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Vamp & Tramp, Booksellers, LLC

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Birds of the Bible: Raven.

Birds of the Bible: Raven.

[never mind the press] Alisa Golden. Berkeley, Califonira:: never mind the press ,, 2019.. Edition of 18. 5.75 x 7.5"closed, extends to 44 x 7.5"; 14 pages. Accordion and signature combination book. Letterpress printed from handset English and Hebrew metal type and linocuts on hand marbled (Suminagashi) mulberry paper. Signatures sewn with sashiko thread. Walnut Paperwood endpapers. Black cloth covered boards in matching black cloth slipcase. Signed and numbered by the artist. Alisa Golden: "After learning that the raven was the first bird Noah sent out of the ark, preceding the dove, I had questions. If ravens mate for life, what happened to the mate? What did the raven do besides return and fly 'to and fro?' I wrote my own interpretation from the point of view of the raven. "The center mountain fold is letterpress printed in both English and Hebrew in rainbow colors with part of the Jewish prayer said upon seeing a rainbow. I machine stitched the lightweight paper to heavier paper with rainbow thread in a leaf pattern, signifying dry land. "I marbled mulberry paper with the Japanese Suminagashi technique where inks are floated on water and stirred to get organic waves, the Flood waters. "In present day, occasionally ravens stop in at the Osprey nest that I watch online, generally when the Ospreys are away and the ravens scavenge for scraps of fish. I was alerted to a raven camera in Iceland by one of my fellow Osprey watchers, and was able to observe them as the young grew and eventually fledged and disappeared. The reduction cut at the end of the book was based on a screen shot from that Icelandic nest." "Orev. Raven was sent out first into an unrecognizable landscape, then returned to find Noah somewhat disengaged from life as he turned to his vineyard, perhaps for solace from the disaster that was the Flood.
  • $650
book (2)

A Specimen of Wood Type.

[Dry-Inc] Richard Kegler. Rochester , New York:: P22 Publications,, 2020.. Book Edition of 75. . Book Edition: Slightly oversized Quarto 9.5 × 12.5"; 56 pages. 26 wood type specimens. Printed on 100lb Arjowiggins Utopia 2 Ivory Matte text paper. 82 hand-press runs in six different print shops. Case sewn and hand-bound in Asahi cloth (red or orange). Foil-stamped cover (gold on red or black on orange). Signed and numbered by Richard Kegler. Press Statement: "A tour de force of typographic design and a celebration of American printing innovation,' A Specimen of Wood Type' is a hand-bound, hardcover letterpress printed book by Richard Kegler. It features 26 wood type specimens hand-printed between January 2017 and October 2020 using the original wood types referenced to digitize the Hamilton Wood Type Collection (HWT) from P22 Type Foundry. Multicolor innovative layouts highlight the type designs printed with the actual wood type used to make these revivals are paired up with accompanying descriptive text that was set and cast in metal type by the celebrated Press & Letterfoundry of Michael and Winifred Bixler of Skaneateles, NY. "Richard Kegler printed the specimens using vintage wood type collections at six locations across the USA. These include the Hamilton Wood Type and Printing Museum (Two Rivers, WI); Wells Book Arts Center (Aurora, NY); RIT Cary Graphic Arts Collection (Rochester, NY); the Western New York Book Arts Center (Buffalo, NY); Flower City Arts Center (Rochester, NY); and P22 Press (Rochester, NY). The typographic showings vary from one to three colors each for a total of 82 press runs.
  • $599
What I Didn't Learn in Hebrew School.

What I Didn't Learn in Hebrew School.

