Women's Studio Workshop ~ New York

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Women's Studio Workshop: " WSW’s mission is to operate and maintain an artists’ workspace that encourages the voice and vision of individual women artists, provides professional opportunities for artists at various stages of their careers, and promotes programs designed to stimulate public involvement, awareness and support for the visual arts.
   

War, peace, politics bookworks
Women's issues
Other bookworks produced by WSW

 
   

Feminist Ships
By Megan Piontkowski
Rosendale, New York: Women's Studio Workshop, 2016. Edition of 50.

9.375 x 9.375"; 12 pages. Accordion structure. Silkscreen printed. Hardcovers. Signed and numbered by the artist.

WSW: "Feminist Ships, at its core, is a history lesson, celebrating the life and achievements of women on the water. On colorful pages mirroring the color palette of nautical signal flags, this book describes seven ships throughout history and the women who sailed them. The accordion bound book is cased in a navy blue hardcover which was lightly sanded to give the allusion of being touched by the salty air of the sea. The linework of each ship is a perfect blend of fine art and the artist’s own illustrative style."

Chelsea Campbell, Setting Sail with Megan Piontkowski's "Feminist Ships": "Feminist Ships, at its core, is a history lesson, celebrating the lives and achievements of women on the water. It begins chronologically, and fittingly, with an Inuit boat called the umiak nicknamed the 'women’s boat' because it was paddled by women to transport people and belongings. The book continues to move across centuries and around the world, including the ships of notorious female pirates like Grace O'Malley and Ching Shiih; Molly Kool, the first licensed female sea captain in North America; Sisters Under Sail, a sailing education program for young girls; and Women on Waves, an organization that provides abortions and women’s healthcare in international waters exempt from restrictive laws. The last page features the rowboat built by writer Julia Holmes who takes solo expeditions retracing an ancestor’s journey from New York to New Orleans.

”Intimate, handwritten notes on the book’s pages allude to sailors’ personal log books. The loose cursive describes the female sailors and the illustrations of their ships, from a sailboat to a Chinese junk, from a canoe to an Irish galley.

"Megan’s illustrative style renders her screen printed ships in flat, wiry line work on bright, colorful paper that extends the palette of her maritime signal flags. Every few pages, the color switches abruptly from charcoal, to intense blue, to stark white, to goldenrod, ending with a vivid red. These pages become a unified pictorial field as each boat’s bow or stern intrudes into another page. This implies an interconnected history which can be fully seen when the book is unfurled like a scroll. When completely laid out, the pages resemble a series of flags that belong hung amongst the sails of a ship, signaling new untold stories.

"The idea that sailing is the exclusive domain of thick-bearded, ruthless pirates and burly male sailors in white and blue uniforms is false. Megan’s book begins to scratch the surface of women’s rich history on the water, and invites readers to question where else our narratives might be lacking."
$550


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Unfolding Practice: Reflections on Teaching and Learning

By Arzu Mistry and Todd Elkin
Rosendale, New York: Women's Studio Workshop, 2016. Edition of 60.

7.875 x 5.25"; 56 pages. Double-sided accordion. Hand- and laser-cut. Silkscreen and digitally printed on Construction Cement Green and Brown Box Kraft French Paper. Helvetica Neue 9 point type. Numbered. Signed by the artists.

WSW: "Unfolding Practice: Reflections on Learning and Teaching is a conversation between two artist-educators. Flowing across five chapters, the double-sided accordion book has been curated from ten years of recorded conversations, field notes, planning, sketches, reflection, and teaching. The front of the book weaves text, illustration, cutouts, and screen prints, journeying through artistic process and educational practice. The back of the book is a guide, expanding on the practice of using accordion books as a tool for capturing, visualizing, and building upon reflective thinking. The brown paper alludes to the craft paper that is ubiquitous in schools and captures process more than the preciousness of a final product. "

Colophon: "This book is a collaboration between Arzu Mistry and Todd Elkin. The prototype was developed collaboratively dring a residency at the Montalvo Arts Center [Saratoga, CA] in July 2015. The book has been designed, printed, and assembled by Arzu Mistry at the Women's Studio Workshop."
$400


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A 19-2 View
By Libby Scarlett
Rosendale, New York: Women's Studio Workshop, 2015. Edition of 50.

10 x 10"; 40 pages. Letterpress printed on Mohawk superfine 100 text paper. Digitally cut. Perfect bound in cloth-covered boards. Numbered.

WSW: "A 19-2 View depicts the artist’s observations of the fifteen balconies she overlooked from her apartment in the east of Amsterdam. After a request to take a photograph and meet a neighbor went by without a single reply, she made up stories of the inhabitants and their surroundings: the things they might have told her had they accepted her offer. Through modular circles cut into the pages, readers get a glimpse of each balcony, beginning with all fifteen illustrations on the first page. Each subsequent page is dedicated to one balcony and its narrative."

Lizz Thabet, WSW: "A 19–2 View opens to a modular grid of circular cutouts, mirroring the apartments’ architecture. They act as windows to each apartment, sketched in Libby’s delicate, graphic line work and rendered in the same midnight blue as the cover. A 19–2 View is an intimate experience of discovery and exploration: every page turn reveals another balcony, another neighbor, and another narrative, gently guided by Libby’s hand and voice. The structure invites us to interact with the pages; to peek through, to skip ahead, or to return to a particular apartment.

"Throughout the book, Libby’s writing acts as field notes, running between the grid of diecut circles in haiku-like clauses. The stories she tells are as fragmented and ordinary as the moments of daily life she glimpses from afar. Each detail becomes a clue, printed and impressed into the paper by the Vandercook press. Her poetically precise language infuses each person we meet with charm and absurdity."

$425

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Buddha's Tears
By Wei Jane Chir
Rosendale, New York: Women's Studio Workshop, 2015. Edition of 50.

20.75 x 46.5 cm; 13 pages. Accordion. Paper: Somerset Book 175 g. Typefaces: Helvetica and Heiti. Silkscreen, letterpress, and digitally printed. Bound in cloth-covered boards. Signed and numbered.

WSW: "Buddha’s Tears exposes the hidden story of organ harvesting in China from prisoners of conscience, such as Falun Gong practitioners. Statistical information is juxtaposed with poetic rendering of a legend of a statue of Buddha, who weeps in times of crisis. Each page is filled with dates, graphs, maps, drawings, and stories, concluding with a sutured image of China, a symbol of healing. The accordion pages unravel to form a long scroll, a traditional form of storytelling to lay out the facts of China’s cruelty."

