island School of Design, and is a former Artist-in-Residence at the Minnesota Center for Book Arts. She lives and works in Tacoma, Washington; her work is exhibited and collected internationally.
Jessica Spring is the proprietor of Springtide Press. She designs, prints and binds artist books, broadsides and ephemera incorporating handmade paper and letterpress printing. Small finely-craft editions consider historical topics and popular culture from a unique perspective and collaborative work is an important aspect of the Press. Spring has an MFA from Columbia College Chicago and teaches at Pacific Lutheran University.
end grained wood blocks, Rives heavy buff, Fabriano Murillo, St. Armand’s paper, pen 7 walnut ink
6.875 x 7.25 x 0.3125
edition size: 25
© 2012
A triumphal procession based on those of the Italian and German renaissance.
The artists’s imagery explores visual and literary ideas through black & white print media, usually wood engraving. There is a long tradition of wood engraving and the book arts, and it seemed quite natural to follow that path. The imagery has always gravitated toward the German print tradition such has the work of Durer, Wolgemuth, Cranach, Holbein, and Baldung-Grien. The technique is to employ black line engraving rather than the more traditional approach of white line engraving.
paper, ink
10 x 7.5 x 0.75
edition size: 30
© 2013
In this reimagining of Opal Whiteley’s history, shadows speak to Opal, revealing a world that only she herself experienced. Using quotes from Opal’s childhood diary and a reconstructed narrative, The Language of Shadows explores how voices and shadows became real to a young woman and transformed her childhood memories. Drawings come together to form whole and changing landscapes; quotes from Opal’s diary, a twin voice, and mirrored images hint at her fractured inner view of her environment.
Elizabeth Boyne is a book artist who received her MFA from the University of Iowa Center for the Book. She exhibits her work both nationally and internationally and her books can be found in a growing number of collections, including the University of Iowa and the Joan Flasch Artist Books Collection. Using handmade paper, letterpress printing, and traditional book forms, Boyne’s work uses mirrored images, fragmentation, and multiple voices to create narrative histories of unfamiliar spaces.
paper, ink
9.75 x 6
edition size: 35
© 2013
Remembering Aesop is a collaborative piece written by Mark Munger, illustrated, designed and printed by Elizabeth Munger. The book is a recreated set of fables and illustrations with a strong emphasis on how we remember stories. Illustration, text, book design, materials, and structure stem from memory of these fables and what they meant to us as children. This book is a cumulative representation of our memories, both as a story and a tactile object.
Elizabeth Munger has her BFA in printmaking, and is presently an MFA candidate at the University of Iowa Center for the Book . Her interests currently include printing, paper-making, and artist books. Often working eclectically through drawing, collage, textiles, printmaking and paper works, her predominantly narrative work, explores day-to-day life, and childhood memories through allegorical self-portraits.
paper, ink
5 .75 x 5 .75 x 0.5 closed
edition size: 35
© 2013
Dating is part personal ad, part consolidation of my thoughts based on prior experiences. It is meant to be funny, but also to seriously examine and question the expectations brought to romantic encounters. It is a very personal work, but my readers seem to find themes that resonate with them as well. The book consists of an envelope enclosure holding 5 small pamphlets and a card. The pamphlet books ask questions and provide a choose your own adventure of answers.
Jenny Craig is a book artist and librarian in Seattle. She studied letterpress through an apprenticeship at a small press in Seattle, and the varied book arts disciplines at The University of the Arts in Philadelphia.
paper, ink
6 x 8
edition size: 8
© 2013
Who owns water? Most states in the USA claim that the people have the right to water. I can’t imagine anything other than everyone having a right to free water, but its not the case. The right to water was an idea that I was thinking about and I think come out in this book. “First user in time, first right” but where is the democracy. The diversions and claiming of water has had a profound change in the landscape. The access to water, I believe, has defined the landscape and the society.
