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Vamp & Tramp, Booksellers, LLC

method-draw-image (23)

Watermarks.

[Janus Press] Riemke Ensing. Newark, Vermont:: Janus Press,, 2019.. Edition of 120. 11 x 10"; 5 panel fold out extending to left; 2 panel fold out extending to right; bottom pastedown connects the two foldout images and text. Numbered. Issued in a paper portfolio. Colophon: "The reef at Muriwai is a vitreograph printed by Judith O'Rourke at Littleton Studios in Spruce Pine North Carolina on Somerset paper: the second print is also of Muriwai in New Zealand and was printed digitally on an Epson P600 as was the cover on Barcham Green Renaissance III: the text is set in Neue Hammer Unziale and was printed letterpress by Andrew Miller-Brown on Barcham Green DeWint." Watermarks" includes two poems by New Zealand poet Riemke Ensing. The book can be paged through, but it also opens out to five feet wide to display vitreographs of Muriwai in New Zealand. Muriwai, wikipedia 01/16/2020: "Muriwai is a coastal community on the west coast of the Auckland Region in the North Island of New Zealand. The black-sand surf beach and surrounding area is a popular recreational area for Aucklanders. … Sand and rock (sedimentary), older volcanic material, with many concretions and layers in the cliff walls. A blowhole plays often. The shore platform is also well jointed, with the main rock type being piha conglomerate. … Muriwai Beach has black sand, caused by the iron content derived from the ancient volcanoes in the area, … The black sand is moved up the west coast of the North Island by longshore drift." Riemke Ensing, poetryarchive.org: "Born in The Netherlands, Riemke Ensing moved to New Zealand in 1951. A distinguished poet, Ensing's life has also been spent as a tutor at The University of Auckland (NZ), where until recently she was an honorary research fellow, as an anthologist, a visual arts essayist and reviewer, and a leading campaigner for Amnesty International.
method-draw-image (23)

Corruption

Maddox, Christopher Kit. [Madison, Wisconsin]:: ORCS,, 2019.. Edition of 150. 11 x 6.5" oblong; 76 pages plus cover. Printed four-color offset. Folded insert included inside the back cover. Also insert laid in. Perfect bound with printed heavyweight translucent vellum overwrap. Signed and numbered by the artist. Christopher Maddox: "'Corruption' tracks ten inflammatory quotations from world leaders as the words are translated across language barriers. Each chapter cycles a [highly-publicized] statement through the languages of the world's 80 most influential nations. The machine translation (MT) platforms used are noted throughout the work. The final translation for each chapter is presented on a full spread, typeset in a manner that means to accentuate its new poetic, interpretive essence. A folded pamphlet titled 'We Will Bury You' is mounted to the inside back cover. The booklet explains the origins and misunderstandings surrounding the infamous mis-translated quote by Nikita Khrushchev. It functions as a case-study that articulates the implications of this project." Christopher Maddox, synopsis: "'Corruption' is an art work in book form ... This work of experimental text art and process poetry is an anthology of experiments with the degradation of hostile and defensive messages delivered by world leaders. The collection tracks ten quotations as the words travel across language barriers. The process of translation, exacerbated by cycling through a chain of 80 languages, transforms specific ideas into something general, ambiguous, stripped of its original power.
Oyster Boat

Oyster Boat

[Small Craft Advisory Press] Lisa Bulawsky; Michael Rothenberg, Ann Hamilton, Sandra Simonds. Tallahassee, Florida:: Small Craft Advisory Press,, 2018.. Edition of 66. 5.25 x 7.75" slip case containing four issues of Oyster Boat. Each issue 5 x 7.5". Each issue numbered. Small Craft Advisory Press: "Oyster Boat fishes for the leftovers, deletions, false starts, or byproducts of making - the waiting spat. Bringing the peripheral to center focus, it harvests from the drafts and trimmings of contemporary artists, writers, and thinkers. "Hand-printed in small editions, Oyster Boat celebrates the sediment-rich material that feeds creative practice while charting new territories in collaboration and experimental book production." The four issues in Oyster Boat volume 1 are collaborations between the press and Sandra Simonds (poet and Associate professor English and Humanities at Thomas University), Ann Hamilton (visual artist and on the faculty of the Department of Art at the Ohio State University), Michael Rothenberg (poet and Florida State University Libraries Poet in Residence), and Lisa Bulawsky (artist and Director Island Press for Sam Fox School of Design & Visual Arts). Just as an oyster boat drags the bottom to scrape remnants that have lost their way, attempting to find value in what's left behind, Oyster Boat gathers remnants of past artistic projects and looks for new meaning through a different set of eyes.
Birds of Prey.

