Artists' Books

This professional artist's books collection is housed in the Fleet Library Special Collections department. Special Collections includes nearly 18,000 important and rare printed books and periodicals that date from as early as the 16th century to present. Historical as well as contemporary materials cover the fine arts, architecture, photography, decorative arts, and design and provide supplemental and inspirational resources for students, faculty, and outside researchers.

The physical Artists’ Books Collection includes nearly 2,000 multiples, hand-made book objects, limited edition books, and zines dating from the mid-1960’s to present. The collection also includes numerous related book arts references and artists’ ephemera files. Featured collections include bookmaking process archives of internationally known book artists Carol Barton, Ruth Laxson and Angela Lorenz. This digital collection presents an abridged preview of each book. Visit 2nd Floor, Rm. 201 of the Fleet Library or contact risdspecial@risd.edu to view the collection in its entirety.

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Asian American Project

Irene Chan, Special Collections, and Fleet Library

1 case, 35 cards. An open edition artist book. Contains 35 loose and unnumbered cards, much like business cards. Print media on paper, with press name Ch'An punched out. Housed in a red, white, and blue paper case with slip-in envelope closure.
Barbie Paper Doll: A Transformed Wardrobe With Textile Mill History

Irene Chan, Special Collections, and Fleet Library

1 artist's book : color illustrations. Written, designed, and produced by Irene Chan ... produced in an edition of 10 copies. Place of publication for Elsewhere Artist Collaborative from box. Digital prints of cut paper doll clothes. Found object into sculptural book. Printed and illustrated paper box with paper doll, doll clothes, and printed leaf of references for text and images. "American textile history is printed on sixteen paper doll Barbie's clothes. Original doll from 1980 found at Elsewhere Museum and Residency. History is in the form of text and images from mill worker interviews and portraits, tools, statistics, and mill life folk songs"--Vamp & Tramp, Booksellers website. "Includes these paper doll outfits: Cotton picker: Green skirt and blouse showing on the skirt image of cotton picker in fields; Mill girls' spirits: Blue prom dress showing ghosts of young mill girls; Spin and spool: Green and white turtle neck sweater with words "spin and spool;" Charred mills: Brown belted coat with industrial town skyline around hem. Mill tools: Long pink sleeveless dress, slits up the sides with tools pattern; Textile mills: Skinny pants with textile mill illustration design; Loom: Evening gown with boa showing woman at loom.; Mill worker: jacket, blouse, and skirt with image of mill worker and history of skirt.; Mills are closed: Long sleeve shirt with white overblouse with words "Mills closed / 1990-1997"-Vamp & Tramp, Booksellers website.
Spectacular Vernacular

Jessica Charlesworth and Tim Parsons

1 volume, 152 pages . Living in a Material World, Parsons & Charlesworth at the Chicago Cultural Center / B. David Zarley -- Spectacular Vernacular / Parsons & Charlesworth -- Index of works -- Observe, Experiment, Speculate, Parsons & Charlesworth in conversation -- Agile Ciphers for Cultural Truths : a consideration of objects and their meanings / Lee Ann Norman. "Our Spectacular Vernacular artists book summarizes and presents our solo exhibition at the Chicago Cultural Center in 2016. Along with many photos of the exhibition and the process of its creation, the book contains Agile Ciphers for Cultural Truths, a 'hybrid essay' by Chicago-based writer Lee Ann Norman, providing insight into the ideas, theories, and interests that influence our design practice. The book also includes a transcript from our panel discussion moderated by Zoë Ryan, the John H. Bryan Chair and Curator of Architecture and Design at the Art Institute of Chicago, which took place at the Claudia Cassidy Theater at the Chicago Cultural Center in December 2016. The launch of this book coincided with the opening of Spectacular Vernacular at the Brooks Stevens Gallery at the Milwaukee Institute of Art and Design on November 3rd 2018."--parsonscharlesworth.com website. In middle of text is additional booklet, "MeMo" ([24] pages : illustrations ; 18 cm) Memo booklet originally produced in conjunction with an exhibition held at Wanted Design, May 17-20, 2013, New York, New York. "Concept, modelmaking, writing, and illustrations by Jessica Charlesworth"--Me-mo.co website. Rubberband binding.
Bitter Chocolate

Julie Chen, Special Collections, and Fleet Library

1 volume. "Bitter Chocolate was written and designed by Julie Chen. Illustrations of the cacao forest and cacao pods were created by Keri Miki-Lani Schroeder. All other images were created by Julie Chen. All elements were letterpress printed from photopolymer plates on a variety of papers including Old Masters handmade paper from Papeterie Saint-Armand in Montréal, Zanders Elephant Hide and Hahnemühle Ingres"--Colophon. Commissioned for inclusion in "Just one look," an exhibition of contemporary book arts held in the Special Collections Division of the University of Washington Libraries from March 31-July 29, 2016. Limited edition of 50 copies, signed and numbered. Narrative about a fictional goddess of chocolate, "Cacao Woman," a character loosely adapted from the Popul Vuh, the Mayan Book of Council. It is interspersed with historical and contemporary facts about chocolate production and consumption, as well as vignettes from the author's personal history with chocolate. Book is bound in Jacob's Ladder format and enclosed in a cloth-covered, four-flap case with magnetic closures. Title label on top of case. Title, colophon, and "forward" printed letterpress on three sheets mounted inside case. "The Jacob's ladder structure allows for four distinct presentations of content. The book is first unfolded into accordion format, presenting the reader with visual and written content on each side. Then the page panels can be flipped over within the hinge straps that connect them revealing the second half of the content. The full meaning and impact of the story is only revealed when all four parts of the content are discovered and read"--Artist's website, viewed November 30, 2016.
Bon bon mots: a fine assortment of books

Julie Chen, Special Collections, and Fleet Library

1 box, 5 objects with color illustrations inside. The box, which is designed to resemble a candy box, contains 3 miniature books (2 of which are accordion folded), 1 folded octagonal object with text, and a small box with text containing 5 copper balls which are to be placed into 5 holes on box's bottom surface. All are designed to resemble pieces of candy and are nested in a cloth which fits over partitioned bottom of box. A leaf with box's contents is mounted on the inside lid. Title from box. Letterpress printed from photopolymer plates in an edition of 100 copies.
Cat's Cradle

Julie Chen, Special Collections, and Fleet Library

1 volume, forms a star-shaped structure when opened. Limited edition of 50 copies ; each numbered and signed by Julie Chen. Digitally printed on Mohawk Superfine and includes laser cut elements. Carousel structure: 5 spreads, each with 3 layers of overlapping concertina folds with sections cut out to create a 3-dimensional scene. When opened and covers are placed against each other, it forms a star-shaped structure, 11" in diameter. Tie closures. "Cat's Cradle translates thoughts about the nature of existence from idea to form by employing the book structure itself as a visual/physical model of concepts portrayed in the text. The book as object can be displayed in two distinct ways: circularly or linearly. This dual display feature contributes its own conceptual meaning to the book as a whole."--Flying Fish Press. "The idea for Cat's Cradle was generated using the Artist's Book Ideation Cards by Barbara Tetenbaum and Julie Chen. To inaugurate the publication of this card set, Barb and Julie invited a group of book artists to each make a book that was inspired by a drawing of the cards. The resulting books were shown at the Seager Gray Gallery in Mill Valley In February and March of 2013 as an exhibition entitled 'Ideation by Chance.' The cards drawn for Cat's Cradle included the following: Text: self-generated, Imagery: none, Paper: neutral, Color: least favorite, Technique: digital, Layout: across the fold, Structure: Innovative binding, Adjectives: mysterious, spiritual, encyclopedic, organic, lyrical."--Flying Fish Press.
Full Circle

Julie Chen, Special Collections, and Fleet Library

1 volume (unpaged) in case : illustrations. Title from portfolio box. "Written, designed, and produced by Julie Chen ... letter-press printed on various papers using photopolymer plates...produced in an edition of 100 copies."--Colophon, boxtop verso. "Full Circle is a powerful exploration into the cycles of faith and belief from the first moments of obsession through the experience of deepest doubts, and ultimately passing through the place of peace where the mind and heart are (re)united before the endless cycle starts again. A large box-mounted wheel rotates continuously beneath a series of windows to reveal the many stages of the faith cycle with concurrent letterpress images of the human body. One window in the wheel also reveals a tray with compartments containing simple every-day objects that take on varied and potent meanings for each individual reader as they attempt to connect or reconcile the complex spiritual world in their imaginations with the material reality before them. Three drawers open from a slot in the outer tray, cradling pop-up diagrams which act as three checkpoints along the cycle. One of Chen’s most advanced book structures to date, the ingenious wheel is not only a marvel of book craft but also an opportunity for a level of self-exploration leading the reader toward the realization that meaning may be encountered within the process of seeking."--Flying Fish website. Operating instructions mounted inside boxtop. Issued as a rotating wheel with pull-out drawers in a silk-covered box. Library has copy no. 22, signed by the artist. Sally Hume Lincoln Memorial Fund. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Leavings

Julie Chen, Special Collections, and Fleet Library

[24] pages : color illustrations. Illustrated card stock in accordion fold format, with mounted text, illustrated within cutout mats, and artifacts attached to baggage labels that are inserted in pockets of some of the panels. Issued in cloth-covered box (18 x 13 x 5 cm) with diapered lid and tie; colophon appears inside box. Some of the "leavings" are scraps of paper cut away to construct Julie Chen's book, "Life time." Letterpress printed; lasercut elements. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Life Time