Karen Zimmermann is an artist and educator. She is an Associate Professor at the University of Arizona School of Art where she directs the Jack Sinclair Letterpress Studio. She received her MFA in graphic design from Virginia Commonwealth University and her BFA from Rutgers. Her work stems from a long interest in digital technology, printing, photography, books and typography. She has had her work shown in national and international exhibitions.
cream Arches paper, asian grass paper, ink, silver leaf, binder board, book cloth, ivory clasp
4.5 x 7 x 0.5 opens to 26
edition size: 3 v.e.
© 2012
“Alchemic Calculations”, integrates some of the archetypal symbols from my on-going series, “universal language”; the symbolic images are my text. I fused a friend’s beautiful mathematical notations with etched spirals at each of the folds of the traditional accordion structure. Inspired by the medieval science of alchemy, included is the metallic element of silver leaf- a symbol of power or process of transforming something common into something precious. A display option:hangs as a scroll.
Katherine Venturelli is an artist and teacher nationally and internationally recognized for creating unique artist books and fine prints produced from her printmaking studio in Sutter Creek, CA. Inspired by the power of symbol, universal order and meditative intimacy; she explores the various printmaking forms and artist book structures.”The artist’s book has provided me with an all inclusive medium for resolving and integrating my ideas. It has been a distinctive vehicle for communication”.
paper, ink
1.75 x 4.75 x 0.45
edition size: 39
© 2012
My artistic process begins with a perception of surroundings. Underneath the visible world, I often discover unnoticeable elements and try to illuminate them by creating books and installations. Things that looked like nothing take on a presence suggesting something subtle and ineffable within the rational and logical contemporary world. The flipbook, de, explores the quality a book can possess beyond being a physical container of printed texts and images. The book moves towards a positive ending.
Kunyoung Chang is a book and paper artist living in Seoul, South Korea. She earned her BFA from School of the Art Institute of Chicago and her MFA in Book Arts / Printmaking from The University of the Arts in Philadelphia. She explores the book as a metaphoric medium using various materials including handmade paper. Her books and installations have been part of many national and international art exhibitions.
paper, ink, plywood covers, milk paint, wax
4 x 4 x 1
edition size: 20
© 2013
Broken Code is made with a 6-color linoleum reduction print based on the straight forward style used in science/pocket guide books and inspired by plants and creatures in the artists’ own garden. The art print has been dissected and reassembled in the form of Hedi Kyle’s flag book structure to illustrate genetic modification of nature. The text combines relatively legible generic statements regarding GMOs with the letters used in DNA sequencing in a cut-up pattern both informative and annoying.
Laura Ladendorf is a designer, illustrator and book artist living in Asheville, NC. Currently working as studio manager at Asheville BookWorks, a book and print studio, Laura has been able to pursue studies in print, paper and artist books since 2009. In artist books her illustration work has found a home and the content often reflects both personal and political interests.
paper, ink, acrylic paint, hemp twine
6.75 x 7.75 x 0.5
edition size: 1
© 2013
This accordion spine book unfolds in a surprising and compelling manner - the staggered signatures create a bold, continuous monotype once open. After the pages were sewn to the spine, the entire book block was run through the press - a brave, yet successful experiment.
Lisa Miles is an emerging book artist living in Santa Fe, New Mexico. Her work is bright with overarching spontaneity, but also moments of deep contemplation. Using her own visceral visual language, she tell stories through the relationships between abstract forms. By incorporating monotypes and printing/painting on book cloth, she is able to present a finished product that is completely designed and constructed with her own eye and hand.
Somerset paper, magnani paper, oil based inks, watercolour, book cloth
3.25 x 2 x 0.25, opens to 3.25 x 15.5
edition size: 15
© 2014
Engram is an etched concertina book, hand finished with watercolour paint. The book has collagraph printed end papers, with a book cloth cover and hand tooled lettering. The book is part of a series of pieces exploring place and ideas around mapping both physical and emotional space. This piece depicts a memory trace, an engram, and uses processes to support its meaning such as etching and blind tooling, techniques that leave permanent marks on surfaces as experience does on individuals.