Birds of Prey.

Holland, Kyle. Memphis, Tennessee:: Kyle Holland,, 2016.. Edition of 6. 7.25" x 10.375"closed; 50 pages. Inkjet printing, screenprinting and letterpress printing from photopolymer and pressure plates on paper that was handmade from cotton linters and camouflage fabric. Text handset and printed from 14 pt. Fabritius lead type. Bound as a full-leather drum leaf with a cold-tooled motif on front cover. Housed in a slipcase covered with wood veneer. Kyle Holland: "Both the history of my relationship with my father and my experience growing up in the South have led me to believe that I must possess a certain set of qualities to be considered a man in the context of masculine culture. It seems that a man should be risk-taking and effortlessly exhibit strength, pride, confidence and superiority. I believe that embodying these characteristics is requisite for living among other men without judgment. However, both my behavior and physical appearance prevent me from blending in among the conventional man. I feel that I am looked upon with disdain by other men who disallow my individuality while simultaneously rejecting my efforts to fit in, rendering my attempt to attain 'manliness' as socially forbidden. 'Birds of Prey' captures this feeling by depicting a journey through my psychological landscape. The feeling of being looked down on by other men is embodied by the vultures that loom and overshadow a deer which appears vulnerable and skinless. The imagery in the book is accompanied by text that was excerpted from Mary Shelley's 'Frankenstein' due to the resemblance between Victor Frankenstein's relationship with his creation and my relationship with my father. In 'Birds of Prey', Victor Frankenstein is the omniscient voice of the vultures and Frankenstein's monster gives voice to the deer."
One Hundred Excellent Flowers.

One Hundred Excellent Flowers.

Meador, Clifton. Boone, North Carolina:: Clifton Meador,, 2019.. Edition of 200. 8.5 x 11"; 62 pages. Florescent four-color offset lithography. Post-bound book with die-cut paper wrapper. Clifton Meador: "On February 27, 1957, Mao Zedong gave a speech titled 'On the Correct Handling of Contradictions Among the People.' In this speech, he quoted a poem: 'Let a hundred flowers bloom / Let a hundred schools of thought contend.' His speech invited citizens to voice their opinions and criticisms of the Communist Party. "It was followed in the summer of 1957 with the Anti-Rightist movement, where between 300,000 and 550,000 individuals were identified as Rightists - most of whom were intellectuals, academics, writers and artists. Mao later said the Hundred Flowers movement had enticed the snakes out of their lairs. The majority of those accused of being Rightists were publicly discredited and lost their jobs or worse. "Historians argue whether Mao was sincere in his desire to encourage free expression and came to regret it, or if the entire Hundred Flowers movement was a trick to expose his enemies. "During the fall of 2018 - like many other people -I became angry at the sense that lying has become an acceptable rhetorical strategy. My anger spread to contemplation of the myriad ways we are being lied to, from politics to marketing. It was late summer in western North Carolina, and I had been photographing flowers since spring. I had been thinking, as I have for a long time, about how photographic representation presents nothing other than itself - a printed image is just ink on paper, not a magic window into an alternative reality. The way an image gets printed - the technical issues in printing - are a large part of the reception of the image. I determined to make the technical necessities of image production into an issue in this piece - interfering with the way a raster creates tone by making it obvious and expressive. "Flowers are a trick to seduce pollinators into helping the plants reproduce. I saw the snack foods as seductions, lies of a different kind, and I took parts of Mao's speech and reiterated it for a consumer's lament. "
Out of the Blue