Julie Chen, Special Collections, and Fleet Library

1 item : color illustrations. Poem. Caption title. Printed on a series of 8 concentric paper discs attached by paper hinges in accordion fold format, designed to be read through a center hole when the construction is fully extended. Issued in a decorated paper box (80 x 80 x 23 mm.) with hinged glass window lid ; colophon pasted inside bottom of box. Edition limited to 100 copies, numbered and signed by the artist. Library has copy no. 34. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Ode to a grand staircase (for four hands)

Julie Chen, Special Collections, and Fleet Library

1 volume, 29 pages, pages cut in layers to resemble a staircase. "Ode to a Grand Staircase (For Four Hands) is a visual dialog created by Julie Chen and Barbara Tetenbaum, who found their inspiration in the work of composer Erik Satie. The text is derived from the musical directives and silent librettos which accompanied his scores. Thanks to Anna Sacramento for production assistance and to Claudia Wober for the translation. We dedicate this book to the memory of two men, Peter Chen and David Tetenbaum, whose lives inspired the music in our own"--Colophon. "The story in this book comes from The March of the Grand Staircase, composed by Erik Satie in 1914.."--Box lining paper. Letterpress printed cut card panels attached to concertinas on both sides creating two spines. Pages are cut in layers to resemble a staircase and open from the center in the fashion of french doors. Issued in cloth-covered drop-spine box, with magnetic closure. Limited edition of 100 copies, signed by the artists.
Personal Paradigms: a game of human experience

Julie Chen, Special Collections, and Fleet Library

1 game : illustrations ; in container+ 1 ledger book; 1 user's guide; 1 folded game board. Cover title. "This game was designed and produced by Julie Chen ... All elements were letterpress printed except for the pages of the ledger book ... an edition of 100 copies"--Colophon inside bottom of box. "The object of this game is ... to have the player create a meaningful abstract composition on the game board based on the examination of one area of his or her life ... and to have the player participate in an ongoing collaborative documentary book project by recording his or her composition in the ledger book"--Rules of Play. Contains in four front drawers: 1 die, 1 self-marker, 8 life markers, 18 marker shapes, 36 text strips, 2 plastic templates, 3 colored pencils, 1 pencil sharpener ; 15 metal arrows ; In folders on inside of lid: 1 Spinner and Rules of Play user's guide. Issued in box with hinged lid, covered with gold/brown-tinged fabric lined with light golden satin. Library has copy no. 23, signed by the author. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Radio Silence

Julie Chen, Special Collections, and Fleet Library

1 box, 1 accordion book enclosed. "Designed and printed by Julie Chen.. Papers include Wyndstone Mica and Tuxedo bronze, found aeronautical charts and embossed paper designed by Margaret Ahrens Sahlstrand at Icosa Studio. Produced in an edition of 75 copies"--Box lining paper. In fabric covered box (28 x 10 x 6 cm) with hinged glass lid. Letterpress printed from photopolymer plates.
The Veil

Julie Chen, Special Collections, and Fleet Library

1 volume, 5 pages. In box (33 x 22 cm) Title from box. "'The Veil' was written and designed by Julie Chen in the fall of 2002. It was letterpress printed using a combination of photopolymer plates and collagraphic blocks on Wyndstone Marble papers, and cut using a Universal Systems Lasercutter. The binding was done by Julie Chen and Anna Sacramento at the studios of Flying Fish Press.."--Box lining paper. Produced in an edition of 100 copies, signed & numbered by the artist. "This book can be displayed as a standing sculpture by curving the concertina into a circle, with all the pages facing outward, until the front and back covers touch. Magnets embedded in the covers will hold the book open in this position"--Colophon.
True to Life

Julie Chen, Special Collections, and Fleet Library

1 volume (unpaged) : 12 leaves of color plates. Title from portfolio box. Text "block" has 12 leaves of color plates that are manipulated by the reader. Includes instructions on "How to work this book"--Colophon. "... letterpress printed using a combination of pressure plates, woodblocks, & photopolymer plates. It was assembled and bound at Flying Fish Press with expert assistance from Macy Chadwick. The image that appears on each page is one section of a long, continuous visual timeline that can never be viewed all at once. In an edition of 100 copies.--Colophon. Library has copy no. 36, signed by the artist. Sally Hume Lincoln Memorial Book Fund. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
View

Julie Chen, Special Collections, and Fleet Library

1 volume (unpaged) in case : illustrations. Title from portfolio box. Written, designed, and produced by Julie Chen ... letter-press printed using a combination of photopolymer plates, wood blocks, and pressure plates...produced in an edition of 100 copies. "Based on a personal experience of loss, View is a bookwork that deals directly with ideas of coming to terms with mortality. The piece includes two books that are housed in a compartmented box. After the books have been read, the box can be tilted forward to reveal a mesmerizing view of a miniature world"--Flying Fish Press website. "Dedicated to JKR, 1960-2006"--Paper insert. Library has copy no. 12. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
How Books Work

Julie Chen, Clifton Meador, Special Collections, and Fleet Library

16 pages : color illustrations. "Written, designed, and produced by Julie Chen and Clifton Meador ... Fall 2010"--Colophon. Cover title. Unnumbered edition of approximately 300 copies. In paper portfolio with mounted color illustration including title. Offset printed; lasercut elements. Clifton Meador, RISD Alumnus, BFA Photography, 1980. Gift of Julie Chen. Fleet Library at RISD Alumni Collection. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
The Heart of Home, Home of the Heart

Julie Chen, RISD Students, Special Collections, and Fleet Library

1 volume (unpaged) : color illustrations. Title from binder cover. Front and back covers of the text have varying titles. A two-sided tunnel book, incorporating collage, color photocopy, rubber stamp, letterpress and found objects. This book was produced as part of a Visiting Designers class offered by the Graphic Design Dept., fall 1999. Julie Chen was the visiting instrutor. Molly Schoenhoff was the teacher's assistant. Participating students: Laila Ahmadinejad, Alex Ching, Kathleen de Carvalho, Maria O'Callahan, Erica Saladino, Samantha Troy, Shani Tow, Teresa Hendrosobono, Yuka Petz, Anna Snyder, Queenie Wong, Liza Andersson, Lisa Winter, Mariana Keyes, Emily Muldoon. Edition of 18? Signed by the instructor and most of the students. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
(In)versions

Julie Chen, David Turner, Special Collections, and Fleet Library

[28] pages : color illustrations. Illustrated card stock in accordion fold format, with text mounted on inside back cover; illustrated within cutout mats. When book is unfolded, 2 separate multidimensional scenes are revealed, one from each end. Issued in hardcover box (23 x 27 cm) attaching at the side. Windows centered on the front & back of box. "(In)versions is a collaborative bookwork which combines drawings by David Turner with monoprint & collage elements by Julie Chen. The pages were printed on a Xerox DocuColor 40 and then cut using a Universal Systems laser cutter. This book was partially produced in a digital book arts lab at the San Jose Tech Museum as part of an exhibition entitled 'Experiments in the Future of Reading'"--Inside back cover. Edition of 30 copies. Library has copy no. 25 signed by each author. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Keeping Things Whole

Anne Chequer, Special Collections, and Fleet Library

14 pages. Title from cover. Edition of ten numbered copies. "Designed by Anne Chequer, Printed Books, RISD, Fall 1984, Text by Mark Strand."--Colophon. Cover and text pages made with heavy black craft paper. Text printed in black on white strips of paper. Accordion fold. This book was completed for Jan Baker's artists' book class. Library has copy no. 2. Gift of Jan Baker.
Kangaroo is Kangaroo, I am I

Jeongrye Choi, Special Collections, and Fleet Library

37 unnumbered pages including 3 folded pages : illustrations (some color). "Designed, illustrated, printed, and bound by steph rue at the university of iowa center for the book in the spring of 2014. text graciously provided by jeongrye choi, who holds the copyright. additional thanks for sang-seok yoon, joung-a park, sara langworthy, and julie leonard."--Colophon Edition of 40 copies. Text in English and Korean. Case binding. Library has copy 33 of 40. Purchased at Codex 2024. SEI
Quickly to the Glittering Horizon

Allyson Church, Special Collections, and Fleet Library

18 unnumbered pages : color illustrations . Cover title. "Two stories written and printed by Allyson Church in Providence, Rhode Island, 2018"--page [2] of cover. Edition of 3 numbered copies. Edition numbering sewn into back cover. Oversize, fabric book printed as Church's senior project for the Department of Printmaking, Rhode Island School of Design. Incorporates silkscreen and letterpress printing, aquatint, hand sewing and embroidery. Different fabrics thoughout the work, some mounted or sewn onto other found, patterned fabrics. All pages handsewn into a beign, light canvas cover. Story themes include fairytales, surrealism, magical realism, sea life and dreams. Some found fabrics sourced from the the Apparel Department building, some were dyed by the artist. Library has copy no. 2. Artist has sewn a "pillow-case" container for this copy.
Quickly to the Glittering Horizon

Allyson Church, Special Collections, and Fleet Library

18 unnumbered pages : color illustrations . Cover title. "Two stories written and printed by Allyson Church in Providence, Rhode Island, 2018"--page [2] of cover. Edition of 3 numbered copies. Edition numbering sewn into back cover. Oversize, fabric book printed as Church's senior project for the Department of Printmaking, Rhode Island School of Design. Incorporates silkscreen and letterpress printing, aquatint, hand sewing and embroidery. Different fabrics thoughout the work, some mounted or sewn onto other found, patterned fabrics. All pages handsewn into a beign, light canvas cover. Story themes include fairytales, surrealism, magical realism, sea life and dreams. Some found fabrics sourced from the the Apparel Department building, some were dyed by the artist. Library has copy no. 2. Artist has sewn a "pillow-case" container for this copy.
Getting There, Being There