Kokin, Lisa. El Sobrante, California:: Lisa Kokin,, 2005.. One-of-a-Kind. 11.75 x 9.5 x .25" altered book. Mixed media book collage including sewing. Signed and dated by the artist. Lisa Kokin: "Using an early 20th century book for children called 'Around the World' as a substrate, I abraded parts of the text and added found photos of children's faces which I sanded down to remove the features, as well as part of a page from a Hebrew school notebook similar to the ones I used as a child. Holes drilled into the book recall bullet holes. "I was taught that no one lived in Israel/Palestine before the establishment of the state of Israel in 1948." Lisa Kokin, Book Collages: "In my never-ending quest to find different ways to eviscerate books, I stumbled upon the book collage. First I find a book which interests me, either for some element of text, image or marginalia, or for the look of the book itself. Sometimes I remove some of the pages and glue and/or sew the book open to the particular page of interest. Other times I remove all the pages and use the inside covers as the collage surface. I build upon what initially interests me by layering images and text from the same or other books, found photos, and other small objects, using a variety of collage and transfer techniques." Lisa Kokin, interview with Meg Hitchcock: "My imagery can vary a lot, but there are certain elements that unify my work. There's the presence of sewing in one form or another, which I use as a means of attachment and embellishment. In the past I've made books, sculpture, and installations that have a social justice or historical component, and I've expressed my various experiences of being Jewish, being in a same-sex relationship, and my affinity with the underdog and marginalized. There's also an ongoing investigation into Jewish history in a way that makes sense to me as an adult, as opposed to how it was taught to me as a child. So there's a consistency of looking critically at the outer world and commenting on it, not heavy-handedly or didactically but often with humor. … "I grew up in a Jewish family, very secular, but I went to Hebrew school which was an indoctrination into a certain way of thinking about being a Jew. I accepted it all until I became an adult and started thinking for myself, and eventually realized that I couldn't accept the whole package.
  • $3,200
  • $3,200
Lake Washington Palimpsest.

Lake Washington Palimpsest.

Sollod, Ellen. Seattle, Washington:: Grey Zone Press,, 2009.. Edition of 25. 10 x 8.25"; 77 numbered pages. Hardcover with illustrated dust jacket. Illustrated throughout with reproductions of original pinhole photographs by the author. Accompanied by an original archival carbon print. Signed and numbered by the artist. Laid in paper folder with twine closure. Northwest Museum of Art: "Ellen Sollod explores Seattle's Lake Washington and the effect upon its shores, wetlands, and tributaries due to the 1916 construction of the Ballard Locks and the digging of the Montlake Cut. Like a palimpsest, different environmental histories were written and erased, and new ones inscribed atop and around the Lake. Sollod uncovers these layers in an exhibition that charts the history of the massive project and its ripple effects over decades, with large-scale pinhole photographs, maps, statistics, and sound recordings. The exhibition is held in conjunction with the release of Ellen Sollod's book, Lake Washington Palimpsest." Ellen Sollod: "The 1917 completion of the Lake Washington Ship Canal and the Montlake Cut dramatically lowered Lake Washington. Shorelines were created; the Black River disappeared; routinely flooded places became dry and dry places, wet. Over the last year, I began researching this transformation, fascinated by the impact of man on the landscape. Like a palimpsest, the lake and wetlands were partially removed to make room for another text. Today, wetlands are reclaiming some of those areas and returning them to their earlier form. In others, man's encroachment remains. "This is my attempt to reveal the illusive story of this intervention: my research, and a selection of pinhole photographs and soundscapes I composed in response to this altered landscape."
  • $225
Restless Dust.

Restless Dust.

Wight, Gail . San Francisco, California:: San Francisco Center for the Book,, 2009.. Edition of 50. 7.75 x 9.75 x 3.5" custom wooden box containing one book, two paper birds, velvet, and electronics. Book: 6.5 x 8.25", 36 pages. Linocut and pigment prints. Handset in Cheltentam Old Style. Printed on Rives heavyweight paper. Letterpress printed on a Vandercook press. Sewn binding in leather wrapper with leather tie closure. Gail Wight: "'Restless Dust' is a multimedia work housed in a two-tiered wooden box. The top portion holds a letterpress leather-bound artist's book separated by Plexiglas from a velvet-lined chamber containing two illuminated paper birds (activated when the box lid is opened). The text invites Charles Darwin's ghost to sail to present day San Francisco and wander with me through the greater Bay Area. The focus of the journey is three-fold: to celebrate Northern California's unique species; to examine Darwin's legacy and its impact on the Bay Area; and to acknowledge the fragile and endangered state of local flora and fauna, beleaguered by environmental degradation during Darwin's time and my own. The book was created while in residence with the Imprint at the San Francisco Center for the Book. "The title is a remix of a quote from Mary Wollstonecraft: 'It appears to me impossible that I should cease to exist, or that this active, restless spirit, equally alive to joy and sorrow, should be only organized dust.'" Anita Mohan, "Embodying Experience: A Conversation with Artist Gail Wight" (May 24, 2011): "Wight's medium tends to be experimental media, I first became acquainted with her through her playful, more traditional artist's book, 'Restless Dust'. … The book was the direct result of Wight's residency at the San Francisco Center for the Book … She had never made a book before - as with the rest of her work, the depth of her curiosity drove her to learn how. "'Restless Dust' takes as a point of departure an invitation to Darwin: What would you show Darwin if he visited the Bay Area? The idea came to Wight as she was driving around, listening to Otis Redding's '(Sittin' on) The Dock of the Bay' - I want to meet Darwin at the bay and walk around with him. Uncertain of what to write, Wight sent an email to 30 artists, scientists or theorists of some kind, who shared an interest in Darwin, asking them, 'If you could show Darwin one thing around the Bay Area - what would you show him?' "The resulting book was a conversation between art and science, full of allusions and wordplay that looks at our culture and our endangered environment. At one point, for example, Wight plays with the double meaning of The Red Queen Effect. In Lewis Carroll's 'Through the Looking-Glass', the Red Queen said, 'It takes all the running you can do, to keep in the same place.' A biologist coined the term 'The Red Queen Effect' from Carroll's book to describe the need for any species to continue evolving in order to keep control of its space and keep up with the system within which it is striving to survive. The same sort of linguistic and visual whimsy occurs in asking how Darwin would solve the local problem of an invasive species of crabs that flow into the Bay Area and decimate local species. In a poetic turn, she writes that they would be pushed to sea in eucalyptus canoes; eucalyptus is also an invasive non-native species that crowds out native species, even killing local foraging birds with a suffocating tar-like substance.
  • $1,500
  • $1,500
A Gaggle of Hoodlums.