Chelsea Campbell, "Still Beating: Wei Jane Chir's Buddha's Tears": "Award-winning investigative journalist Ethan Gutmann estimates that in China, 64,000 prisoners practicing Falun Gong may have been killed for their organs between 2000 and 2008. Falun Gong practitioners have been persecuted for their spirituality and arrested as prisoners of conscience since 1999 for their direct opposition to the state’s communist ideology. Only recently, through detective work by journalists and human rights activists, have details of China’s illegal transplanting practices come to light.

"Artist’s Book resident Wei Jane Chir came to WSW to edition her artist’s book Buddha’s Tears, about China’s decades-long history of organ harvesting. As a practitioner of Falun Gong herself, she’s using her tools as an artist to make this information reach a wider audience.

"The cover of
Buddha’s Tears is complex and mysterious, mirroring the very narrative inside. Twenty different colors of ink combine to make the title almost invisible, hidden much like the story of organ harvesting has been for years. In certain lights and angles, the oranges and browns of the cover melt into a sea of blue with the golden title floating in the center.

"Wei Jane’s title comes from the legend of a Buddha statue in China that, in times of crisis, weeps. By referencing it, Wei Jane posits that the undisclosed horror of organ harvesting brings the Buddha to tears. The book opens on a pair of downcast eyes, then a bronze ocean, then a somber quote to prepare the viewer for the story about to unfold. ...

"
Buddha’s Tears thirteen tryptic pages are dense with visual and textual information. Combining digitally- and screen-printed imagery, each page is filled with the history of Falun Gong, its persecution, and the legal cases brought against China. Graphs and tables of transplant numbers are paired with meditating Falun Gong practitioners; harvesting processes broken down in hand-drawn images sit beside covers of books and documentaries on organ harvesting. Wei Jane is an artist-meets-journalist, providing facts and charts on the subject while injecting her own artistic vision throughout.

"The cover of Buddha’s Tears is wrapped in silk, the accordion-bound pages unraveling to form a long scroll. Using the materials traditionally used in ancient Chinese storytelling, Wei Jane ironically lays out the facts of China’s contemporary cruelty. This sense of irony is reflected in the book’s final image: a bright red China stitched together with black thread. Wei Jane’s niece, a surgeon, taught Wei Jane how to do a surgical stitch over the silkscreened China."
$1,000


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The Golden Rule
By Ann Kalmbach and Tatana Kellner
Rosendale, New York: Women's Studio Workshop, 2015. Edition of 45.

8 x 6.75"; 124 pages. Printing methods: letterpress, silkscreen, and digital. Typefaces: Book Antigua and Helvetica. Printed on Revere Book and UVII Ultra papers. Casebound. Signed and numbered.

WSW: "The Golden Rule is about the basic tenants phrases of various cultures and religions that in the non-sectarian world are equivalent to the ‘The Golden Rule’. This book looks at 13 golden rule texts. Upon opening the book, the reader is confronted with a blind embossing of the text in one of the original languages, followed by handwritten, slowly dissolving translation. Only after leafing through to the next page is one able to read the dictum. This is contrasted with newspaper clippings of petite crime and punishment. "
$500
   
   
Nights, The Cosmos, and I
By Natalia Zapella
Rosendale, New York: Women's Studio Workshop, 2015. Edition of 60.

6.2 x 8.5"; 19 pages. Accordion fold extending from fore edge of back pastedown. Screen print and embroidery on Astrobright 216 g/m2 paper. Bound in black paper boards with illustration and title on cover. Signed and numbered by the artist on the colophon.

WSW: "Nights, the Cosmos, and I is about the geometry of the cosmos. It investigates the aesthetic quality of the sewing thread as a graphic resource, using embroidery to illustrate an original poem about nighttime and its wonders. Using the principles of subtlety and minimalism, three colors of thread merge with silkscreen-printed lines, encouraging you to take a more attentive look at the details, thus revealing their texture and tactile quality. The binding choice—an open accordion book cased in a hardcover—makes it possible to keep the thread ends out of sight, but still not completely hidden, for the process counts here as much as the result itself. "

Lizz Thabet, WSW: "Brazilian graphic designer and Artist’s Book resident Natalia Zapella often stays up all night. Mornings, she says, are for sleeping. Nights are for working under the still canopy of stars.

“'There are so few things interfering with your thoughts. It’s all about you and the stars,' she says, describing the kinship she found with the twilight. 'I would wonder, looking at stars, what is it like out there?' Natalia’s long nights spent gazing at the sky inspire her newest artist’s book,


"
Nights, the Cosmos, and I pairs eight celestial illustrations with lines from a poem, which describes Natalia’s fascination with a star-lit universe beyond her grasp. Oscillating between the personal and cosmic, it hints at the galaxy’s underlying order, reimagined through scientific diagrams and geometric systems. …

"
Nights, the Cosmos, and I is deceptively simple: using screen printed NASA imagery and astronomical charts, the book interprets highly accurate scientific diagrams with precise geometry. But upon looking closer, you’ll notice every straight line in the book’s illustrations is actually made of sewing thread. White, black, and sepia threads run across the black pages to compose the Fibonacci sequence overlaid a spiraling galaxy; the Earth’s axis tilted just so during summer solstice; and constellation points connected to form a triangle. A complex dodecahedron—created by over fifty lines of white thread—presents a theoretical model for the universe’s shape.

"Guided by Natalia’s first-person narrative, the pages act as windows through which readers can stargaze at the book’s illustrations. Its sewn linework interacts with white screen-printed elements to create the illusion of a purely two-dimensional surface, inviting readers to determine which lines are printed and which are stitched."

$600


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Taxonomy of Shapes
By Pandey Radha
Rosendale, New York: Women's Studio Workshop, 2015. Edition of 50.

10.16 x 20.32cm; 16 pages. Letterpress printed on Sakamoto and Kitikata papers. Die cuts, encaustic, pop outs. Case bound. Signed and numbered by the artist.

Colophon: "What would our world look like if everything around us from slices of pie to octopodes were identified and categorized according to three simple geometric shapes? Taxonomy of Shapes does just that, and questions the arbitrariness of our current system of classification."

WSW: "Taxonomy of Shapes challenges the readers' perception of their environment and current systems of scientific classification. The book represents elements from both natural and man-made environments with hand-drawn icons. Hand-waxed translucent overlays use geometric cut-outs to organize the items according to circle, square, and triangle forms. Taxonomy of Shapes introduces a new system of classification in which we find that a mountain is in the same category as a nose, a slice of pie, and a bunch of grapes."

Lizz Thabet, WSW: "Radha Pandey, an Indian-born book artist and papermaker whose love of materials, technical precision, and fascination with nature drive her work. She continues to explore human relationships to the natural and manmade world in her newest book, Taxonomy of Shapes. …
$400

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Channel & Flow
By Sarah McDermott
Rosendale, New York: Women's Studio Workshop / Kidney Press, 2014. Edition of 50.