Marcia Ciro, Special Collections, and Fleet Library

concertina, flag book, with tabbed paper wrapper; paper wrapper; cover, book closed; pages spreads; interior pages unfolded, back cover. number 6 in an edition of 25, signed by the artist
Terminal Home

Marcia Ciro, Special Collections, and Fleet Library

3 folded sheets : color illustrations. Title from box. In oval shaped cloth wrap box (18 x 13 x 5 cm) with metal clasp. Photographs and text printed with archival ink on Moab paper. Limited edition of 8 copies. Library has copy no. 6. Gift of the artist. RISD Alumna, BFA, GD, 1977. Fleet Library at RISD Alumni Collection.
Color File #3

MarciaR. Cohen, Special Collections, and Fleet Library

1 rotary card file : all color illustrations. Title from book slip accompanying the book. Artists' book on Rolodex file cards. Housed in Rolodex box (13 x 18 x 17 cm). Unique work? Rolodex contains three projects: Books, signed and dated 2010 -- Glass House, 2019-2021 -- Saving Stamps, 2023. Saving stamps title on an older rolodex card stock. The three separate works are separated by index tab cards. "B" for books, "G" for Glass House, "XYZ" for Savings Stamps. "Invented in the 1950's the 'Rolodex' is a rotating index cardholder that was typically used to store business contact information. As a color journal it is an exercise in sorting, organizing and constructing color space. At once a color wheel and a book of turning leaves; it is also an accessible color reference for more sustained projects in the studio. Color File #3 contains notations influenced by a visit in 2019 to Philip Johnson's 1949 masterpiece the Glass House." --Printed slip of paper housed inside the Rolodex box, signed and dated by the artist. Johnson's first name is spelled with an extra "l" on the slip. Marcia R. Cohen, Professor Emeritus, Foundation Studies, Savannah College of Art and Design: SCAD Atlanta. "I began the series 'Color File (Rolodex)' artist books in 2008. It was a playful testament to networks, memory and a wheel of life..what goes around comes around. Color is the leitmotif in my work as both the medium and the message. 'Color File #3' was developed in campaigns over several years. The work serves a diaristic journal charting visual mediations on meta color and entropy."-- artist's statement that accompanied our purchase.
The Black Banal

Tony Cokes, Elana Schlenker, Special Collections, and Fleet Library

15 leaves, unbound sheets. Issued in burnt orange cloth-covered portfolio with bright red-pink lettering. Title from portfolio. Portfolio held closed with a yellow elastic band.

"Designed by Tony Cokes and Elana Schlenker. Screeprinted in Ithaca, New York by Kaleb Hunkele. Slipcase produced in Jersey City, New Jersey by Conveyor Editions. Edition of 100. Second Edition"--Colophon, page [3] of portfolio.

The Black Banal, a limited edition, hand silk-screened portfolio, is a graphic blast of found text sourced and sequenced by Tony Cokes. Cokes channels the intense boredom and extreme anger generated by his encounter with the source material into an act of "minor deconstruction." The fact that race was rendered marginal, and banal, in its original reading context makes the excerpts more resonant, intriguing in their isolation, producing new, broader connections in a different place and time. 15 leaves each in a different color with short texts on the meaning of being black in America and exploring being a black artist in a predominantly white culture.
Are you an American?

Caleb Cole, Greer Muldowney, Special Collections, and Fleet Library

56 unnumbered pages : illustrations (some color) The authors have reworked pages with collages of a book originally published, New York: Charles Scribner's Sons, 1943. Single stapled signature, paper cover. Last two pages are advertisements from a later publication. SUMMARY "This found book, originally a collection of "classic" American texts published during a previous moment of crisis (World War II), served as the canvas we have altered to respond to the current political climate. Most notably, we redacted and reacted to texts by Thomas Paine, Theodore Roosevelt, the Declaration, and the Constitution with current media images, politically-charged headlines and vintage ephemera to interrogate the original intentions of the texts, how their meanings have evolved over time, and how they might be manipulated to support the rise of a modern day tyranny."--Muldowney website. Digital collage.
The Riso Book: Portland

Colpa Press (San Francisco, Calif.), Publication Studio Portland; Special Collections; and Fleet Library

103 unnumbered leaves . Title from publisher. "Copyright Luca Antonucci and David Kasprzak"--Title page. "Colpa, in collaboration with Publication Studio Portland presents 'The Riso Book: Portland', the fourth installment of a traveling publication project and exhibition between Los Angeles, Marfa, San Francisco, New York, and Portland.The series standardizes the conditions of production underlying artist publications and presents the book as exhibition. 'The Riso Book', inspired by the format of Seth Siegelaub and Jack Wendler's 1968 'Xerox Book', is a geographic survey of contemporary artists with similar practices across several cities. In Portland, 5 artists will work over the course of five days at Publication Studio, using the Risograph as a tool. Each artist is given 20 pages within the monochromatic 8.5 x 11 inch book. All 100 pages will be bound into a single publication in an edition of 100, to be presented for sale at Publication Studio on Saturday, July 26th from 6-8pm. Originally created on a Xerox machine and duplicated through a lithographic process, 'The Xerox Book' afforded each artist twenty-five pages, plus a cover / title page, to execute a site specific project for the publication. The artists included were Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris and Lawrence Weiner. The publication itself functioned as the exhibition rather than a documentation of these site specific projects. 'The Riso Book' takes its name from the Risograph, a printer/duplicator manufactured in Japan. The original is scanned through the machine and a master is created, by means of tiny heat spots on a thermal plate burning voids (corresponding to image areas) in a master sheet. This master is then wrapped around a drum and ink is forced through the voids in the master. Because the Risograph uses real ink rather than toner, each image looks hand-made"--Publisher's website (https://www.colpapress.com/pages/the-riso-book, viewed February 22, 2017). Issued in conjunction with an exhibition held at the Publication Studio, Portland, July 20-26, 2014. "First Edition, 100, July 2014" Risograph printing in green. Perfect binding.
Sheets

Dolores Connelly, Jessica Spring, Springtide Press, Special Collections, and Fleet Library

4 leaves (folded into house shape). "Sheets is a cycle of haiku by Dolores Connelly, each poem capturing a moment within a season. These haiku are excerpted with permission of the author from A Twisted Balance, One-Line Haiku and a Few Senryu, an unpublished collection of one hundred haiku dedicated to people forced from their homelands or houses"--Colophon. Title and statement of responsibility from colophon printed on the inside bottom of the cardboard box. "The text and ornaments are handset and letterpress printed on handmade abaca [paper] and housed in boxes made with Paper Studio's recycled cardboard box paper .. printed and bound by Jessica Spring in an edition of 30."--Colophon. The paper is folded into house shapes with the text printed on the "roof" of each house. "The ongoing cycle of homelessness throughout a year is reflected in the patterns and cycling colors printed on the interior of each paper house, muted but shining through translucent fiber"--Jessica Spring. Library has copy no. 6.
Visible Spectrum

Conveyor Magazine, Special Collections, and Fleet Library

9 volumes : color illustrations .
Red Radish

Elle Conyers, Special Collections, and Fleet Library

14 unnumbered pages . Cover title. No edition statement. Author name on last printed page. Accordion fold, printed on one side only, folds out to 5 x 46 cm. Second part of compound word begins the word on the next page. Student work likely completed for one of Jan Baker's Printed Books classes, Rhode Island School of Design. RISD Alumna, BFA, GD, 2010. Gift of Jan Baker.
Light leaks

Kate Copeland, Special Collections, and Fleet Library

3 volumes : color illustrations. Cyanotype on kitakata with gold foil stamping, bound into pamphlet stitch books. The paper is treated with emulsion, bound into a book, and exposed to sun for a day. The cyanotype pages capture patterns of shadows; each book becomes a sun dial. Signed by the artist on page [4] of cover. Three booklets in paper envelope. Gift of the artist. RISD Alumna, Printmaking, MFA, 2006. Fleet Library at RISD Alumni Collection.
Eight Questions: A recipe for change

Stephanie Copoulos-Selle, Special Collections, and Fleet Library

1 volume. "The artist found eight shoe boxes in her parents' laundry room full of recipes--over 8,000. Each book has original recipe cards; therefore, each is a variant, as the recipes will be different. The recipes represent her family life growing up where she felt warm & safe 'inside the kitchen with soup on the stove and bread in the oven.' Today the environment she lives in is 'frayed, full of loose ends, and knots.' Using this backdrop of happiness that the recipes represent for her she presents eight questions for us about the current status of our society--Why can't we protect our children from gun violence? Why can't we stop killing people out of hatred? Why can't we help those less fortunate? Why can't we take care of our environment? Why can't our elected officials be ethical? Why can't a woman choose what happens to her body? Why do we need so many bombs?"--Vamp & Tramp Booksellers' website, viewed February 5, 2020. llustrated, letterpress-printed paper-covered boards with sewn concertina spine with title on page 1 of cover. Cloth paste-downs. Covers hold decorative fabric pages with embroidered designs and text, and twelve handwritten recipe cards from the artist's parents' house either in cloth pockets or sewn directly to pages. Recipe cards are modified with letterpress printed text and images, and inkjet printed images. Colophon, in the form of a handwritten letter from the artist to her parents, is folded and inserted in a pocket on page 3 of cover. Concertina binding. Letterpress and inkjet printing.
Popular Entertainments