A Gaggle of Hoodlums.

Garcia, Caroline. Philly [Pkiladelphia, PA]: :: Candy Coated Press,, 2007.. Edition of 84. 7.5 x 10.75"; one sheet folded. producing four pages. Medium: Reductive woodcut (Shina) and hand-set lead type This book was created in twelve press runs with multiple reductive woodcuts and hand-set lead type. Numbered Caroline Garcia Ziegler: "'A Gaggle of Hoodlums' was written on the Louisiana artist's brisk, 6-block walk from school to the subway in Philadelphia. The seemingly nonsensical poem describes ogling and catcalling men who would band together to harass women, either from a stationary post leaning against buildings, or by actively getting in their way to block their path, forcing women to engage with them. "The Loup Garou is a werewolf in Cajun folktales, and in the artist's family, if you were out 'rougarou-ing,' you were out causing mischief." Caroline Garcia Ziegler: "One of the things I really like about this book is that it's not an imposing artist's book due to its incredibly simple structure. As an object, it's such a simple thing, but the content and the printing is definitely not simple.The printing uses 3 separate reductive woodblocks, one with a rainbow roll, and hand-set type. My background as a Louisianaian transplanted into a major Mid-Atlantic city became part of the piece. A slur against women became illustrated characters, big dudes in hoodies are the bad guys (a different kind of slur), and a Cajun werewolf appears out of nowhere to take care of the harassers - all within this little package of wordplay!
  • $125
The Faces of Victor Hammer.

The Faces of Victor Hammer.

Aurora, New York / Rochester, New York:: Dry Inc / Wells College Press,, 2022.. Edition of 50. 6.5" x 6.5"; 40 pages. Letterpress and pigment prints. Photographs printed in black and grey pigment with an Epson Stylus Photo R2880 on 196g Hahnemühle Photo Rag Duo. Additional page paper is Hahnemühle 180g cotton. Metal type specimens are printed on tipped-in Kozuke White paper. The specimen header type is the same hand-set metal Spiral type used by Victor Hammer at Wells College, Aurora, NY. The running text is set in digital Emerson by Jerry Kelly. Additional specimens and running text are printed from photopolymer plates produced at Boxcar Press, Syracuse, NY. Marbled endpapers were made by Susan Doran specifically for this book. Case bound in rust colored Asahi cloth with inset "VH" title label. Design, printing, and binding by Richard Kegler. Signed and numbered by Kegler. Foreword by Dan Reynolds. Press statement: "The finest examples of any of Victor Hammer's typefaces in use are found in his own limited-edition books that feature elegant compositions with generous leading and understated simplicity. Hammer's dedication to and focus on the uncial form occupied many years of his prolific and varied artistic life. The archives of the Wells College Book Arts Center in Aurora, New York, hold the majority of the extant materials related to the making of his typefaces. Various punches, matrices, and trial castings found in this archive have inspired the typefaces presented in this book. 'The Faces of Victor Hammer' features an intimate look at the man through a series of seven black and white photographs taken at Wells College in the 1940s by his friend, fellow Austrian expatriate Robert Haas. These portraits are paired with printed specimens of his typefaces. Materials were sourced from the Wells College Archives and reproductions were made where original materials could not be found. Specimens included feature the typefaces: Hammer Unziale (Hammerschrift), Ratdolt, Samson, Pindar, Aurora Uncial, American Uncial (3 sizes), Andromaque, Underwood Typewriter, plus Greek variants and test plate proofs.
book (2)

The Aries Press of Eden, New York.