3.5 x 6"; 20 pages. Letterpress and screenprint on Shikoku paper. Printed from polymer plates with Avenir typeface. Modified long-stitch binding in covers of handmade paper from milkweed collected and retted at Ruocco Family Farm in Sandgate, Vermont, mixed with cotton and abaca. Signed and numbered on the colophon.

WSW: "Channel & Flow documents an attempt to follow a stream on its path through a dense suburban neighborhood. It uses the structure of the book’s page turns and fold outs to represent how the stream has been contained and fragmented by the built environment."

Channel & Flow afterward: "Tripp's Run originates near I-66 in Fairfax county, Virginia, near Washington, DC. It runs above and below ground for approximately five miles before draining into Lake Barcroft and ultimately the Potomac River and the Chesapeake Bay.

"The surrounding area developed rapidly following World War II, and Tripp's Run was mostly channelized or piped underground to prevent seasonal flooding and consequent property damage, with the unfortunate effect of exacerbating flash floods and degrading the stream's ecological complexity. A combative relationship has emerged between human actors and water's inherent propensity to flow, spread, and cling to itself. It is debatable whether Tripp's Run can today be called a stream, or just a channel for stormwater events, maintained with groundwater inflow.

"Despite the changes of the last century, Tripp's Run persists in some form, a presence we experience like an echo, appearing and disappearing, perhaps most reliably visible as the negative space inside an environment that has been built under, over, and up to the edges."

$450

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The Color-Word Value Index
By Anne Thompson
Rosendale, New York: Women's Studio Workshop, 2013. Edition of 50.

8.75 x 6.5"; 16 pages. Printed silkscreen and letterpress on Rives heavyweight paper. Case bound. Signed and numbered by the artist.

WSW: "A reference volume and playful devotional object based on the author’s research into color theory informed by psychology, mysticism, and early modernism. The Color-Word Value Index has 44 word pairings; 10 colors; 5 suits; and values of positive, negative, and neutral. The book follows a relativist ideology that calls for reversals such as backward writing, mirroring, and the kind of doubling and flipping that is represented in the book’s structure and imagery. With references to decor and architectural spaces such as a library and cinema, the book functions as a mini-exhibition space and reflects Thompson’s interest in the early modernist Gesamtkunstwerk."
$650

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The Moon Has No Weather
By Sarah Peters
Rosendale, New York: Women's Studio Workshop, 2013. Edition of 50.

23 x 15cm; 34 pages. Papers: Magnani Arturo, Thai mulberry, Hahnemühle, handmade abaca pages from 1984 Polish electronics manual. Silkscreen and letterpress printed with Fox typeface. Bound in letterpress printed boards with cloth spine. Signed and numbered by the artist.

WSW: "This book features a short text by the artist drawn from scientific research on lunar geology to poetically explore the idea of the Moon as a book. Illustrations borrowed from engineering diagrams and printed on three different papers are folded into the signature to interrupt the prose and create layers of visual information. Each book includes a removable cotton casting or 'moon card' nestled in the back cover."
$350

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Scientific Theories Once Widely Believed, Since Proven Wrong
By Alisa Byrnes
Rosendale, New York: Women's Studio Workshop, 2013. Edition of 60

26 x 19.5 cm; 45 pages. Text digitally printed in Garamond, Copperplate, and Mrs Eaves. Images screenprinted on Rives Heavyweight, Hahnemühle Bugra papers. Cloth-covered boards with drum leaf binding. Signed and numbered by the artist on the colophon.

WSW: "This book features 10 images interpreting occasions when truth took a circuitous route. From Einstein’s Cosmological Constant, to Alchemy, to Geocentricism, and seven others, the screen prints are inspired by medieval illuminations and Mughal miniatures to encapsulate moments from the history of science using various narrative strategies. The book inverts the relationship between word and image, with written descriptions of each scientific theory accessible behind a gate-fold, enabling the images to take precedence."

Jenn Bratovich, WSW: "The book … is a delightful romp through some of our most ambitious and spectacular scientific failures. How do mammals reproduce? What is the mysterious nature of fire? How do bodily fluids or the brain’s topography account for our temperaments? Alison’s book reimagines ancient and early modern investigations into these and other quandaries, turning ordinarily dry material into a humorous and truly accessible catalog of obsolete scientific breakthroughs. ...

"The book contains nine more silkscreened prints (upwards of 10 colors each) in which Alison uses compressed space and skewed, competing perspectives to stack disparate visual components to convey narratives as a pictorial whole. By contrast, each theory is accompanied by a short, digitally printed piece of text that explains how the theory was developed and reassessed by later discovery.

"But in a curious twist, the text is tucked behind a gatefold that the reader must open to read, which cleverly turns the historical relationship between words and pictures on its head. The images are primary, and the text is supplemental."

$750

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twentysix plants
By Susan Mills
Rosendale, New York: Women's Studio Workshop, 2013. Edition of 50.

8 x 8.75"; 24 pages. Handmade paper. Digitally cut. Letterpress printed. Non-adhesive linkstitch binding. Signed and numbered by the artist.

WSW: "twentysix plants is literally 26 pages of paper handmade from 26 everyday plants grown or foraged at the Women’s Studio Workshop ArtFarm. The names of the plants are digitally cut out from each page to make the text/image and the pages nest one into another, without glue, to make a paperback book. The book references Ed Ruscha’s iconic road book ‘Twentysix Gasoline Stations’ – a slim and elegant paperback. ‘twentysix plants’ is rough and chunky and celebrates standing in one place. "

Jenn Bratovich, WSW article: "In Susan Mills’ newest artist’s book — comprised of 26 sheets of paper hand-made from 26 different fibers — no two pages are alike. Some sheets are coarse, like peony; others, like rhubarb and leek, are smooth and even. Burdock resembles a healthy smoothie stippled with variegated greens, while kenaf has delicate hairlike fibers running throughout.

"Susan spent her Artist’s Book Residency in November and December producing the labor-intensive and unique book twentysix plants, which directly references Ed Ruscha’s Twentysix Gasoline Stations. Minimal and literal, Twentysix Gasoline Stations contains 26 photographs of gas stations along Route 66, meditating on sequence, banality, and seriality.

"'Twentysix Gasoline Stations is a road book from the perspective of a lone American cowboy with a car; twentysix plants is about staying in one place,' explains Susan."

$800

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When You Hear This Sound
By Keg de Souza
Rosendale, New York: Women's Studio Workshop, 2012. Edition of 50.

7.875 x 7.875"; 32 pages. Drum binding. Screen printed and hand stamped on Rives Lightweight paper. End papers illustrated with music symbols. Bound in maroon book cloth with gilt stamp titles and illustration on front cover. Includes 33 1/3 RPM record in sleeve on front pastedown.