Philip Corner, Special Collections, and Fleet Library

[16] pages : illustrations. A Great Bear Pamphlet (Unnumbered) Cover title. "Popular entertainments, no. 1." Paper wrapper, stapled. Gift of Estera Milman, RISD Class of 1970. Estera Milman (RISD BFA Painting/Printmaking and Film, 1970) scholar of post-World War II avant-garde art. Founded Alternative Traditions in Contemporary Art (ATCA) at the University of Iowa, 1982, and served as its director until 2000. She is the author of many books, articles, interviews, and exhibition catalogs on Fluxus and No!art. In December 2018 she donated a selection books from her library to the Fleet Library at RISD. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
Cyber Egos

Béatrice Coron, Special Collections, and Fleet Library

8 unnumbered pages : illustrations. Title from cover. "This booklet was made from the original papercuts of an artist book created in an edition of three in 2000"--back cover. Folded sheet, instant book. Gift of Jan Baker.
Sea Change

Anne Covell, Special Collections, and Fleet Library

24 unnumbered pages : color illustrations. Title from cover, letterpress title lettering in red, mounted on cover. Artist's name does not appear on the work. No edition statement. Constructed from offcuts, printer errors, and leftover remnants of the artist's numbered edition book with the same title. Pamphlet stitch with red thread. Purchased at Codex 2024.
Sea Change Complete Set Edition

Anne Covell, Special Collections, and Fleet Library

2 volumes : color maps. Artist book complete set edition consisting of 2 limited edition works also sold separately. Cased in open cardboard folder. Both volumes signed by their creator[s]: Artist book signed by Ellen Knudson and Anne Covell; Catastrophe map building set signed by Anne Covell. Responsibility statement from colophons. "2019 artist's book edition from the Marjorie S. Coffey Library Endowment Residency at the George A. Smathers Libraries at the University of Florida." --Colophons. "Letterpress printed from photopolymer plates by Boxcar Press on an SP-15 Vandercook Proof Press in the UF School of Art + Art History Type Shop on Somerset Velvet and Masa papers. The map layers were cut by hand and attached with wheat paste in the Sanborn "pasters" tradition and was co-produced by Anne Covell and Ellen Knudson, Associate in Book Arts, University of Florida."-- Colophon of artist book [Volume 1]. Sea change [artist book] -- [volume 2]. Sea change : Catastrophe map building set. "The system of mapping used in this edition was inspired by research and study of the print holdings of the Sanborn Fire Insurance Maps of Florida in the Map & Imagery Library, most notably Miami, vol.1, 1923 containing a record of 28 paper corrections dating from 1928-1950. Originally created to allow fire insurance companies to access risk and liability to urbanized areas within the United States, these maps were published in volumes that were bound and corrected by "pasters" who were employed to cut and glue over outdated maps until a new volume was produced.. Sea Change has adapted this system of mapping as a form of catastrophe modeling for projecting sea level rise on the Florida peninsula if action is not taken to combat climate change. The map images were drawn from worst case scenario predictions from the NOAA Sea Level Rise Viewer (https://coast.noaa.gov/slr/) --Colophons. Onion skin binding (originally developed by Benjamin Elbel) Library has copy 3 of 25 of Sea Change & copy 3 of 15 of Catastrophe map building set NCSS Collection.
History of a Felling

Anne Covell, Sin Nombre Press, Special Collections, and Fleet Library

1 volume : illustrations. In 1846, the United States and Great Britain signed the Oregon Treaty to make the 49th Parallel the boundary between the United States and British North America, later known as Canada. The two countries formed the International Boundary Commission to survey and establish what is now Washington State's northern border with British Columbia. Starting at Point Roberts and working east across the Northern Cascades, a team of workers physically marked the border by clear-cutting a 20-foot wide swath through the rugged, previously undisturbed terrain. By 1860, a primitive line running from the Pacific Ocean east to the summit of the Northern Rockies had been established. It would take another 15 years to clear-cut the 5,525 miles in total separating the US from present day Canada. Today, the swath cuts through numerous protected parks and natural reserves, including the Northern Cascades National Park and the Waterton-Glacier International Peace Park, severing common ecologies and shared landscapes simply because they straddle this political divide.--page mounted into cover. History of a Felling was first conceived during the winter of 2014 while at the Penland School of Crafts on a winter residency in letterpress. The images were made on-site from polymer plates created from film ink hand-painted on Yupo paper. The project was filed away while the concept evolved into a body of work that would become Covell's graduate thesis, "Towards a Just Landscape," in 2015. In the intervening years, the US/Mexico border would draw global attention for the deeply contentious debate over the compulsion to secure the southern border though the construction of a border wall. It seemed a particularly poignant time, by comparison, to revisit the history of the US/Canada border felling, and so the project came out of storage. In many ways the southern and northern US border conflicts remain as isolated as their geographical latitudes; however, their ethical and environmental costs deserve equal scrutiny. Over 150 years later, the deforestation continues. Nature inevitably begins to rebound - trees, shrubs, and grasses grow - and every six years the swath is cleared through exhaustive manual labor. "Cutting the 49th parallel, on the right bank of the Moyie River, looking west, 1860."--back cover flap. "Printing was completed in January 2019 by Anne Covell in San Diego, CA."--colophon. Edition of 18 numbered copies. Library has copy no. 10.
Bound Tight

Taylor Anna Cox, Special Collections, and Fleet Library

1 volume (unpaged) : 5 illustrations. Title, book artist's name, place of publication, and number of copies in edition from Vamp & Tramp Booksellers (distributor) website. Edition limited to 32 numbered copies. Text and decorations printed with metalic copper ink. "Letterpress printed on Suede Tex paper with photopolymer plates. Images of historic X-rays taken by Dr. Ludovic O'Followell in 1908 laser printed on Via Vellum papers."--Colophon. "In 1892 Benjamin Orange Flowers [that is, Flower] wrote the critical essay 'Fashion Slaves' chronicling the damaging effects corsets had on the female body. In 1908, the scientist Dr. Ludovic O'Followell took x-rays of women's bodies while they wore corsets to visually highlight those negative effects. 127 years after Flower's essay was published, our bodies may no longer be subject to the physical constraints of corsets, but they are still being policed and subjugated by the constraints of others to dangerous effects."--Artist's statement from dealer website. Bound in accordion fold format, each black double-sided decorated panel comprising an oval cutout with an inserted image printed on vellum paper; stitched hinges.
Accounts

Maureen Cummins, Special Collections, and Fleet Library

1 book, 39 pages. "..printed by Maureen Cummins in the summer of 1999 at Oregon College of Art and Craft. The found ledger pages are financial accounts kept by the cotton-trading company of C.A. Burgess, and span the years 1862 to 1868. The text is excerpted from the WPA Oklahoma Slave Narratives.."--Colophon. The book was printed in an edition of ten copies, bound into boards covered with indigo papers handmade by Dieu Donne. The type is Gill Sans Bold, handcast by Michael Bixler. You hold copy number 3"--Colophon.
Crazy Quilt

Maureen Cummins, Special Collections, and Fleet Library

[15] pages : all color illustrations . Each page includes a quote from a woman who has spent time as a patient in an insane asylum. Printed in an edition of 100 using silkscreen and letterpress printing. The book was created in the autumn of 1998 at Women's Studio Workshop. Numbered and signed by the artist. Issued in a black cloth tri-fold portfolio, each fold has five pages. Issued in illustrated black cloth slip-case. Library has copy number 12. Edythe Woolf Polsby Salzberger Book Fund.
A Second History

Zhang Dali, Special Collections, and Fleet Library

1 volume, 136 pages. "In his book A Second History, Beijing-based artist, Zhang Dali, examines the widespread use of photographic manipulation carried out by the Chinese government during the regime of Mao Tse-tung (1949-76). Using a compare and contrast format this artist book presents a chronological sequence of original, unmodified images together with their doctored doppelgängers which were manipulated in party-run, photo labs in the 50s, 60s and 70s for the Chinese propaganda market." -- From www.bywaterbros.com.
Artifacts

Laura Davidson, Special Collections, and Fleet Library

wooden box with compartments. Leather bound book, fabricated "archaeological" artifacts; case bound; box exterior; box interior; interior and accompanying notebook; . Leather bound "archaeologist's field notebook" includes sketches of an imaginary dig and archaeological specimens, housed in a wooden box.
Don't Put Up My Thread and Needle

Laura Davidson, Special Collections, and Fleet Library

16 unnumbered pages : color illustrations (ink and wash drawings). Limited edition of 12 copies. The poem entitled "Don't put up my thread and needle" is by Emily Dickinson, circa 1846-47. The covers are variable and each is inspired by vintage sewing notions and needle books along with other domestic objects. The pages are lettered by hand with a pointed nib on Frankfurt paper using acrylic ink. Interior pages are bound to the cover using a saddle stitch and linen thread. The images of needle packs and nib pen are drawn in ink and glued to the pages. Some of the needle packs have drawn needles with thread attached. Each book has a wrapper made from St. Armand colored handmade paper. Library has copy 9 of 12. Purchased at Codex 2024.
The Body Temple

Laura Davidson, Special Collections, and Fleet Library

sculptural, hinged panels unfold to create a 3 dimensional architectural "temple"; exquisite corpse; box exterior; first opening; side views; angled viewss. Classical and Renaissance architects used parts of the human body as metaphors and inspiration for designing buildings.
Tunnel Vision: the big dig view from my studio window on the corner of "A" and Wormwood Streets in Boston, MA

Laura Davidson, Special Collections, and Fleet Library

tunnel book, concertina fold spines; hand sewn; exterior, front view; japanese folding screen. Tunnel book showing the view of the Boston "Big Dig" construction from the artist's studio.
Art Rite, Vol. 2

Edit DeAk, Walter Robinson, Joshua Cohn, Special Collections, and Fleet Library

Vol.2 : illustrations. Cover art: William Wegman. 16 pgs.