Rochester , New York:: Dry Inc ,, 2022.. Edition of 50. 6.25 x 9.25". Type: Kennerley Pro by Lanston Type Company. Paper: Mohawk Via 700# Laid Natural White. Hardback case binding in Japanese Marine Blue cloth. Tipped-on spine label. Custom marbled endpapers by Stephen Pittelkow. Hand bound by Richard Kegler at Wells College Press. Signed and numbered by Richard Kegler. Press Statement: "The digital version of Frederic Goudy's Aries typeface, was released by P22 Type Foundry in 2003-and the result of Richard Kegler's ongoing research into the history of this type and the Aries Press are collected into this book. Co-published by RIT Press, 'The Aries Press of Eden New York' tells the story of a curious chapter in a long history of printing and independent publishing. There are many connections to renowned figures in the art, printing, and typographic worlds of the 1920s. The book is a complete bibliography and brief history of Aries Press. "Spencer Kellogg Jr., a businessman and book designer, founded the Aries Press in Eden, N.Y., during the 1920s with a vision to produce high-quality book designs. Kellogg hired talented workers with a passion for printing, including a craftsman connected to the nearby Roycroft campus. He also commissioned type designer Frederic Goudy to create a typeface for Aries Press. While the press was only open for four years, it produced many fine standard-setting examples of printing. "In 1926, the first book printed at the Aries Press, 'The Ghost Ship', by Richard Middleton, was named one of the 50 best-designed books by the American Institute of Graphic Arts. To uphold the high-quality printing values of a private press, no more than 300 copies of a book were printed. "The Aries Press was also known for its connections to William Morris, Rockwell Kent and Bruce Rogers. Kellogg purchased his printing press from Frederic Goudy. It was later known as the Kelmscott/Goudy Albion Press and was acquired by the Cary Graphic Arts Collection in 2013. "Printers, print historians and typographers will enjoy the Aries Press story as will anyone with an interest in Western New York history. The colorful examples highlighted in Kegler's book provide inspiration for today's contemporary designers. "This book was nominated for a bibliographic prize and is now offered in 3 formats: Deluxe, Regular, and for the intrepid book binder, Unbound press signatures." Deluxe edition: " A collaboration between P22 Type Foundry, RIT Press, and Wells College Press; Additional letterpress printed pages, including a frontispiece printed on the Kelmscott-Goudy Albion Press at Rochester Institute of Technology; " A specimen of Dard Hunter's Roycroft alphabet printed from wood type; Re-strikes from original Aries Press blocks; An original leaf from 'The Ghost Ship' printed at the Aries Press.
Resist.

Resist.

Seattle, Washington:: Grey Zone Press,, 2017.. Editions of 25 + 1 AP. 9.5 x 6.5". Two book set in a hand silkscreened slip case - "Ribbons of Resistance" (hardcover) and "100 Days/100 Postcards" (Softcover). Digitally printed. Signed in the book and the slipcase. Ellen Sollod: "'Ribbons of Resistance' chronicles the artist's project making and distributing 1500 embroidered ribbons at marches and demonstrations through 2017, including the Women's March, Science March, Immigration March and Tax March. It also features her 'I Resist/I Embrace' portrait project. '100 Days/100 Postcards' includes facsimiles of the postcards the artist sent to the White House during the first one hundred days of the Trump Administration." Project Statement Ribbons of Resistance: "Beginning in November 2016 immediately following the Presidential election, Ellen initiated a "resistance art" project titled Ribbons of Resistance. Through this, she sought to mobilize people to protect our democracy. Over the course of the next year, she made and gave away nearly 1500 hand-embroidered ribbons through the U.S. mail, at The Women's March, March for Science, Tax March, Climate March and the Immigrant March and through chance encounters. In giving away each ribbon, Ellen posed the question: 'Of particular concern to me are civil rights, the environment, women's reproductive rights and public education, what are yours?' She beseeched people to 'wear this ribbon as a reminder to stay informed, be vigilant and to take action.' As she gave ribbons away, she encouraged people to post a picture of themselves on Instagram using the hashtag #ribbonsofresistance. She documented the ongoing project through a tumblr site. "The project had several components: the ribbons, 100 Days/100 Postcards, and the "I "Resist/I Embrace" portrait project. Through the 100 Days/100 Postcards project, she penned and mailed a postcard to the White House each day for the first 100 days of the administration. Through 'I Resist/I Embrace', she made portraits of 50 people each holding a sign saying what they embrace and what they resist.
book (2)

A Specimen of Wood Type.