Louisa Boyd graduated in 2001 from the Manchester Metropolitan University after studying Embroidery and showed a series of artist’s books as her final pieces. These were recognised and awarded at The New Designers Show in London in the same year. She has since worked as an artist exhibiting and selling her books and paintings with galleries both in the UK and internationally. Louisa’s work has been featured in a number of publications and included in international public collections.
book cloth, book board, waxed linen thread, linen tape, cotton rag, banana & nideggen paper,
closed 6 x 9 x 0.25, open 12.25 x 9 x 4
edition size: 10
© 2013
This book came abut from trying to reconcile some less than spectacular sexual experiences with the God of the Erotic that we imagine ourselves to be. Most of us have been raised with this notion that sex is a beautiful and magical experience, but when we reach the age of sexual exploration we realize that this notion is all too often a fallacy.
Marc Addison Brown is a book artist and printmaker from Denver, CO. He specializes in creating hand printed pop-up and movable structures. His work focuses on the ways in which we view the human body, beauty and sexuality.
handmade paper, recycled paper, linen thread, soy and rubber based inks
7.25 x 4.5 x 0.25
edition size: 16
© 2013
Oculus song is a meditation on the night sky and our mind’s interiors. The images evoke atmospheric phenomena and the geometry of architecture. The text is an original poem composed using an experimental technique of writing using translation software to alter the text and generate spontaneous new content. The text was handset in 12 pt Futura and letterpress printed. The imagery is letterpress and Risograph printed. Written, designed, printed, and bound by Marianne Dages, Huldra Press in 2013.
cotton paper, rubber based ink
15 x 11
edition size: 15
© 2013
Small Fires is an ongoing body of work that explores pictographic images as modes of communication. This print was created using only letterpress printed handset wood and metal type.
Marianne Dages is an artist who makes books, drawings, and prints. Her work combines traditional letterpress techniques with hand-drawn and photographic imagery to create a personal and idiosyncratic dictionary of symbols and preoccupations. A skilled letterpress printer and bookbinder, she is the owner of Huldra Press Studio in the Frankford section of Philadelphia.
paper, ink
22 x 12.5
edition size: 7
© 2012
The Chronicle Times is a newspaper artist’s book printed from 8 linocuts. Two signatures are folded together as a newspaper. Changes in our news delivery systems are suggested in some of the articles and some invented headlines. Hand-carved rubber stamps show a few highlights of this history. The technique references the earliest form of book printing, images and text carved on the same block.
Mary V. Marsh’s work looks at daily life activities, the quotidian moments and their patterns to think about the intersection of media, consumption and personal habits. Making art and working in libraries in the Bay Area since 1982, she received an MFA from the San Francisco Art Institute in 1992. She makes unique and small edition artist books under Quite Contrary Press in Oakland. Currently an Artist in Resident at Kala Art Institute.
ink, colored pencil, water color, Rives lightweight, matboard
4.5 x 4.5 x 2.75
edition size: 5
© 2013
Lotus Puzzle is an exercise in creating an object that inspires meditative looking while the changeable twisting puzzle structure encourages an element of play.
From her home studio in Bloomington, Indiana Mary Uthuppuru create artist books, bindings, boxes, and prints inspired by science, literature and nature. With a fascination in life’s mysteries, a yearning for adventures great and small, and a novel constantly at hand, she draws viewers into her work with play and layers of meaning. Her work often features woodblock prints, paste papers, drawn and painted elements and occasionally electronics.
paper, ink, card stock, book cloth
14.25 x 8.25 closed, 28.5 x 41.25 open
edition size: 15
© 2013
River is a book about one river--its origin, fact, and force--but it is also about the relationship between a river and the places it separates and joins together, and the people that recognize it as their own. The book was written, designed and printed in Basel, Switzerland, on the banks of the Rhein, and on the two letterpresses at Druckwerk. Printed from handset Medieval type and hand-inked linoleum blocks, with “titles” in pochoir and India ink. Hand-bound in Copenhagen, Denmark.