Vol. 8: Each cover to this issue has unique hand coloring by Pat Steir. – Printed Matter, Inc. Some issues also have a distinctive title. Editor: Edit deAk ; Photo editor: Yuri. Co-founded and edited by Walter Robinson. No. 2 cover: William Wegman ; No. 7 cover: Vito Acconci ; No. 8 cover: Pat Steir ; No. 10 cover: Joseph Beuys ; Nos. 11-12 cover: Ed Ruscha ; No. 14 cover: Carl Andre. Library has: nos. 2, 7-12 & 14 (special issue on Artists' books) No. 9 Gift of Janice Woo, California College of the Arts. No. 2, 7, 8, 10 gift of Museum of Fine Arts, Boston, Library.
Floh

Tacita Dean, Martyn Ridgewell, Special Collections, and Fleet Library

176 pages : all ill. (some color, folded). Title from cover. Contains photographs found by the artist in flea markets across Europe and North America. Library has copy no 2391 of an edition of 4000, signed by the artist.
Stories From Women Who Served

Pam DeLuco, Special Collections, and Fleet Library

[44] pages : color illustrations. Limited edition of 251 copies. Text pages: handset metal type printed letterpress on 100% PCW paper. Illustrations: screen printed and hand detailed on paper made from military uniforms. Covers: letterpress and silkscreen on paper made from military uniforms. Binding: solid brass Chicago screws. "Paper Dolls: stories from women who served, is a fully functioning paper doll book. Each letterpress printed story is followed by a screen printed illustration onto paper made from the uniform referenced in the story. The stories span more than 40 years of service and include all branches of the military. Together, they represent a collective experience of women in the armed forces." -- Shotwell Paper Mill. Library has copy no. 4.
Dual/Duel

François Deschamps, Special Collections, and Fleet Library

1 volume (unpaged) : color illustrations, portraits. Cover title. Portraits of Mali portrait studio photographers, with a portrait of Deschamps by the Mali photographer on the facing page. Perfect bound. Gift of Jan Baker.
Pattern Unseen

Insiya Dhatt, Special Collections, and Fleet Library

20 unnumbered pages : all illustrations. Title from cover. Edition of 5 copies. Laser cutting, engraving. Woven strip binding. The woven strip binding was developed by Claire Van Vliet. Book in matching paper folder. Enclosed in folded Japanese Kozuke paper, burgundy with printed silver square pattern. "The pandemic brought out some of our best and a lot of our most flawed patterns. Patterns in in life may be best described as those behaviors or ways of acting or responding to a certain object or situation. These patterns are repeatable, we are born with some, and others we develop due to our environment and life experience. As life continues, they change, sometimes surprising us with its beauty and sometimes challenging us to see the beauty in their randomness. My journey from a fairly sheltered Muslim girl, who wasn't safe in her own home, to finding love and acceptance with someone only at the expense of family, the yearning to have a family, and trying to find that elusive home. Throughout my life, it's been certain a family, and trying to find that elusive home. Throughout my life, it's been other patterns that despite the best of my ability, have caused pain. Just as one turns the pages in a book, my life has been about finding space for opposing ideas to co-exist. On the top and bottom right of every page there are some combinations of symbols. I have left it up to the viewer to define what each of these symbols means to them in their lives - is it gender, family, religion or are honesty, integrity, and faithfulness, or are they just numbers on a page."--colophon. Library has copy no. 5.
We Took to the Woods

Louise Dickinson, Special Collections, and Fleet Library

1 book object. Altered book by unknown book artist, possibly RISD student? At page 30, which is the beginning of chapter II, entitled: "But how do you make a living?" the remainder of the text block is cut-out and the bottom and sides of the remaining pages are lined with narrow pieces of bamboo. Original book was published: Philadelphia : J.B. Lippincott Co., 1942. Map on lining-paper. Gift of Jan Baker. Curated title for Fleet Library Special Collections exhibition Stacked & Altered, summer 2022.
Daily News Book

Eric Doeringer, Special Collections, and Fleet Library

1 volume. "inspired by "Daily Mirror Book" by Dieter Roth, Edition of 220, Copycat Publications. Consists of sheets of newsprint cut from the Daily News, a newspaper, side-glued into a miniatrure book 5/8" thick. Perfect binding.
The Xeroxed Book

Eric Doeringer, Special Collections, and Fleet Library

1 volume, 185 pages. "The Xeroxed Book is based on Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, Lawrence Weiner - an artists book published by Seth Siegelaub and John Wendler in 1969 that is more commonly known as The Xerox Book. The Xerox Book was conceived as an exhibition in book form: Siegelaub invited the seven titular artists to submit 25-page projects designed to be reproduced by the then-new technology of the photocopy. However, photocopying proved too expensive at the time, and the book was printed on a traditional offset press. The Xeroxed Book is a photocopied edition of the Xerox Book. Being photocopied, The Xeroxed Book is perhaps closer to Siegelaub's intent than the original book. However, as a second-generation copy, The Xeroxed Book displays the limitations of photocopying as a reproductive technology. Dust, page edges, distortions, and other familiar Xerox artifacts appear on every page, becoming as much a part of the reading experience as the original artists' projects."
Kin

Mark Dorf, Special Collections, and Fleet Library

1 volume, 16 pages. "kin is an artist book that explores the human perspective, what it would mean to be able to move outside of this perspective, and the paradoxes that are contained in this proposed point of view and gesture. The title opens with the final paragraph from Darwin's On the Origin of Species along with a reworking of the same text by the artist that takes on a less humanist angle: an angle that that embraces co-emergence and making kin with our surroundings (in the words of Donna Haraway) rather than the "war of nature" and the hierarchical view of our world that is so easily adopted. However, through authoring this "update," the text falls short, as it is ultimately crafted looking through the human lens, in effect revealing the impossibility of this proposed angle. In the end the book and images look to explore the melancholy failure of these inquiries while still addressing the importance and value of these ideas for proposing alternative forms of thinking within the social, ecological, and political spheres."--Silentface.org (viewed October 23, 2018)
The City Within

Natalie Draz, Women's Studio Workshop, Special Collections, and Fleet Library

1 volume : color illustrations. Piece consists of one irregularly shaped volume (leaves joined end to end and folded accordion style) housed in a custom wooden case. Title from case lid. Title and decoration engraved on the lid. Screen and intaglio printed. Accordion fold, flag, tunnel book. Edition of 60. Library has copy no. 52.
The Word Made Flesh

Johanna Drucker, Special Collections, and Fleet Library

[23] leaves. Cover title. Author's name, Johanna Drucker, appears in copyright statement. "Printed by Johanna Drucker between December 1988 and January 1989 .. at the Bow and Arrow Press. Of 55 copies this is #41"--Colophon. Signed by the artist.
Enclosure exposure : data protection patterning

Elizabeth Duffy, Dikko Faust, Esther K. Smith, Purgatory Pie Press, Special Collections, and Fleet Library

8 unnumbered pages : illustrations . "Instabook 3" Letterpress, diecut, and printed collagraph, and handset type in blue and black, signed and numbered in an edition of 200 by the artist together with Dikko Faust and Esther K. Smith of Purgatory Pie. "Purgatory Pie Press and the artist Elizabeth Duffy have collaborated on a book that utilizes as source material everyday ephemeral patterns, specifically the interior security patterns of envelopes and the visual language of analog mail. The result is a page-turner of overlapping patterns and forms. Purgatory and Duffy culled patterns from their junk mail to create this paean to the quotidian"--Http://printedmatter.org Library has no. 187 of 200. Five printed cut-out envelope "windows" housed in envelope colophon page. Gift of artist.
Gran Mar

Isabel Fernandez Echavarria, Special Collections, and Fleet Library

40 unnumbered pages : illustrations (1 folded, black & white. Title from artist's website. "Mayo de 2019" Photography, text, and design by Isabel Fernandez Echavarria. "A series of trips and over seven-year walks along the shores of the Pacific Ocean, steps of a major ongoing drift.. A wink to my pinhole camera and the 4x5" black & white film box in which my Gran Mar negatives and contacts travel with me."-- artist's website. Front cover and first page have a small pinhole opening. Black fabric over cover boards. Illustrated endpapers. English title translation: Great Sea. "At the beginning, it was necessary to go across a shell midden to reach the glowing, white sand beach.. also a small stream that smelled like moss and rocks, like the resinous plants covering the hills. I was a little child, but still remember the edge of the shells on my feet and the water, the hot salt aroma. I knew nothing about Changos or Chinchorros, and even less, that they inhabitated in my pulse. Nevertheless their memory vibrates intensely in my heart. That inner voice of which García-Alix speaks of, amongst thousands of thoughts, pushing to be heard. The light was that of the sun upon the shells. We knew the winter was ending when they began to shine between the huilles that sprout, tinting the hillsides in blue. The shadow was a dark shack builted in the center of the shells fields. La“Queda” Although I was afraid of it, spying through its boards and imagine what they hid, made my heart beat louder. When I was hungry, I ate dried seaweed from the beach sitted on the abalone shells… everyday we ate abalones, chicken was too expensive. Abalones and mushrooms from the hillside, sold by children not older than me. My mother trusted them and used to buy from them with total confidence, she said they knew well which were good and which poisonous. That the the children had known forever, since their ancestors. The same ancestors that since ancient times have built the Quedas as dwellings during the fishing seasons far away from their clans. Precarious, transient housings surrounded by sea shells… keeping count of those who, harvest after harvest, have lived there some nights with their days. Today however, these dwellings are surrounded by bottles, diapers, mattresses or tires. What happened to those sunny, damped morning over the shell fields? How many creeks have disappeared in the course of my generation that were born without dumps and now reigns among them? Recording the coast I have witnessed the change: rocks & shore sown with industrial and domestic waste. Garbage has found me… How do I translate my journey into a document that shows the landscape that we have built? How can I make it visible? How can I raise actions of repair? If we give waste to the oceans, with trash will the tide draw its traces on the sand .. I want to be able to find seaweed, flowers and shells again in its footprint. I hear old voices in my heartbeats. Like the Camanchacos sailing in their seal skin rafts, I wander the shore and wonder what the ocean would be like when it was an oceana, what the Pacific was like, before being the Pacific and I know I want to see clear and chaste Mamacocha’s face again.” --artist's website. Text in Spanish. Gift of the artist.
Wak'a