Rochester , New York:: P22 Publications,, 2020.. Folio Edition of 20. Book Edition: Slightly oversized Quarto 9.5 × 12.5"; 56 pages. 26 wood type specimens. Printed on 100lb Arjowiggins Utopia 2 Ivory Matte text paper. 82 hand-press runs in six different print shops. Case sewn and hand-bound in Asahi cloth (red or orange). Foil-stamped cover (gold on red or black on orange). Signed and numbered by Richard Kegler. Folio Edition: Same as Book Edition except specimens and descriptions unbound as individual one-sided plates. Laid in a box hand-bound in blue Asahi cloth with gold foil and spine label. Press Statement: "A tour de force of typographic design and a celebration of American printing innovation,' A Specimen of Wood Type' is a hand-bound, hardcover letterpress printed book by Richard Kegler. It features 26 wood type specimens hand-printed between January 2017 and October 2020 using the original wood types referenced to digitize the Hamilton Wood Type Collection (HWT) from P22 Type Foundry. Multicolor innovative layouts highlight the type designs printed with the actual wood type used to make these revivals are paired up with accompanying descriptive text that was set and cast in metal type by the celebrated Press & Letterfoundry of Michael and Winifred Bixler of Skaneateles, NY. "Richard Kegler printed the specimens using vintage wood type collections at six locations across the USA. These include the Hamilton Wood Type and Printing Museum (Two Rivers, WI); Wells Book Arts Center (Aurora, NY); RIT Cary Graphic Arts Collection (Rochester, NY); the Western New York Book Arts Center (Buffalo, NY); Flower City Arts Center (Rochester, NY); and P22 Press (Rochester, NY). The typographic showings vary from one to three colors each for a total of 82 press runs.
Medicine Dan.

Medicine Dan.

Los Angeles:: Desolate Press,, 2024.. Edition of 8. 7 5/8 x 6 1/8 x ¾"; 60 pages. Digital color printing and reproductions on Moab Legion Lasal Photo Matte 235gsm and Kayenta 205gsm paper. Signatures wrapped in imported papers of Thai Marbled Mulberry, Thai Mango, Thai Unryu, Lokta Bloom, and Aitoh Japanese paper. Some papers with custom rubber stamping. Two hand-stitched felt pages. Paper pocket of imported Khadi Indian Paper holding colorful stickers of Dan. Bound in 300gsm Gmund-color (Dusty Blue) hand-cut/embroidered cardstock cover. Handbound with a buttonhole binding using waxed linen threads imported from Ireland. Hand-cut silhouette of Dan on front cover with hand-embroidered title through 300gsm Gmund-color cardstock. Closure of special strap garnished with a wild turkey feather. Signed and numbered. Housed in custom 8 1/8 x 6 3/4 x 1 ¼" hinged Plexi Box. Artist Statement: "'Medicine Dan' is a story about a special animal who heals. This artist's book focuses exclusively on Dan, a cartoon character invented by Ayin Es. It includes various original sketches in colored pencils, as well as watercolor and ink illustrations. " Who is Dan? And where does he come from? Maybe you've noticed that Dan seems indifferent because he is neither smiling nor frowning because his mouth is just a straight line. Still, he seems to bring cheer to those around him anyway. He's magic like that. "Dan only speaks in colors, stripes or Hebrew letters, if at all. He also appears in different colors at times, but his natural color is light yellow ochre. He also likes to eat celery and brownie bits, but not at the same time. "Dan was born inside a Gimmel machine. Believe it...or not! His first words were the color yellow. "As the story goes, long before the birth of Dan coming into physical existence, he lived in a parallel universe called Dantasia. He lived there with insects and colors, and things that resembled trees, but once he found out that this parallel land doesn't physically exist, Dan got upset and became a staunch existentialist. He now has many other interests, such as upside down rainbows, roller skating, black holes, flowers, and turpentine. He knows he can't exist on Earth without some amount of turpentine, but he prefers Turpinoid Natural. He is much less smelly that way, not that he would notice since Dan is usually on Xanax. "Before Dan was born in color, he appeared one day in Ayin Es's pocket sized, moleskin sketchbook. It was when Ayin had been sad for a long while and then suddenly, Dan appeared! At first, it was in a rough manner and his name was very nearly 'Glen.' But then a few more waves of the pen, and there he was, exactly as you see him now: Dan - a life-saving, positive character that conquers depression. That's another reason why Dan is magic.
Birds of the Bible: Quail.