WSW: "When You Hear This Sound is a 'singing book' inspired by the book and record sets of the artist’s childhood, complete with a 7” vinyl record soundtrack. When You Hear This Sound explores unique forms of personal storytelling of the artist’s Sydney neighborhood and it’s characters, through wordplay and quirky observations. Developed from hand drawn illustrations and individually stamped rubber text, the final silk screened product holds true to this aesthetic. The 7” record soundtrack was developed using a Song Poem service. These 'song sharks,' as they are sometimes known, are companies that have been operating since the 1950s and market themselves to aspiring songwriters wanting to break into the music industry– you send in your lyrics and for a fee you are sent back a fully produced track. Each story in When You Hear This Sound was sent to Magic Key Records and has been transformed into its own unique song, in a variety of genres. SEE the pictures. HEAR the record. READ the book."

Keg de Souza is a Sydney based visual artist working across many disciplines and mediums, including video and bookbinding.
$650

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The Complex of All of These
By Abigail Uhteg
Rosendale, New York: Women's Studio Workshop, 2009.
Edition of 35.

11 x 14"; 36 pages. Letterpress printed in 8 and 10 point Spectrum types on a Vandercook No 3. Rosin aquatints with etching and drypoint printed on Rives BFK. Case bound in flax and abaca paper-covered boards (paper by Chris Petrone) with paper title on front board.

Women's Studio Workshop: "In a poetic language the author contemplates the world around her. Images and words become parallel languages, here the distinction between ground and sky, past and present collapses. One conceit after another feels its way over the tiny words before sinking deep into the dark of the etching ink to linger, trembling."

Printmaker and bookmaker Abigail Wendler Uhteg works in New York City. This book was made possible with funds from the New York State Council on the Arts and the National Endowment for the Arts.
$1,100

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None of Your Damn Business
By Barbara Leoff Burge
Rosendale, New York: Women's Studio Workshop, 2009.
Edition of 55.

8.5 x 9.25"; 18 pages. Double-sided accordion structure. Screenprinted with digital printing (inkjet) on Fabriano paper. Paper-covered boards with metal attachment and padlock for closure. Padlock key attached.

Women's Studio Workshop: "None of Your Damn Business, a story about Yang Huanyi, the last writer of the Chinese women's secret language 'Nushu,' is written in shorthand, the secret language of former stenographers. [The shorthand version appears on one side of the accordion, a cursive version appears on the other.] Its curves and arabesques closely resemble Islamic script whose celebrated practitioners are exclusively men. This book is dedicated to all who by dint of necessity or for the sheer mischief of it write their own secret language."

Burge is one of the four founding artists of Women's Studio Workshop.
$425

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The Angel is My Watermark
By Barbara Beisinghoff
Rosendale, New York: Women's Studio Workshop, 2009.
Edition of 47.

9.5 x 12"; 56 pages. Typeface: typewriter, Book Antiqua , Century. Paper handmade from abaca, cotton linen, raw flax, and linen rags. Watermarked sheets heated using flexible screens. Concertina bound with multicolored etchings, silkscreen, and encaustic drawings. Illustrated paper covered boards.

WSW: "Inspired by Henry Miller's story The Angel is My Watermark and a 17th-century poem the "Song of Paper" by Father Imberdis, the artist meditates on the emancipation of the watermark."

Barbara Beisinghoff: "From January to March 2009 I produced an rtist's book titled The Angel is My Watermark at WSW in Rosendale, New York, which is the largest publisher of hand printed artists' books in the United States of America. In my book art residency I wanted to do a book about birth and creation.

"I handmade each paper of the book from raw flax as well as linen rags, added abaca and cotton linter to make pulp for 900 sheets. I experimented with different beating times to get paper which would be crisp and create a rattling sound so when the pages are turned the song of paper is heard. The signatures are sewn on an accordion folded spine and open up widely. Three voices speak out of the book: the "Song of Paper" of Father Imberdis, Barbara Beisinghoff's voice about the emancipation of watermarks, and Henry Miller's The Angel is my Watermark. ...

"The first one is "Song of Paper," written by Pater Imberdis, 1693. I silk screened the song handwritten on the spine and end sheets and in the book in Antiqua font. Jean Imberdis had written the "Song of Paper" in Latin. In this book it is translated in six languages: English, German, Spanish, Italian, French and Czech....

"The second voice describes Henry Miller's story The Angel is My Watermark. I printed the etchings, when the new-made paper was still damp. 'Every birth is miraculous and inspired.' Miller's voice is silk screened in a typewriter font.

"The third voice is my own one, about the watermark angel and the
emancipation of watermarks. It is printed in the Century font. ... The watermarked pages are created on screens, where I sew on everything, buttons and hooks, threads and wires."

Barbara Beisinghoff has been the recipient of various art prizes including the Senefelder Prize, the Mainz City Printer Prize, Art Prize Heitland Foundation, and the Georg-Christoph-Lichtenberg-Prize.
$1,600


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Paper Works
a play on the possibilities of a piece of paper

By Jenny Grimyser
Rosendale, New York: Women's Studio Workshop, 2008.
Edition of 38.

11.25 x 14.25"; 9 loose leaves. Silkscreen. Printed on Mohawk Superfine paper. Laid in grey cloth bound portfolio.

WSW: "In Paper Works, a portfolio of nine silkscreen prints, Grimyser examines the possibilities of a piece of paper. With a humorous tone and playful imagery the artist explores paper, its dimensional qualities, the vastness of a page and the interaction of writing and drawing."
$350


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Good Eats
By Carissa Carman and Gretchen Hooker
Rosendale, New York: Women's Studio Workshop, 2005. Edition of 80.

6.75 x 5.25"; 18 cards. Screen printed on Mohawk Superfine 160 lb. paper. 18 illustrated, loose leaf recipe cards. Art work on front of each card, a recipe on the back. Laid in four flap portfolio box covered in red cloth. Colophon tipped on interior of portfolio.

Women's Studio Workshop: "With its striking red portfolio case printed to reference a flashing marquee sign, Good Eats welcomes you to a roadside diner. Through the sharing of imagery and personal accounts the functional recipe cards portray the intimate connection between food, place, comfort, and memory."

Benjamin Genocchio, Artworks with Pages to be Turned and Savored, Art Review, New York Times March 12, 2009: “Good Eats (2005) by Carissa Carman, with recipes contributed by members of the Women’s Studio Workshop along with little illustrations for each of the dishes. It is cute and fun and probably one of the few books here you could use. Among my favorite-sounding recipes is the Vietnamese-inspired 'Magic Rainbow Rolls With Legendary Peanut Sauce.'"
$250

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A Book of Myths and Fates
By Nancy W. Diessner
Rosendale , New York: Women's Studio Workshop, 2001.
Edition of 80.