Isabel Fernandez Echavarria, Special Collections, and Fleet Library

1 volume (unpaged) : color illustrations. Title from cover. Photography, text, and design by Isabel Fernandez Echavarria. "Wak'a is an observation journey on the territory I inhabit: the external, internal and cosmic. It attempts to portray the supernatural forces that manifest in Santiago de Chile, in the spot where cerro Manquehue and ̕ro Mapocho meet establishing a sacred space, a point of concentration of power and energy, a channel of connection with the ancestors who inhabited this place before me."-- artist's website. Inkjet printing. Accordion with pamphlet stitch. In cardboard folder with attached blue string tie. Text in Spanish and English. COVID Journal. Purchased at CODEX 2024.
Can You See What I See?

Sandra Erbacher, Special Collections, and Fleet Library

90 unnumbered pages : illustrations. Edition of 25. "'Can You See What I See?' borrows from the format of the Children's Activity Book to explore themes of visibility and violence in warfare and education. Children's Activity Books are a popular genre of publication meant to be in equal parts educational and entertaining. Often thematic in nature and printed on cheap gray paper, they are filled with coloring pages, and well known games and puzzles such as Word Search and Spot the Difference. In 'Can You See What I See?', the coloring pages, rather than featuring popular cartoon characters or farm animals, consist of line-based compositions based on contemporary and historical military camouflage patterns from around the world. Word Search puzzles prompt viewers to identify missile and fighter jets that were named after animals or common weather phenomena. Spot the sniper, another set of images that appears throughout the book, is based on the Hidden Object Puzzle - a learning game asking children to find objects in a busy composition."-- Artist's webpage. Pagination and edition statement from artist's webpage. Perfect bound. Paper cover has five color camouflage pattern.
Dance Party With The Girls Of Starshaped Press

Jennifer Farrell, Special Collections, and Fleet Library

6 unnumbered leaves : illustrations . "Edition of 50. Fall 2017" "Printed on Mohawk paper Curious Collection Matter 'black truffle' & Curious Collection Metallics 'lustre'" Prints printed in silver and black on black paper. Liner notes/colophon page printed on silver paper. Final leaf is blank. Includes a line of song lyrics with each 'girl' print.
Specimens

Lauren Faulkenberry, Special Collections, and Fleet Library

1 drop spine box, four interior parts. Numbered edition of 50. Each of the four parts unfold to 15 x 30.5 cm. Each printed on one side with color illustrations and printed text. Housed in a cloth-covered drop-spine box (16.5 x 9 cm.) with two compartments, one section holds the folded texts, the other houses an origami butterfly which is pinned to the box.
70 x 7 : yes, that is four hundred ninety : a journey in forgiveness

Eve Faulkes, Womens Studio Workshop, Special Collections, and Fleet Library

[30] pages : illus. (some color). Added Title: Seventy times seven Cover title. Some of the text is printed on strips of paper and inserted in the book. Digital printing and letterpress. Binding: Sewn signature. Structure: Codex. Library has copy no. 25 of 90. Signed by the author.
A packet of letters

Walter Sidney Feldman, Special Collections, and Fleet Library

1 volume, 19 pages. One of 45 numbered copies. "The type of A Packet of Letters is 18 pt. Bodoni and was set by Mollohan Typesetting of West Warwick, Rhode Island. It was printed on Nideggen paper on a hand fed Vandercook Press. The binding is by Stuart Einhorn of Providence, R.I.A Packet of Letters was published in an edition of 45 ..."--Colophon. Title and text in red and black on title page. Bound at the head of the text with white-coated metal spiral binding. Text is attached to a cloth cover binder with an off-center opening in front. A mounted paper label with title and author name is split to allow the cover opening. Library has copy no. 31 Keywords: woodcuts, literacy, World War II, letters from a son serving in the military during WWII to his mother.
Two Odes

Walter Sidney Feldman, Special Collections, and Fleet Library

26 unnumbered pages : illustrations. In an edition of 20 copies. Poems and woodcuts printed on tan and light blue papers. Front free fly-leaf cut out to reveal name "Keats." "Published by the Ziggurat Press in the spring of 1989, as part of a special poetry series."--Colophon. "The type was set by the Mollohan Typesetting Service of West Warwick, Rhode Island and was printed on a Vandercook Universal proofing press. The original woodcuts were cut and printed by Walter Feldman who also is responsible for printing the text. Several varities of paper were used, all of which are acid free."--Colophon. Issued in light gray paper wrappers. Pamphlet stitch. Library has copy no. 13, inscribed to Jan from Walter. Gift of Jan Baker.
Access All Areas : http://access.allareas.org

Fellows of Contemporary Art, Japanese American Cultural & Community Center, Glenn Kaino, Betty Lee, Edward Leffingwell, Joseph Santarromana, Erika Suderburg, Special Collections, and Fleet Library

4 volumes in 1 case : illustrations (some color). "June 6-July 26, 1998, Japanese American Cultural and Community Center" Issued in a vinyl case (27 cm) [1] Access all areas -- [2] Excerpts / Glenn Kaino -- [3] Re.Visions / Betty Lee -- [4] Three ambient gardens / Edward Leffingwell, Joseph Santarromana, Erika Suderburg. Gift of the Center.

http://access.allareas.org
Water Safety

Ann Fessler, Special Collections, and Fleet Library

[28] pages : color illus.. True stories series ; bk. 4 True stories ; bk. 4. 2nd copies is a gift of the artist. RISD Faculty.
Fordlandia

Katia Fiera, Special Collections, and Fleet Library

8 unnumbered pages : all color illustrations. Cover title. Edition of 20 numbered and signed copies. Each page made from illustrated fabric with a photographic image printed on the fabric. Each page has sewn green thread border. Black, patterned, rubber cover material. Title lettering is cut out of the front cover, the artist's name and publication date is cut out of the back cover. Bound with two small brass bolts. Fordlandia was a town built on land aquired by by Henry Ford around 1928 along the Tapajós River in Brazil. Ford's plan for this factory town was to produce rubber for automotive products, the project failed, and the city was abandoned in 1934.
A Filliou Sampler

Robert Filliou,; Special Collections; and Fleet Library

15 pages. A Great Bear Pamphlet (Unnumbered) Cover title. CONTENTS: A play called-- -- Yes -- Papa il est Papa -- Papa, that's Papa! -- Five ways to prepare for a space trip -- 3 no-plays -- Almost complete biography. Paper wrapper, stapled. Gift of Estera Milman, RISD Class of 1970. Estera Milman (RISD BFA Painting/Printmaking and Film, 1970) scholar of post-World War II avant-garde art. Founded Alternative Traditions in Contemporary Art (ATCA) at the University of Iowa, 1982, and served as its director until 2000. She is the author of many books, articles, interviews, and exhibition catalogs on Fluxus and No!art. In December 2018 she donated a selection of about 60 books from her personal library to the Fleet Library at RISD. Curated title for Fleet Library Special Collections exhibition By Hand: Women & Books Exhibit fall, 2021.
A Cloud Index

Spencer Finch, Special Collections, and Fleet Library

60 folded sheets : illustrations. "The sixty pastel drawings that comprise this book were originally created for a public art project at the new Elizabeth Line station at Paddington in London. The entire work, titled "A Cloud Index," presents 27 different types of clouds within a single composition. The drawings were scanned and then printed onto 180 clear glass panels (each 2 meters x 6 meters) and installed in the canopy of the station. The pages of this book can be assembled and attached to a wall to re-create the entire artwork, at a reduced scale. The number printed on the back of each leaf corresponds to its location within the entire composition, which is a horizontal grid of 3 up x 20 across. Begin in the top left corner with the first drawing, followed by the second and third drawings placed below. The fourth drawing begins the second column at the top and so on until you get to the sixtieth drawing which completes the grid at the bottom right of the composition."--Inside front cover. "'A Cloud Index' by Spencer Finch is a cloudscape that has been printed onto the glazed roof of the new Elizabeth line station, making it one of the largest permanent artworks ever created in the capital, funded by Heathrow and the City of London Corporation. Finch has hand-drawn 60 original pastels that combine to create a unique collage of clouds, that when printed onto the transparent canopy will appear to change according to the light, weather and the time of day. Given its unprecedented length, visitors will see the artwork in a new way depending on what way they enter, leave or move through the station. The canopy, which appears to float above the platforms 25 metres below ground, is a steel grid that holds 220 bespoke glass panels, each one weighing over a tonne. The hand drawn scene will be 'painted' onto 180 of the panels using ceramic dot matrix printing that not only creates the image, but also reduces solar glare into the station."--Futurecity.co.uk Printing, die Keure, Bruges. Produced in collaboration with Lisson Gallery, London. Folded loose sheets held together with large rubber band. RISD Alumnus, MFA , Sculpture, 1989. Fleet Library at RISD Alumni Collection.
Wonder Wander