Birds of the Biblee: Quail.

Berkeley, California:: never mind the press ,, 2019.. Edition of 18. 5" x 7.25" folded tunnel book. Letterpress printing from handset English and Hebrew metal type. Linocuts. Printed on Somerset Velvet soft white paper. Bound in textured, sand-colored Japanese book cloth. Recess on front cover with cutout reduction linocut quail image. In slipcase. Signed and numbered by the artist.. Golden writes as she calls it "my fictional interpretation of the story, fleshed out, so to speak - A young person's view of the quail sent to the Israelites in the desert." Alisa Golden: "In the Biblical passage, the Israelites are wandering in the desert and the 'riffraff' are complaining to Moses that there is nothing to eat but manna and they are sick of it and want meat, particularly the fish and leeks and cucumbers, and so forth that they ate when they were slaves in Egypt. The Creator sends the quail, but there are consequences. "Selav. Quail was sent unwillingly … I learned how quail need a breeze in order to migrate, which makes the likelihood of this biblical story true. This story became a contemplation of greed and gratitude. I chose a tunnel book format in order to present reduction linocuts of both male and female quail in a large scale and included a two-page opening of the quail covering the ground." Alisa Golden, printing details: "Title page is letterpress printed on Somerset Velvet paper with handset metal and wood type. The wood type belonged to my grandfather, who owned a printing and publishing company. "The righthand section opens up to stand as an accordion-folded tunnel with three quail: two male and one female. The images were based on California quail, which are similar to the migratory quail found in the Bible.
Hexapodarium

Hexapodarium

San Francisco, California:: Salt Point Press,, 2022.. Edition of 1000. 10 x 8.25 "; 120 pages. Offset printing. Smyth bound, headbands, gilding. Debossed cloth hardcover. In illustrated paper wrapper. Press statement: "What might houseflies, who evolved 65 million years ago, look like 65 million years in the future? Wight created a series of prints in 2014 in which flies have evolved to mimic familiar flowers: daisies, calla lilies, tulips and astors. "Now, all sixty-four original prints have been gathered together in this gorgeous herbarium designed by Michelle Frey. With essays by Iain Boal and Meredith Tromble, this herbarium contains many additional photos, a conversation between Lawrence Weschler and Gail Wight, a Latin dictionary of flower names, and four full-bleed spreads of Wight's work Land of the Flies. "Filled with beautiful and detailed floral specimens, 'Hexapodarium' echoes the great botanical collections of previous centuries. Yet these flowers are otherworldly, constructed entirely from wings of ordinary house flies. They were created using composite photography of high resolution microscopic images of flies that expired in the artist's studio during a particularly hot summer. Each flower alludes to a true plant species, reflected in its Latin binomial: part flower, part fly. In turn, Hexapodarium's flowers become the palette for 'Land of the Flies'. These frieze-like futuristic landscapes are built from hundreds of composited layers of flowers, flies, and other interloping flora and fauna. "Three authors weigh in on 'Hexapodarium'. Lawrence Weschler, New Yorker columnist and author of 'Seeing is Forgetting the Name of the Thing One Sees' and 'True to Life: Twenty Five Years of Conversation with David Hockney', engages Wight in a conversation traversing Darwin's voyages on the Beagle, Dutch vanitas paintings, and the making of Hexapodarium. "Iain Boal, social historian of technics and the commons and co-author of 'Resisting the Virtual Life and Afflicted Powers', sees 'Hexapodarium' as an art for the anthropocene, where we relinquish our hold on the future and engage in celebrating those creatures surrounding us who have survived multiple epochs and hold the promise of evolutionary wiles. "Meredith Tromble ties it all together, placing Hexapodarium in the larger scope of Wight's works of art. For decades, Wight has focused on life forms other than our own. Evolution, cognition, the animal-state-of-being, and deep time have been a source of biological allegory for Wight's playful and provocative creations.".