7.75 x 7"; 30 pages. Printed digitally. Post-binding with extended fore-edge paper cover. Gatefold pages alternate with printed leaves. In wraparound cover.

WSW: "Inspired by Sophocles' Oedipus Rex, this book expresses the essential mystery of fate in terms of the spiritual, sensual, and intellectual parts of Self."

Inspired by three characters in Sophocles' ancient Greek tragedy, Oedipus Rex. The Oracle, Jocasta, and Oedipus correspond respectively to the spiritual, the sensual, and the intellectual parts of ourselves. Three sections illustrate the three states. In each section, the pages fold out from a central pair of black and white images. Birds represent the spirit; water suggests the body and senses; land stands for the intellect. The book expresses the essential mystery of Fate itself.
$300


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Speaking the Stone
By Patricia Wilson-Adams
Rosendale, New York: Women's Studio Workshop, 2001. Edition of 100.

5.375 x 7.5"; 8 pages. Accordion fold from back pastedown. Letterpress printed. Etching and aquatint illustration. Printed on white Rives BFK. Set in Bookman. Bound in handmade paper wrapper with tie closure. Title blind embossed on front cover. Text from Fugitive Pieces by Anne Michaels.

Women's Studio Workshop: "The artist references her native Australian high country, where the ancient stones evoke feelings of loss for past generations."

Tana Kellner: "Speaking the Stone is a meditation on an Australian landscape in a foldout format. The etchings were inspired by a poem 'Fugitive Pieces' by Anne Michaels, which is printed on the first page."

Patricia Wilson-Adams, University of New Castle, Australia: "Patricia Wilson-Adams’ career as a Printmaker began with a commitment to community based workshops following three years spent in the late 60s and early 70s at Atelier 17, Paris. The workshop was run by the famous surrealist artist S.W. Hayter. Her time in Paris was supported by a French Government scholarship for a place at the Cité Internationale des Artes. She then went on to help establish the Islington Print Workshop in London and became the first artist-in-residence at the now well known Kalã Institute in Berkeley California (1975/76). Since then she has been associated with the Newcastle Printmakers Workshop."

Canadian writer Anne Michaels' debut novel, Fugitive Pieces (1957), reaped praise and awards, including the Trillium Book Award, the Orange Prize for Fiction, and the Guardian Book Prize.
$ 100


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On the Line
By Linda Johnson and Kristy Lewis
Rosendale, New York: Women's Studio Workshop, 1997.
Edition of 125.

5.75 x 5.25"; 12 pages. In cardboard book housing. Includes rope for hanging pages, cotton muslin printed pages, and ten wooden clothes pins. Silkscreen on cotton muslin text panels. Offset lithography on box.

A collaborative work designed by Johnson and Lewis.

Women's Studio Workshop: "On the Line is a collection of stories, rumors, little known facts, and folk tales about well-known artists relayed through word of mouth. The book is designed for the viewer to interact with the piece in a symbolic way of hanging out the dirty laundry of stories and rumors."

Linda Johnson: "On the Line is an artist book that utilizes a non-traditional format designed to reflect the content of the book. It is a collection of little known facts about artists and designers. The little known facts are silkscreen printed on individual cotton muslin panels. They are housed in a box that comes complete with a five foot clothesline and twelve miniature clothespins. The book is designed to encourage the reader/viewer to interact with the piece by symbolically hanging out the dirty linen ... To collect the facts, letters were sent to artists, designers and art historians asking for interesting tidbits about well known artists or designers. Twelve of the facts submitted became the content."

Paul Klee painted camouflage on military aircraft.

Kristy Lewis Andrew, a native of Oklahoma, received a Master of Fine Arts from the School of The Art Institute of Chicago and a Bachelor of Fine Arts from the University of Kansas.

www.fau.edu: "Linda K. Johnson, Professor of Art in Graphic Design, focuses her creative research in the design of artist books. She received her B.F.A. from the University of Houston and M.F.A. from Virginia Commonwealth University."
$125


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Going to camp: A Meditation about Aids, Quarantine, Exile, and Personal Loss
By Lyman Piersma
Rosendale, New York: Women's Studio Workshop, 1987.
Edition of 65.

Two book housed in thick folded-paper envelope, which is held closed by an elastic string attached to a clay seal embossed with the words "Going to camp." Book I, Illustrations (8.5 x 9.25", 18 pages) is an accordion structure which unfolds to a cross shape. Printing methods: silkscreen, photocopy, rubber stamp, photographs. Book II (5.9 x 5.9", 16 pages) is pamphlet stitched and contains five short prose pieces.

The camp referred to here is not summer camp, but the concentration camp like isolation that faced AIDS victims, especially in the early years of public misinformation about the disease. Twenty artists and writers contributed to this project: "We dedicate this project to those we have lost. Artists' proceeds from this project will benefit the Gay Men's Health Crisis, New York City."

John Neely: "How does one introduce such a book? I could write about the history of AIDS or the art contained within, but I think not. Instead I want to instruct you to hold this book with great care in your hands. Be gentle, for it is full of dreams, lost lives, and lives yet to be lived. ...

"All of us gathered here have experienced the loss of life from AIDS. We worry about our own lives, about the possibility of camps and death, but each of us has become a stronger person because of those who are gone."

$200

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Women's issues: societal roles, social restrictions
 

Repair Manuals for a Femme Fatale
By Rose Smith
Rosendale, New York: Women's Studio Workshop, 2012. Edition of 50. 9.25 x 6.25"; 70 pages.

I9 x 6.25" lidded box with two sections containing four 11 x 16" folded sheets and four bookboard title pages, one per sheet. Inkjet, screen printed, and letterpress. Ribbon lifters for each section. Title printed on lid. Signed and numbered by Smith.

WSW: "Repair Manuals for a Femme Fatale is a boxed set where 1970s repair manuals collide with 1940s Femme Fatales. It is a compilation of information that may help women escape their cinematic fate in the hands of a film noir. From how to give the kiss of life, to maintaining Venetian blinds, the repairs enclosed are film-specific, inspired by events that occur or objects that may appear within each film. Repair manual for femme fatale features a prologue and three film noirs: Double Indemnity, Leave Her to Heaven, and The Postman Always Rings Twice. "

WSW blog: "Rose Smith’s work features instructional text, multiples, light, discovery, subversion and comedy – her book residency at Women’s Studio Workshop will allow her to bring all these themes together in one. The book, Repair Manuals for a Femme Fatale will be a can-do, problem-solving guide where 1970’s repair manuals meet 1940’s and 50’s screen stars.