Megan Adie is a book artist and letterpress printer originally from California. Her career as a musician, specializing in historical performance practice, brought her first to Basel, Switzerland, and most recently to Copenhagen, Denmark. Megan publishes books and prints from her shop in Copenhagen, the first physical location of Aviary Press, and organizes printmaking residencies in Basel, at Druckwerk, where she has printed since 2010.
paper,ink, book board
8 x 12 x 1
edition size: 14
© 2014
“When Her Robe is Unfurled, She Will Show You the World” is a letterpress artist book about tattooed ladies. It contains a long poem by Meryl DePasquale that considers appetite and the performance of appetite, concealment and exposure, female desire and the male gaze. The text is accompanied by Shawn Hebrank’s illustrations of circus animals with female body parts. The book has an accordion binding and measures 16 feet when unfolded. Each copy contains a hand-drawn ribbon through its full length
Meryl DePasquale is a poet and letterpress printer, currently living in Minneapolis, Minnesota. She teaches writing and literature at St Catherine University and is a member of the artist cooperative at Minnesota Center for Book Arts. In collaboration with Shawn Hebrank, she makes broadsides, mail art, and artist books under the name Four-Letter Press.
paper, thread
7.25 x 6 x 0.75, opens to 7.25 x 20
edition size: 13
©
This little book comprises a collection of foliage taken from the diverse population of trees at the Utah State Arboretum at Red Butte Gardens. Each leaf was individually picked by hand as a representation of the species and its unique characteristics. Pressed and dried, each leaf was then contact printed using the Cyanotype photographic process. The text and titling are set in 8 and 10 pt. Bernhard Gothic with ornamental capital letters and printed on a Golding Official no. 2 letterpress.
Michael Sharp is a Book Artist, Letterpress Printer and Photographer currently living and working in Utah. Sharp emphasizes the unique qualities of photographic process and light while engaging with the changing landscape of nature and our human identity. Sharp has studied the Book Arts formally at the Corcoran College of Art and Design in Washington, DC and has worked as an artist assistant for Sarvisberry Studios. He is currently an MFA Candidate at Brigham Young University in Utah.
ink, paper, board, cloth
11 x 13.25 x 0.25
edition size: 6
© 2013
The mask-like images in this book were generated from the printed patterns seen in opened, unfolded security envelopes. Postal details and ruminations about the idea of security and insecurity provide a dialog that a reader may find personally meaningful. This book was designed, printed, and bound by Mike Sonnichsen in the autumn of 2013. Rockwell text and envelope images were screenprinted on Arches heavyweight paper.
Mike Sonnichsen is an artist and printmaker fascinated with the details of everyday material culture and has lately utilized printed patterns seen in opened, unfolded security envelopes. He reveals previously unseen qualities in objects often overlooked. He champions the “underdogs” of material culture, playing with a viewer’s expectations while still dazzling the eye and revealing clues to the art-making process. Mike Sonnichsen grew up in Puerto Rico and now resides in Chapel Hill, NC.
paper, ink
5.75 x 4.625 x 0.5 closed
edition size: 17
© 2012
Created for An Inventory of Al-Mutanabbi Street, a global book arts’ response to the car bombing of Al-Mutanabbi Street in Baghdad on March 5, 2007. In designing the book I wanted aspects of the form to communicate aspects of the complexity of the content, that are not overtly stated in the text. I chose wood relief because I wanted the look of the pages to have a hand-printed aesthetic to reflect the long history of books, the printed word, and the the street itself.
Nanette Wylde is an artist, writer and cultural worker making socially reflective, language-based works generally of hybrid media. Wylde has a BA in Behavioral Science from San Jose State University. Her MFA is in Interactive Multimedia from Ohio State University. She is Professor of Art & Art History at California State University, Chico where she developed and heads the Digital Media/Electronic Arts Program.
paper, ink, found materials
7.25 x 8.25 x 1.5
edition size: 1
© 2013
Using two classic O.Henry Stories, I created and printed eight monotypes for “The Cop and The Anthem” and eight monotypes for “The Ransom of Red Chief”. The monotypes were printed with oil based ink on the original pages of the library edition of O.Henry Memorial Award Prize Stories for 1922. The monotype pages were mounted on Arches paper, accordion style, one story on the front and one on the back, and rebound in the book’s original cover.