Minna Floss, Special Collections, and Fleet Library

1 volume, 144 pages. Cover title. The winner of the Napa Flipbook Competition 2016 by Swedish animator Minna Floss. Edition of 500 copies. Edition number from Printed Matter website. Offset printing. Perfect binding.
A Murder of Crows

Brad Freeman, Special Collections, and Fleet Library

pamphlet stitch binding with dust jacket; front cover; interior page; page spreads. edition size unknown
Joe

Brad Freeman, Special Collections, and Fleet Library

staple bound, paper cover with cloth spine; front cover; page spreads; pg 39. edition size unknown, gift of the artist
Mzlk: The Tours

Brad Freeman, Special Collections, and Fleet Library

smythe sewn with paper covered boards and cloth spine; front cover; table of contents, title page; page spread. number 85 in an edition of 100, signed by the artist, gift of the artist
The Grass is Greener

Brad Freeman, Special Collections, and Fleet Library

sewn signatures with paper cover; front cover; page spreads. edition size unknown
Dai Food

Colette Fu, Special Collections, and Fleet Library

1 volume, pop up book. A single opening pop-up book showing a woman surrounded by Dai dishes. Made from Fu's photographs.Title from artist's website. From the We are Tiger Dragon People series. "In Xishuangbanna, the Dai people refer to their land as 'bazi' meaning tranquil and beautiful. Their homes are in a lush subtropical area near river basins with exceptionally fertile soil. One of the least-known but most flavorful culinary treasures in China, their food is similar to Thai food in that it combines sour, spicy, salty and sweet flavors but with its own distinctive style." --www.colettefu.com. Ink: Epson Ultrachrome Ink. Paper: Epson Enhanced Matte mounted onto Cougar 60lb smooth cover. Glue: PVA and 3M 568 Positionable Adhesive. Cover: Black Iris cloth. Color illustration mounted on cover
Farewell to Sport

Paul Gallico, Special Collections, and Fleet Library

1 book object. Altered book, all pages after page 15 are glued together into one block, these pages have two rectangular compartments carved-out and contain an empty box of Camel cigarettes and a blue Bic disposable lighter. Inside front cover has a paper label glued in with printed initials: SPC. Below the label written in pencil is 2008. Originally published: New York : Alfred A. Knopf, 1938, this book is the 4th printing October 1941. Book is open to chapter two with chapter title: Who do you think you are --Dempsey? Gift of Jan Baker. Curated title for Fleet Library Special Collections exhibition Stacked & Altered, summer 2022.
Water Jokes

Adriana Gallo, Special Collections, and Fleet Library

122 unnumbered pages : chiefly color illustrations "First Edition of 200, First Printing"--colophon. "'Water Jokes' is a collaboration with lucky risograph for the 2021 Printed Matter Virtual Art Book Fair. It contains a collection of photographs and found images with an accompanying text by the artist on Giochi d'acqua or 'water games' or water jokes', the term originally referring to the (often hidden) water automata of Italian Mannerist gardens."--artist's webpage. "Risograph printed on Sky Parchtone and Bright White Via Vellum. The book utilizes 5 distinct blue inks in various combinations."--artist's webpage. Plastic spiral binding. Velvet cover.
Office Workers Notebook

Danielo Garcia, Special Collections, and Fleet Library

84 unnumbered pages : illustrations (some color). Edition of 25 numbered copies. "In the design of a traditional steno pad this book surveys found photographs from ... the New York Public Library. Artist, Danielo Garcia, sourced and photographed hundreds of advertisements, stock-photographs, and archive copies in the production of this faux-notebook, limited edition, publication."--Publisher website. Five color Risograph printing. Spiral bound, at head of text. Library has copy no. 17, signed by the author.
Avalanche Safety Book

Casey Gardner, Special Collections, and Fleet Library

1 volume (unpaged) : illustrations Title from cover; imprint from colophon. "Written, drawn, printed and bound by the artist"--Colophon. Limited edition of 50 copies. Letterpress printed accordion-bound folios with pamphlet-stitched interior booklets. Printed on a Vandercook 4 with photo-polymer plates and carved linoleum. Two digitally printed, hand-bound fascicles. Covers are cloth-cornered davey board. Typefaces: Cheltenham, Kabel, Gill Sans, Futura, and Bodoni. Paper: Moulin du Gué, Zerkall Book, and Curious Metallic. "This book, through a story of two climbers, explores human vulnerability and vision in navigating physical and existential risks. The story reflects our era of environmental peril and the blind path of progress toward our own potential destruction. Nature's perpetual change, unexposed tendencies and infinite interconnections are touchstones of human desire. It is a story of joy and despair woven in wilderness. Narrative layers investigate the inescapable reliance of humans on nature's infinite complexities. Graphics portray snowflake crystallography, history, geology, and avalanche dynamics." -- From artist's statement on Abecedarian Gallery website, viewed Oct .14, 2021 https://abecedariangallery.com/store/product/casey-gardner-avalanche-safety-book-i/ Cover printed in light blue, blue, and red. Red fabric corners on front and back cover. Library has copy no. 20, signed by the artist.
The Gravity Series: 3 Canticles of Attraction

Casey Gardner, Special Collections, and Fleet Library

3 volumes : color illustrations, maps Cover title. "Words, images, printing and binding by Casey Gardner"--Colophons. Limited edition of 39 copies, signed by the artist. Three books in an artist-made, cloth-covered portfolio with full-size title label on the front. The inside of the portfolio has letterpress-printed illustrated lining paper with astronomical images. Each book is a single signature sewn into cloth-covered boards in different colors with a letterpress-printed label on the front cover. The three books are held magnetically in place on either side of the portfolio. 1. How to fall -- 2. All there is -- 3. A star close enough. "Each book addresses the force of gravity in terms moving in space in relation to others and investigates how we navigate the universal and very personal force of gravity. Such a force is powerfully, inexorably experienced, yet unseen...like love. The interior of the case is printed to reveal the scientific aspects and equations of gravity, along with the nature of gravity in our universe." -- Artist's website, viewed Nov. 21, 2017. Process: Letterpress printed with linoleum blocks, pressure printing, monotypes, and photo-polymer plates. Hand sewn binding. Digitally printed volvelle. Materials: Rives light & Rives heavyweight, Canson vellum, Iris book cloth, linen thread, metal eyelet, magnets. Binding: Pamphlet stitch signatures, cased binding, cloth-covered board. Library has copy 33, signed by the artist.
Impedement

Cheri Gaulke, Women's Studio Workshop, Special Collections, and Fleet Library

[16] pages : color illustrations . Cover title. Packet of seeds in envelope in pocket. ".. designed and printed by Cheri Gaulke during an artist's residency at Women's Studio Workshop .. This edition of 200 was printed silkscreen and letterpress on .. handmade paper with toenails and hair, and a seed packet. Pop-up design by Kim Know of Nexus Press."--Colophon. Binding: Sewn signature, codex structure. Added Titles: Im-'ped-e-ment, Impediment
My Evil Twin Sister # 2: Hometown Interstate-5

Amber Gayle, Special Collections, and Fleet Library

saddle stitch with uncut pages; leperello; cover; interior page, page spreads; back cover. One of a series of Zines produced by twin sisters. Writing by Amber Gayle, illustrations by Stacy Wakefield, RISD Alumna.
Sehnsüchtig

Amber Gayle, Special Collections, and Fleet Library

stab bound album, sewn cloth hinges; perfect bound; cover; page spreads; interior pages, back cover. In fhe form of a handmade photo album, this book recalls memories of a lake and longing for love. Written by Amber Gayle, produced by twin sister Stacy Erin Forte (formerly Wakefield), RISD Alumna.
The Twin Survey: A Study

Amber Gayle, Special Collections, and Fleet Library

pamphlet stitch; stab bound; cover; page spreads, interior page. A study on the psychology of twins and their relationships to each other and other people.
Transient Songs

Amber Gayle, Special Collections, and Fleet Library

case bound in soft cover; saddle stitch; cover; page spreads, interior pages. Poems written about places and people from her travels. Written by Amber Gayle, illustrated and produced by twin sister Stacy Wakefield, RISD Alumna.
Beach Boxes

Judy Gelles, Special Collections, and Fleet Library

Pamphlet stitch variation, machine sewn, with hard cover; cover; title page; interior spread; interior pages; interior spread. Black and white photographs of beach houses with each building highlighted in color. No text. RISD Alumna.
Florida Family Portrait

Judy Gelles, Special Collections, and Fleet Library

Sewn signatures with soft cover; cover; interior spread; interior page details. Black and white photographs of family taken with grandparents in Florida, 1982-2002, with notes highlighting each year.
When We Were Ten: a photo/ text story of a mother and her son

Judy Gelles, Special Collections, and Fleet Library

saddle stitch with soft cover; cover; interior pages. Photographs of mother and son at different ages of their childhood, with memories of each.
Itself

Keith Godard, Special Collections, and Fleet Library

46 unnumbered pages : illustrations (some color). "Die cut pages describe a tale of a particular shape searching to find its identity in a world of other shapes"--Printed Matter, Inc. Text printed in blue, except one page is white on black paper. Softcover perfect bound. Inscribed to Jan and signed by the artist, 1999. Gift of Jan Baker.
Whipstock