"Born in Wolverhampton, England, Rose now lives and works in London, completing an MA Fine Art: Drawing at Wimbledon College of Art in 2006. She has shown widely in England, and also internationally."
$450


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IRON
By Tatana Kellner
Rosendale , New York: Women's Studio Workshop, 2008.
Edition of 45.

12.25 x 11 x .75"; 86 pages. Silk-screened and digitally printed on Stonehenge Warm White and Glama Natural Clear papers. Casebound in tan bookcloth with scorched iron illustration on front board.

Women's Studio Workshop: "Inspired by the artist's installation of the same name, where an automated iron reveals text as it irons out a white dress shirt. The text examines the history of domestic labor and immigration, while the images document the technological progress of ironing appliances (patents included). Printed in invisible ink, the viewer reads the book by ironing the pages. DVD of the ironing installation is included."

Interactive bookmaking at its most exciting and nerve-wracking? "Instructions for use: The text in this book is revealed by ironing the pages. Set your iron up for steam on the cotton setting. Iron each page front and back and watch the text appear. If you ado not want to do your own ironing, you can keep the book in its original state. You can also send the book back to be ironed out by the artist. Additional charges apply for this service. To save money, have a significant other or a family member perform this task. Iron at you own risk."
$800



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Conceal
By Cynthia Thompson
New York: Women's Studio Workshop, 2005. Edition of 60.

4.25 x 6"; 10 pages (one strip). Accordion structure. Handmade pigmented cotton paper. Images (giclée prints) and text are letterpress printed on No. 4 Vandercook Printing Press using photopolymer plates. Typeface: Mrs. Eaves Italic 24 pt and Mrs. Eaves Petite Caps 24 pt. Text is author's adaptation of Genesis 3: 7-10. Casebound in brown cloth.

WSW: "Using the body as a site of intense investigation, this book exposes the physical manifestations of denial, shame and oppression. These conditions are revealed by examining the impact religion has on the construction of femininity, sexuality, and identity."
$300


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relation
By Ann Lovett
Rosendale, New York: Women's Studio Workshop, 1999.
Edition of 200.

3.75 x 6.5"; 14 pages. Flag book structure. Offset printing on Mohawk Superfine paper. Paper covered boards.

WSW: "relation explores the constantly shifting network of connection and separation inherent in the fabric of intimate relationships. The book's binding structure is designed to fold flat, and expand into a sculptural, interwoven front when opened. Delicate images of fabric form a rich visual field for interlocking, shifting texts"
$350



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Crazy Quilt
By Maureen Cummins
Rosedale, New York: Women's Studio Workshop, 1998. Edition of 100.

10 x 10"closed, extends to 30 x 30"; 16 pages. Hinged pages unfolding in four directions to reveal quilt-like patterns, colors, and shapes. Intaglio and letterpress printing. In black cloth boards with inset illustrated title label. Designed, printed, and bound by Maureen Cummins. Signed and numbered.

Califia Books: "A collection of excerpts from narratives written by women imprisoned for madness. Descriptions span from the Civil War period to the present and feature unknown women as well as such celebrated figures as Kate Millet and Frances Farmer. These extraordinary tales are related with keen intelligence, rage, and mordant humor. Silkscreen and letterpress printed on squares of white coverweight Folio. Each page is a patch work of black alternating with rich color blocks (over seventy-five in the edition); text is in the form of stitch-like handwriting. Hinged pages unfold in four directions to reveal myriad shapes and patterns resembling a large, crazy quilt."

Women's Studio Workshop: "Crazy Quilt assembles the experiences of women who have been institutionalized for insanity in the last century. Square pages of richly colored patterns and text unfold into one large quilt-like square. The text resembles sewn handwriting from the women such as Charlotte Perkins Gilman and Frances Farmer."
$1,800 (Ten Copies Remaining)

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shared memories
By Lori Spencer and Wendy Spencer.
Rosendale, New York: Women's Studio Workshop, 1998.
Edition of 90.

7.5 x 8.75"; 39 pages. Pop-up book. Silkscreen and letterpress printed. Handsewn signatures with decorative stitch in soft cover. Paper: Rives heavy weight paper. Issued in paper box folder with tab closure.

WSW: "Explores the importance of memories and how they continually evolve. Eight memories are described; one on each double page spread with Lori's account consistently on the right page, her sister's on the left. The main details of the story are told in a square that pops out in the middle of the page spread, while peripheral information fills the rest of the page. The image of both sisters, surrounded with textural collage, are revealed throughout the book by the die cuts of the pop-up page. The structure of the book reflects the relationship between two sisters who spring from the same environment."
$375



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Bent Like the River
By Terry Schupbach-Gordon
Rosendale, New York: Women's Studio Workshop, 1994.
Edition of 100.

9.75 x 11"; 12 pages. Japanese stab binding with Indian handmade covers. French fold book with woodcuts. Papers: Gekkekon, Gampi, Toronoko, and Kitakata paper.

Women's Studio Workshop: "A short, lyrical poem is brought to life by a series of powerful woodcuts. The contents celebrate and affirm the lives of people living with disabilities. The rhythmic quality of the verse is echoed by the syncopated marks of the gouge and the movement of the bodies and waterways depicted over the pages."

Terry Schupbach-Gordon: "In my work, I draw the body bent, bending, able, and disabled. It has been my deeply personal attempt to reclaim grace for a body often considered outside the conventional definition of 'normal.' Living beautifully or gracefully with disability requires me to redefine the words 'beauty' and 'grace', and to give them visual form. Work inevitably mirrors our personal experience. The body that I work with is my own."
$100

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Family
By Rita MacDonald
Rosendale, New York: Women's Studio Workshop, 1994.
Edition of 100.

3 x 7.5"; 7 pages. One folded strip of Guttenberg Laid paper producing 7 pages in an accordion structure. Silkscreen and letterpress. Housed in a wooden box with a front door, which opens by ribbon pull to reveal the accordion, which has one end attached to the box. Verso of box stamped with dictionary entry for Family.

WSW: "This book is housed in a wooden box with a front door which opens to reveal a collection of household utensils used as portraits of individual family members. On alternating pages these objects are layered over definitions of the roles to which the family members are predestined. The book investigates the idea of the family unit as a tool of socialization; creating and perpetuating gender stereotypes. The images explore our place and role within our families and beyond."
$150


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Impediment
By Cheri Gaulke
Rosendale, New York: Women's Studio Workshop, 1991.
Edition of 200.