Out of the Blue

[Thielen, Beth] . [Blythe, California]:: Arts in Corrections,, n.d... Edition of 26. 4.75 x 6.75"; 24 pages. Accordion structure. Relief prints cut from Battleship linoleum. Printed on Tableaux Paper using water-based printing inks. Registration and reduction methods utilized in achieving the color plates. Each print numbered and signed by the artist. Front and back cover designed by Chris Bell. Bound in blue cloth covers with handwritten paper title label inset on front cover. Housed in custom matching blue cloth box designed by Beth Thielen to pop-up the book when opened. Interior of box painted blue. I4.75 x 6.75"; 24 pages. Accordion structure. Relief prints cut from Battleship linoleum. Printed on Tableaux Paper using water-based printing inks. Registration and reduction methods utilized in achieving the color plates. Each print numbered and signed by the artist. Front and back cover designed by Chris Bell. Bound in blue cloth covers with handwritten paper title label inset on front cover. Housed in custom matching blue cloth box designed by Beth Thielen to pop-up the book when opened. Interior of box painted blue. Inmates of the Chuckawalla Valley State Prison in California participated in Printmaking and Creative Writing Workshops conducted by Arts in Corrections. The writers and printmakers paired to produce verse and images. The resulting book has nine images with accompanying verses. Colophon: "The project was funded by Artsreach, UCLA Extension, and the Department of Corrections, Office of Community Resources. The workshop instructors were Artsreach Contract Artists: Ms Janet L. Kassner, Printmaking; Mr. Rigobero Garnica, Creative Writing; and, Ms Beth Thielen, Book Arts.
Landscapes of the Late Anthropocene.

Landscapes of the Late Anthropocene.

[Spaceheater] Philip Zimmermann. Tucson, Arizona:: Spaceheater Editions,, 2017.. Edition of 50. 4.5 x 5.5"; Text block printed by offset at the Center for Book and Paper at Columbia College Chicago on their Heidelberg GTO. Printed done by Brad Freeman and his Columbia College Book & Paper graduate students. Bound in hard cover boards with end sheet pastedown. Covers and end sheets printed by Philip Zimmermann using pigmented archival inkjet. Foil-stamped on the cover and blind embossed title on the spine. Includes information pamphlet of 8 pages. Book signed, numbered and dated by the artist. Zimmermann combined three different interests to make a compelling book about climate change - the rising sea levels, airport control towers, and language. Phil Zimmermann: "Due to a general public concern about climate change, most people have become aware of the term 'anthropocene.' It's a word relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment. For the last two years I have been thinking about a way to make a new artists' book related to the issues that prompted that term 'anthropocene.' "When I thought of a sea level rise of two hundred feet and what that could mean in terms of our cities and our society, the future seemed incredibly bleak. For the landscapes in the book, I decided to create a dystopian set of images that hinted at a future watery world, one where the remnants of civilizations lived in armed and guarded towers, growing their food in vertical farms inside these towers. The rest of the world population would have mostly died off. Marauding remnants exist in small groups that would try to gain entrance into these armed tower structures. The backgrounds of these images were built using scans of steel engravings from several 19th century books. I used photos of water and waves to make the foregrounds. … The goal was to create a series of images of a forbidding and lonely watery world, one that was austerely beautiful but scary and thought-provoking "About two years ago I read an online article by Sarah Zhang, entitled 'The "Harvard Sentences" Secretly Shaped the Development of Audio Tech.' The article was about a fascinating subject, the creation of a series of text lines that were used to test the fidelity of spoken words when broadcast over military and civilian radio transmitters. What ended up being 720 lines of text started as a series of short sentences that were meant to test the accuracy of military communication systems towards the end of the Second World War. … What I found especially interesting about these 720 sentences -72 lists of ten sentences each- is that they are mysteriously poetic and timeless. But they can also be thought of as metaphor for determining (or not) meaning from the static, transmitted signal from noise. We, as the populations and governments of planet earth, certainly have not yet registered the dire warning message of global warming. "For the duotone pages I used two sets of images. For the blue background, I used Google earth satellite views of water and shorelines, printed in that deep blue Pantone color. NOAA images of maritime depth charts were used for the silver depth numbers and contour lines. Editing and selecting the Harvard Sentences was a great deal of fun. There were so many that I felt had poetic resonance with the subject matter, starting with the initial text line, 'There is a lag between thought and action' which seemed the perfect way of describing where we as earthlings are in regards to climate change.
Hunted.

Hunted.