Poppy Dully is a painter and printmaker living in Portland, Oregon. Poppy studied design and cultural anthropology at UC Berkeley, received a MPH from UCLA, and worked for over 20 years in fundraising and non profit management. Poppy explores the relationship of storytelling in film and books in her altered and handmade books. Sometimes it is the discovery of a second hand book that connects her to a film and other times it is the moving images of the film that connects her to a book.
Japanese paper, string
3.5 x 5
edition size: open
© 2010
The full title is Eating Out by Bugs Terkel, referring to the American author Studs Terkel, who passed away in 2008. The story is about a bug, a kind of caterpillar, who falls from a tree and is injured. It is found by another caterpillar, who does to the fallen one what bugs usually do. Lino cut; 14 pages, one color. Handmade covers, bound in Japanese method, by hand.
Mr Steiner has been living in Japan for over 40 years, all the time studying and teaching woodblock printmaking. As well as teaching the standard print forms, he also teaches and creates miniature books, designing both the contents, usually his own original stories, and the covers. He is the founder/president of KIWA, Kyoto International Woodprint Association. He is a member of several national and local print organizations, as well as head of the Kyoto Mokuhanga School and his own workshops.
Somerset paper, ink
9.25 x 14.5
edition size: 120
© 2012
The narrow column of type is intended to give the reader a sense of vertigo or falling. The image reads as a map or set of traffic patterns before reading the excerpt. After reading, the bright spots indicate the people mentioned in the passage. The layout provides a sense of distance from the subjects, but also a sense of inevitability, of movement towards an unavoidable outcome.
handmade paper, japanese paper, sumi ink
8.5 x 9.5 x 0.25 closed
edition size: 24
© 2013
New Patterns in Old Style depicts an attempt to inhabit two opposing states at once. The text is reconfigured from the dual definition of the word “cleave,” and language used in tatting instructions. Images are built from layers of printed leaves, using both the positive and negative shapes formed when leaves were blown up to 400%, and cropped to rectangular frames. The long rectangles and overlapping leaf silhouettes reference sewing instructions clipped from newspapers.
Sara Langworthy lives and works in Iowa City, Iowa where she maintains a studio and is a Lecturer in Printing and Book Arts at the University of Iowa Center for the Book. Her books can be found in national collections, including the Walker Art Center, Library of Congress, and Wellesly College. She has received fellowships or residencies from Women’s Studio Workshop, Minnesota Center for Book Arts, the Jerome Foundation (MN) and the University of Iowa.
ink, paper, book cloth and binder’s board
12 x 9 x 0.5
edition size: 36
© 2012
Minutes depicts a certain experience — the meeting in the workplace and academia. Inspiration for the book came from How to Know Fresh-Water Algae by G.W. Prescott, The Biggle Farm Library, The Shepherd’s Manual by Henry Stewart, The Journal of Musculoskeletal Pain, the on-line journal Applied Animal Behavior Science and other texts about honey bee communication, slime mold behavior and much more. This is a letterpress printed accordion book made during a residency at Asheville Bookworks in 2012.
Sarah Smith produces books and broadsides in the realm of nonsense and absurdity. She is currently coordinator of the Book Arts Workshop at Dartmouth College, in Hanover NH.
existing book, ink, Rives, & Hahnemuhle papers
9.75 x 7.2 x 0.50
edition size: 50
©
Quilts, wooden toys, pillow cases, and other handmade objects are items we treasure or hate. They are the record of the human urge to create. Creation is not the sole domain of poets and artists but an integral part of all peoples; creation is life We make things. The results are accomplishments but the end product is not always the goal. The process or the act of making is the core of the creative force. That process can encompass frustration or pleasure, but the desire to make continues.