6.5 x 9.75"; 20 pages. Letterpress and color photographs. Printed on Curtis Tuscan Terra, Rives BFK, UV Ultra, and handmade paper with toenails and hair, and a seed packet. Handsewn pamphlet binding with a two-leaf pull out, which contains a pop-up. Within the pocket-like pop-up is an envelope containing a miniature metal shoe and instruction card.

WSW: "This book investigates the abuse of women's feet and footwear through the ages-from the ancient Chinese foot binding to high heeled shoes of the present. Personal and historical narratives illustrate the results of cultures' enduring foot fetish. After reading this one, you'll never be tempted to squeeze into 'just a half size smaller' again. Nested within is a pop-up which presents the reader with a packet of 'seeds' for change."
$125


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What's Happening with Momma?
By Clarissa T. Sligh
Rosendale, New York: Women's Studio Workshop, 1988.
Edition of 150.

6.25 x 11.5 x 2" closed; extends to 38". Multiple accordion structure: a larger horizontal structure of 6 panels and 6 vertical accordions affixed to the horizontal panels of 8 panels each. Silkscreen and letterpress. Housed in a clear plastic box.

This dimensional, house-shaped book literally unfolds to tell an autobiographical story full of pain and confusion from the author's childhood.

Clarissa Sligh, Making Artist's Books (2002): "The emergence of a memory of a younger sister being born at home set into motion the making of What's Happening With Momma? It seemed like a simple idea, but while building and combining text with photographs, I found myself groping for the physical form it would take.

"Making book dummies led me to realize that the container had to be a small safe space. But my biggest challenge was to create a structure that would also provide a way for the viewer to interact with the book in order to 'read' it. How could I evoke with photographs, mark making and text something of the way that the Baptist preacher and the gospel and rhythm and blues singers and musicians used repetitive, rhythmic fragments to elicit the audience response necessary for the satisfactory completion of their work? Here too 'the reader' needed to interact with the art.

"After agonizing over it for months, I visited Keith Smith's home in Rochester, New York. There I saw a videotaping of a book artist, Susan Share, perform her book in order for it to be seen by the viewer. I knew immediately that her process of 'unfolding' was exactly what my piece was about. That night, a multiple accordion structure came to me in a dream. Waking up, I drew it in my sketchbook on the table beside my bed. The next morning I saw that it was the solution to the problem for which I had been searching.

"Initially the book was made using a Van Dyke Brown alternative photographic process. Negatives were pieced together and contact printed for the house-shaped accordion structure. The interior accordion pieces, printed separately on a different paper, were cut, folded and adhered to the interior of the house structure with adhesive. Using these methods, I was able to make a very small and ephemeral edition. The following year, Women's Studio Workshop in Rosendale, New York, awarded me an artist residency fellowship. While there I made a different version of What's Happening With Momma? Ann Kalmbach guided me in strengthening the structure and in printing an edition of 150 books with silk screen inks and letterpress."
$550


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War, peace and politics give continuous food for thought especially for the artists making books at WSW.
   
Facts on the Ground
By Toby Milman
Rosendale, New York: Women's Studio Workshop, 2011.
Edition of 50.

8 x 11"; 53 pages. Digitally cut. Letterpress, silkscreen, and archivally inkjet printed. Typeface: Adobe Caslon Pro, Gill Sans. Printed on Mohawk Superfine. Hardbound book with drum leaf binding, cloth spine. Title stamped on front board.

WSW: "Oral testimonies, maps, and excerpts from personal accounts, from and about occupied Palestine, are the subject of this book. Maps and testimonies were collected from various Palestinian, Israeli, and international human rights organizations and governmental agencies with additional writings and drawings by the artist."

WSW, blog: "Her book, Facts on the Ground, talks about Palestine and the plight of the Palestinian people. It is an important piece that presents information rarely, if ever, available to most westerners. Toby is another fine letterpress printer."
$475

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Stories Behind Bars
By Tona Wilson
Rosendale, New York: Women's Studio Workshop, 2010.
Edition of 50.

8.5 x 10.25"; 64 pages. Silkscreen printed on Stonehenge warm white and Dur-O-Tone. Four pamphlets, 16 pages each. Housed in a cloth covered slipcase with cutout like a jail's barred window.

Women's Studio Workshop: "Stories Behind Bars was inspired by the author's job as a Spanish interpreter in the US courts. It consists of four individually bound silkscreen printed booklets: in one, a young man is deported using video teleconferencing, another gives some brief history of immigration detention, and all tell stories of immigrants in U.S. prisons and jails. The stories give the reader an insight into the complex issues surrounding the immigration debate."

Tona Wilson: Gained in Translation," Ross Rice. Roll Magazine. March 2010: "A single box will hold four pamphlet-stitched sections of the book—which is really more like a hand-drawn graphic novel, to be accurate—with prison bars in the window on the box's front. Through the bars, a portrait can be seen on the cover of the sections, each of which tells that person’s story, as well as others. 'It deals with jail and prison. It was originally going to be (about) prison in general, but obviously my experiences with immigrants (added to it). This is going to sound really dry, but (it’s now about) the "‘immigration consequences of criminal convictions."' Once seen through the bars, the books can then be manually examined and experienced ...

"Without her beating you over the head with them, Tona makes her feelings about immigration justice understood. But when asked directly, she firmly replies: 'I would like to see more humaneness in the treatment of immigrants. That’s a general thing. I’d like to see actually more discretion (in sentencing) for people who are in deportation proceedings. I’ve seen even the judges complain that they don’t have any discretion anymore. I’d like to see ICE (U.S. Immigration and Customs Enforcement) treat people better, and in a more honest way.'"

$1,000


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Skim Milk & Soft Wax
By Dani Leventhal
Rosendale, New York: Women's Studio Workshop, 2008.
Edition of 36.

9.5 x 12 x 2.5"; 40 pages. Printed on Mohawk Superfine and Rives Lightweight. Intaglio, letterpress, and silkscreen processes. Other materials: pencil, inkjet, and magic marker. Cover pages made of kenaf and rye fibers grown on the WSW Artfarm. Cover design of red circles resemble target with 2" rubber bullet protruding from the center. Housed in an archival grey lightweight cardboard box with clear plastic lid.

WSW: "The author, who was raised to believe that Israel is the 'land of milk and honey,' explores her Jewish identity. Leventhal’s personal experiences of Israel collide with this idyllic image. Skim milk, a substance of reduced nutritional value, and wax, the stuff of religious offerings, are used as metaphors for the complex, shape shifting, and often disappointing policies of the state of Israel. Includes 44 minute movie."
$650



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Pistol/Pistil
Botanical Ballistics

By Ann Kalmbach & Tatana Kellner
Rosendale, New York: Women's Studio Workshop, 1997.
Edition of 100.