A.B. Gorham, Special Collections, and Fleet Library

36 pages : color illustrations Cover title. Limited edition of 40 copies, signed and numbered by the artist. " ... written, designed & letterpress printed by AB Gorham at Small Craft Advisory Press, Tallahassee, FL, for the MFA in Book Arts from the University of Alabama. Typeset in Scala & printed on a Vandercook 15-21 with photopolymer plates & linoleum block on handmade cotton/abaca paper"--Colophon. "Laid in a Japanese two-flap hard cover with title (once incised, once printed) on two flaps ... Laid out in a shifting grid, Gorham's poetic text and the book's simple but elaborate structure reinforce the straightforward complexity of a time and place"--Vamp & Tramp Booksellers' website, viewed on February 20, 2015. "An attempt to understand the lore spun throughout lifetimes spent in the oil patches, courthouses and other haunts of the oil and gas industry, 'Whipstock' manages the iconoclast of the landman, the grid of Township and Range used to identify tracts of land, as well as the more organic and inorganic forms that comprise the actual physical landscape. Paging through the book, the act of unfolding the folios creates a series of shifting views, a slow exposure of this complicated concept"--Artist's statement at the Vamp & Tramp Booksellers' website, viewed on October 8, 2014. Outer-most flap of hard cover has small circular incisions and printed gold dots in addition to title; a numbered grid is attached to the inside. Hard cover has magnetic closure. Paper signatures are attached at two spines and sewn into a two-flap illustrated paper wrapper. Numbered pages printed with illustrations and poetry fold and intersect over one another to create a shifting, multi-directional reading experience. Library has copy number 11.
Everyday Problems of American Democracy

John Thomas Greenan, Special Collections, and Fleet Library

1 book object. Altered book by an anonymous RISD Illustration Studies student. Unique book. The cover of the book, "Everyday problems of American Democracy" was used to create an artists' book with a new text block. The new text is primarily a repeating sentence reading, "It's gotten so, everyone thinks they're someone" The book has a hand-stamped spine label and a date due slip, with dates stamped from October 26, 1971 to March 22, 1997. Original book was published: Boston : Houghton Mifflin Co., 1940. This book was created by a RISD Illustration Studies student and placed in the library stacks as part of a class assignment. The book was found by a shelver because the call number "looked different" from those printed labels typically attached to our books. The reference librarian at the time, Laurie Whitehill, remembers the student coming into the library and asking for the book by it's call number. She remembered the book and found out about the project from the student who had created it. Laurie took down the student's name, but he asked that his name not be listed on the book's catalog record until he graduated. The slip of paper with the student's name was later lost. Curated title for Fleet Library Special Collections exhibition Stacked & Altered, summer 2022.
Pur-suit

Naima Green, Special Collections, and Fleet Library

54 cards : color portraits. Edition of 2,500. Edition printing number statement from the artist's website. "Pur·suit is a deck of 54 playing cards features queer women, trans, non-binary, and gender nonconforming people."--colophon card. "Pur-suit is in the interest of queer and trans people, of people of color, and of groups that continue to be marginalized. Made over 9 days between October 2018 and January 2019, these photographs help complete an image of the world that we live in."--colophon card. In playing card box with title, photographer's name, "First Edition ; Made in ROC, Printed by Expert Playing Card Co., New York, NY 10001"
Paper Works: a play on the possibilities of a piece of paper

Jennifer Grimyser, Special Collections, and Fleet Library

portfolio with loose plates; cover; title page inside portfolio; title page; interior pages. A playful look at things you can do with a piece of paper.
Tattoo

Martha Hall, Special Collections, and Fleet Library

1 vol. (unpaged) : color ill. . Cover title. Poem. Edition limited to 20 numbered copies, signed and dated by the artist; imprint date from signed statement. Composed of 8 gatherings, bound accordion-fold style, each gathering with its own decorative paper wrapper. Library has copy no. 16.
Hunkering : the last gaebberjabb number eight and IX/XVIths or aleatory annexations or odd bondings or fortuitous encounters with incompatible realities or love, anguish, wonder ... / largely by Walter Samuel Haatoum Hamady ; augmented by Henrik Drescher, Patrick Flynn, David McLimans, Peter Sis, and William Stafford.

Walter Samuel Haatoum Hamady, Special Collections, and Fleet Library

[160] pages : illustrations (some color), portraits. Hamady, Walter. Interminable gabberjabb ; 8. The eighth book in Hamady's "series" known as Interminable gabberjabbs. Edition of 108 copies. Mounted, signed collage on page [24]. Includes handprinting, marbled endpapers, collage, rubber stamping, maps, envelopes, postage stamps, special papers and mounted elements. "Here is the fade-out volume of an unforseen series begun in 1976. It was printed on our single-owner, all-manual, Vandercook SP-15 in more than 285 press-runs utilizing a numerosity of colors, typefaces and papers--hand, mould and machine made. In addition to the usual lay-ons of languid letterpressing, there is an affluence of unorthodox applications. This volume has been collaged, perforated, notched, rubberstamped, drilled, ticket-punched, numbered, signed, grommeted, scribed, ear-tattooed, ponce-wheeled, time-clocked, dog-eared, embossed, shorthanded, corner-rounded, elliptically trimmed and three genuine stubs. In addition, there are 79 illustrations. Fully footnoted, this first and only edition has been kept to a tightly snaffled 108 uniquely variegated copies. Handsewn/boud in Chicago by Scott Kellar in Italian burnt Umbrian cloth over boards with a rondelle/cameo (of the printer) over the spine in a dark Delft blue."--Publisher's prospectus. Includes an original Perishable Press invoice, dated 1 July 2006. Typed in black with two characters in red to Elspeth Pope, Shelton WA 98584. Library has copy no. 35.
Travelling, or, NeoPostModrinPreMortemism : or, Dieser Rasen ist kein Hundeklo (II), or, Interminable gabberjab number seven ...

Walter Samuel Haatoum Hamady, Special Collections, and Fleet Library

154 pages : ilustrations (some color). Hamady, Walter. Interminable gabberjabb ; 7. Remainder of title consists of 15 more alternative titles: "... A typographical clarification of the interchangea(æ)bility of books, boats and texts, or, A study : parthenomic g-section as ideal gyros, or, Limipsd quantippsi , or, An interjacent discourse with visible language, or, A continuation of artists as dogs and other zootomical zooids 6, or, Integrated translations from Greek and German, or, The aquifer as conduit of human consciousness, or, Similar (and familiar) properties of real yogurt, typography and the art of the book, or, The war of the footnotists and the endnotists, or, A study : the national styles of military camouflage, or, The book as an autodidactic pedagogically aleatory tutorial, or, The antepenultimate gabberjab, or, Community collaborations, see 367, or, Any number of other things not known at this time on the ninety-fifth day of this year with the text block only approximately 19/32 to 21/32 completed, or maybe, Travelling with an exclusive photo essay by Ruth Evans Brinker". Title page heavily footnoted. "... printing began 7 June 1991 and finished friday 13 September 1996 employing an unthinkable number of press-runs, typefaces and sizes, ink colors, hand/mould/machine-made papers, and odd applications. Edition is 125 copies, each numbered at least fifteen times, signed five and notarized"--Colophon. "154 page surfaces, all printed, collaged, rubber stamped, drilled, notched, pigment patterned, (ticket) punched, numbered, signed, grommeted, scribed, ear tattooed, drawn, camouflaged or timeclocked. Hand-hard-bound by the printer/publisher, a varigated cloth spine, some printed with an anatomical spine diagram; various old maps over boards, some obviously worn by time and use, no two alike. This book is quintessentially (The) Perishable Press (Limited) ... Each copy is numbered at least nineteen times and signed ten"--Prospectus. The 122nd book from the press. Notes continued from earlier volumes in series; "Bibliography & list of references, alphabetically by title" given as note numbers from entire series. Bound in a variety of styles: 30 copies with green cloth spine and map over boards; 5 copies with French anatomical drawing of spine printed in red on black cloth spine, and Maziarczyk paste-paper over boards and as endpapers; 5 copies with grey unprinted spine and 1956 overhead view of midtown Manhattan over boards. Library has copy no. 79.
Interminable Gabberjabbs

WalterSamuelHaatoum Hamady, Special Collections, and Fleet Library

[24] pages (2 pages on folded leaf) Hamady, Walter. Interminable gabberjabb ; 1. "The first in a series aptly entitled 'The interminable gabberjabbs'"--Page [12]. "Exactly 120 copies all numbered & initialled"--Colophon. The copy numbering was done using a cow-tattoo machine having only one of each numeral 0 through 9 and one of each letter A through Z; therefore improvization was required to number 120 copies "and the full accounting will go to the Perishable Press Limited archive at SUNY at Stony Brook"--Page [9]. Different sized handmade papers, red, black, brown and blue inks, sewn binding. Endpaper is part of a US Geological map. Cover wrapper is blue Fabriano paper. Library has copy no. 25.
The Interminable Gabberjab Volume One & Number Four

WalterSamuelHaatoum Hamady, Special Collections, and Fleet Library

[19] pages : illustrations, portraits Edition of 60 copies. Illustrated with two photographs by Gregory Conniff, the first a seated, pregnant Mary Hamady and the second of Walter Hamady, seated looking at his cat. Printed on various sized and color papers, in red, black, blue and other color inks. Hand-sewn in tan paper wrappers. Inscribed: For James F. Hollygabbers, with unnecessary special attentions from his pen, [draw heart shape], Walter (the) H. This copy is not numbered.

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