Stephanie Copoulos-Selle is an emeritus professor of art at the University of Wisconsin-Waukesha. She received her MFA from the University of Wisconsin-Milwaukee. Her work has been exhibited nationally and internationally. It is included in collections of: Yale University, Otis College of Art and Design, University of Washington, School of the Chicago Art Institute, Indiana University, Mills College, Quad Graphics and others. In 2008 she was awarded a Women’s Studio Workshop Grant and Artist Residency.
paper, ink, wire, CD
6 x 6 x 1.25 closed, 5 x 40 open
edition size: 25
© 2013
Rhythm Grid began as an idea for a musical composition featuring only percussion and flute. The idea centered around creating written drum parts using a grid of 16 numbers and simple mathematical formulas. The panels are a direct visual interpretation of the rhythm pattern of the measures with overprinted symbols for the improvised instruments. The eight double-sided panels are hinged with an “L” shaped wire binding method that allows the panels to be read as a codex or arranged many ways.
Thomas Parker Williams lives and works in Philadelphia, PA, USA. His work includes hand-made artist book editions, unique book works, printmaking, and painting. Some of his artist book editions contain an audio element - music or sound work - composed, performed, and recorded by the artist. Tom’s artist books are in numerous private and public collections, including King St. Stephen Museum, Szekesfehervar, Hungary, and Columbia University, NYC.
Rives BFK tan, book board, book cloth, katazome paper, waxed linen thread
12 x 9 x 1
edition size: 50
© 2013
Writing from South Florida writers John Dufresne, Michael Hettich and Yaddyra Peralta is combined with visual content by Kari Snyder, Laura Tan and Tom Virgin to create a “conversation” between a group of like minded people. This book was conceived, designed, printed and produced by Extra Virgin Press (proprietor, Tom Virgin), while the artist was the Helen M. Salzberg Resident Artist at the Jaffe Center for Book Arts at Florida Atlantic University in Boca Raton, Florida.
Rives BFK tan, rubber based ink
18 x 12
edition size: 35
© 2013
Sleepwork is a broadsheet produced by Tom Virgin for the SWEAT Broadsheet Portfolio at the Red Dragonfly Press under the Extra Virgin Press Imprint with poetry by Campbell McGrath and images and design by Tom Virgin.
Tom Virgin is a Miami artist making prints, books and public art in residencies around the United States. His work has been shown internationally in the United Kingdom, Japan, Canada, Mexico, and New Zealand, as well as nationally from Portland, Oregon to Key West, Florida. Tom Virgin’s artist’s books are included in two publications: 1,000 Artists’ Books: Exploring the Book as Art, edited by Sandra Salomony, and most recently in Lark’s 500 Handmade Books Volume 2, curated by Julie Chen.
paper, ink
18 x 12
edition size: 18
© 2013
Mergers and Acquisitions is a portion of dialogue from Conversation Portraits, an ongoing series which utilizes text as image to visualize a verbal personality.
paper, ink
16 x 12 x 0
edition size: 27
© 2014
Words is a portion of dialogue from Conversation Portraits, an ongoing series which utilizes text as image to visualize a verbal personality.
Turner Hilliker has always called Northern Virginia his home. When he was younger he would build model airplanes, take apart appliances, and draw his own creations when action figures were not enough. In 2011 he received his MFA in Book Arts and Printmaking from the University of the Arts. He is currently investigating the nature of character in his work.
Reich paper, linen
5.75 x 8.5 x .25
edition size: 500
© 2013
Heimrad Bäcker’s Seascape (originally published as Seestück for the 32nd issue of the journal neue texte in 1985 in Austria) was translated by Patrick Greaney and published by UDP in 2013 as part of the Lost Literature Series. Printed letterpress, with an offset text insert, Seascape uses documentary material to recount a minor historical episode from World War II: the crew of a German submarine comes upon three men on a Norwegian lifeboat and refuses to take them on board.
Ugly Duckling Presse is a nonprofit art and publishing organization whose mission is to produce artisanal and trade editions of new poetry, translation, experimental nonfiction, performance texts, and books by artists. With a volunteer editorial collective of artists and writers at its heart, UDP grew out of a 1990s zine into a Brooklyn-based small press that has published more than 200 titles to date, with an editorial office and letterpress workshop in the Old American Can Factory in Gowanus.