7 x 8.75 x .75"; 24 pages. Additional pages and enclosures sewn in. Accordion structure with end pages adhered to boards. Silkscreen printed on Mohawk Superfine, UV Ultra, and handmade abaca fiber paper. Bound in wooden covers with leather straps held with bullet casings.

This was deigned and printed while Kalmbach and Kellner were visiting Artists-in-Residence at the University of Southern Maine with help from their students.

WSW: "This accordion fold book examines the use of ordinary words in both botanical and military context. These definitions are juxtaposed with stories and statistics relating to farming and violence."

Judith Klau, Books as Aesthetic Objects: "Pistol/Pistil: Botanical Ballistics is bound in wooden boards held by leather and bullet casings. This book plays graphically and etymologically with the language of agriculture and the language of ordnance.

"The message of the book points primarily to the irony that many words of vegetative growth are identical to words of military destruction, beginning with 'shell' (as in peas and in guns), but immediately reminding the viewer that war alone is not responsible for all the damage inflicted on the environment: the first page details pesticide use: Farmers- 2 lbs per acre, Homeowners- 10 lbs per acre, Golf Courses- 15 lbs per acre; and the later reproduction of a news clipping reports on a woman killed by lightning in her garlic patch.

"Other cognates, like 'mushroom' and 'squash,' are illustrated by razor thin sections of actual dried vegetables in their own envelopes, by lists of 112 varieties of tomatoes surrounding a sardonic folder about using fertilizer to make bombs, and by detailed illustration of the title pair, 'pistol,' and 'pistil.' Through ironic comparisons in language and image the book presents the innocence and productive qualities of nature next to the increasingly antithetical creations of human beings."
$195


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Presidential Quiz
By Ann Kalmbach, Tatana Kellner
Rosendale, New York: Women's Studio Workshop, 1997.
Edition of 75.

4.25 x 17.25"; single folded sheet, six leaves. Silkscreened accordion fold book.

WSW: "Match the hairdo to the president and test your knowledge of America's political history. This funny book, inspired by a student's info ruler, tests your visual memory."
$75 (Last 3 copies)


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Shoot to Kill
By Ann Kalmbach, Tatana Kellner
Rosendale, New York: Women's Studio Workshop, 1997.
Edition of 50.

11.75 x 17.5"; 20 pages. Silkscreen. Spiral bound with covers of corrugated cardboard.

WSW: "Images of targets found at police firing range are paired with words which record/question/critique the use of guns in our society."
$155


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Other bookworks printed / supported by WSW
Alphabet Tricks by Diane Jacobs
Cè by Irene Chan

Empress Bullet by Louise Neaderland
Limestone Lives by Kate Ferrucci
Orbital Debris Simulator by Heidi Neilson
Remembrance by Judith Mohns
Walden Marginalia by Amelia Bird
What Mom Says by Melinda Yale

 
   
   

Women's studio Workshop Out of Print Titles:
• A Game of Chess
Business is Suffering by Maureen Cummins
• Saints Days

 

   

4 3 2 CRY
Fracking in Northern Colorado

By Kathy T. Hettinga
Rosendale, New York: Women's Studio Workshop, 2014. Edition of 46.

7.625 x 7.75"; 48 pages. Digitally printed on an Epson 9880 using archival inks. Fonts: Helvetica 1957, Helvetica Neue 1983, and Arbitrary 1990. Printed on Mohawk Superfine 70lb Text. Bound in hard covers with cloth-covered boards. Aluminum compliance sign riveted on the front cover. Signed and numbered on the colophon by the artist.

Women's Studio Workshop: "4 3 2 CRY exposes the effects of hydraulic fracturing for natural gas upon families, land, air, and water in Hettinga’ s former home in Northern Colorado. After a 34 year absence, the author returns to the Johnstown Farm, a home she shared with her young husband, who tragically lost his life in a farming accident. The book is a meditation on personal loss as well as a lament for a community transformed by drilling operations and leads to the author’s call to stop hydraulic fracturing in the USA.

WSW, blog: "It was there [Johnston Farm] she once lived with her husband Duane, raised chicks in the basement, and reveled in the clear, open landscape. What she found upon returning was a region transformed by hydraulic fracturing, or fracking: well pads puncturing the farmhouse’s backyard, condensate tanks dotting the horizon, a haze hanging in the sky.

'Affixed to the condensate tanks were diamond-shaped, Mondrian-like signs in ironically playful primary colors, emblazoned with peculiar numbers and codes. 'I didn’t understand; these signs looked like they were for children,' says Kathy, 'and then I found out they meant this stuff could kill you.'

"The signs were the National Fire Protection Association’s 'hazard diamonds' used by emergency personnel to quickly identify hazardous material risks—and they quickly became the visual and thematic point of entry for …
4 3 2 CRY: Fracking in Northern Colorado. For the book, Kathy created her own coded sign using the numbers 4, 3, 2 and the cryogenic code 'CRY' to symbolize a 'Countdown to Environmental Lament' she says, where 'CRY' works as 'both a wailing, and a freezing of the heart against environmental stewardship.'

"Kathy is a content-driven, Pennsylvania-based artist working at the intersection of design, photography, digital printmaking, and book arts. With maximalist abandon, 4 3 2 CRY embraces technology even as it implicitly questions it: using digital sourcing, imaging, and printing, and reveling in Kathy’s interest in working somewhere between mass production and fine art. …

"The digitally-printed, hand-bound book … mediates on twin narratives of loss inspired by her visit to Johnstown Farm: the tragic death of her husband and the destruction of land, air, water, and families in what is now one of the most densely drilled areas in the United States. On the outside,
4 3 2 CRY mimics the condensate tanks along Colorado’s horizon, each book wrapped in drab book cloth with an actual aluminum NFPA hazard diamond riveted onto its cover. On the inside, 4 3 2 CRY‘s 48 pages are packed with visual and textual information: satellite maps, personal photographs, screenshots from websites, scrawled handwritten annotations, and technical text and narrative poetry are digitally juxtaposed to create rich surfaces and textures. Aerial maps of the drilled earth’s terrain create strikingly abstract, patterned compositions decoded by Kathy’s text.

"The hazard diamond echoes throughout the book, folding out three dimensionally and working as chapter markers to guide readers through Kathy’s dense, meticulously researched narrative. Like the satellite technology it references,
4 3 2 CRY zooms in as it progresses. Chapter by chapter (“4”, “3”, “2,” and “CRY”), readers begin by looking at aerial maps of Colorado’s drill sites, then enter the town of Greeley, peer into vignettes of Kathy’s idyllic life and love on the farm, and bear witness to Duane’s early death—all the while uncovering, in parallel, the mechanics and effects of fracking in increasing detail. The result is a collaged, interwoven atlas of mourning and imminent loss."
(SOLD)


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