Holland, Kyle. Memphis, Tennessee:: Kyle Holland,, 2018.. Edition of 3. 11.5 x 13.5" closed; 14 pages. Stenciled cotton pulp on abaca base sheets, screenprinting and letterpress printing from photopolymer plates. Text printed from 12 pt. Nikola. Bound as a softcover drum leaf with the title printed on the front cover. Laid in a matching paper folder with slip and slot closure. Signed and numbered by the artist. Kyle Holland: "Hunted was inspired by the sensory deprivation and daunting fear of the unknown that is experienced by those who brave the wilderness at night. Several color shifts beyond a recurring wooded area represent how our eyes adjust to nightfall. It is darkness that distorts our visual sense and conceals who or what could be around. The protagonist has been omitted in this book to make the landscape the force that haunts and shapes the viewer, just as it does me. "Most of the images in this book were created using blowouts which involves the use of stencils to cover up and protect portions of freshly formed sheets of paper while the exposed areas are blown away with a hose. The result is a hazy, dark form reminiscent of what we see when our vision is impaired. These sheets were couched on top of overbeaten abaca papers which evoke the sound of leaves crackling underfoot as the pages turn. "The text that was chosen to narrate Hunted is excerpted from Paul Willems' "Cathedral of Mist." In this short story, darkness has a mysterious, spiritual quality and is the setting in which inanimate objects come alive through personification. Absence and presence are suggested simultaneously, leaving readers to question whether or not they are alone.
I Know the Woods Come Alive at Night.

I Know the Woods Come Alive at Night.

Holland, Kyle. Memphis, Tennessee:: Kyle Holland,, 2018.. Edition of 23. 6" W x 9" H (closed); 14 pages. Offset lithograph on Steel Blue French Paper. Text screenprinted from 12 pt. Hoefler. Bound as a modified accordion. Signed and numbered by the artist. Includes sheet with instructions for displaying. Kyle Holland: "The book depicts the forest at dusk using one-color offset lithography to reproduce photographs of a misty woodland edge and the flora leading up to it with an additional graphic image of trees and text screenprinted on top. It is not bound in the strictest sense of the word; rather, each printed sheet was folded and cut in such a way that, when the book is displayed how it was intended to be viewed, it takes the form of a modified accordion structure. A portion of the sculptural book stands while the rest of it lies on the surface it is displayed on resulting in a 9" tall x 24" wide small-scale environment that the viewer/reader can walk around. "The text in this book was excerpted from an online hunting forum entitled 'Do you ever get afraid in the woods?' and is positioned low on the pages, causing the viewer/reader to crouch down to read as if they are looking for something in the thicket. The process of reading discussions on these online hunting forums allows me to enter a liminal, virtual space from which I emerge along with the other men who inhabit them, with whom I sympathize, as an aggregate, ambiguous identity; as a result, the mediated text in the work embodies this quality, that is, information on the original hunting forums has been omitted to the extent that the source and authors of the text are indiscernible. Ultimately, it was not my intention to single these individuals out by revealing their identities, but rather to commemorate the courage it took to share their anecdotes with an online community that is undoubtedly trolled by judgmental men."
Vance Gerry & the Weather Bird Press /  with contributions by Vance Gerry

Vance Gerry & the Weather Bird Press / with contributions by Vance Gerry, Simon Lawrence, David Butcher, Patrick Reagh, James Lorson and John Randle & with a checklist of publications compiled by David Butcher.

[Whittington Press] John Randle. Risbury, Herefordshire, England:: Whittington Press,, 2018.. Edition of 235. 9.5 x 13"; 10 unnumbered pages, 86 numbered pages, 2 unnumbered pages of plates, XII pages of plates: illustrations (some color), facsimiles. Includes bibliographical references and index. Set in 13 point Poliphilus type. Printed letterpress on Zerkall mould made paper. Numbered. Contents: "Vance Gerry, a memoir" by Simon Lawrence; "Vance Gerry & the Weather Bird Press" by Vance Gerry; "Vance in his own words, 1989-2005" by David Butcher; "My friend & fellow printer, Vance Gerry" by Patrick Reagh; "Vance Gerry & Lorson's Books & Prints" by James Lorson; "Checklist of Peach Pit Press & Weather Bird Press publications, 1963-2005" by David Butcher. Also included "Fair Wind" (4 pages, no date), a tipped-in reproduction containing an excerpt from "Two Years Before the Mast" by Richard Henry Dana Jr; and, two leaves of facsimiles in a pocket of inside back board. Edition of 235 issued in three states: 40 A copies; 40 B copies; 155 C copies. 'A' copies "bound in full leather, with a portfolio of some 21 booklets and items of ephemera found in Vance's shop after he died - most were unbound and we bound them up in his usual understated style. They perfectly catch the essence of his style of printing and illustration. With a separate facsimile of Vance's 'Jazz Instruments, generally regarded as the finest of his pochoir books, and a descriptive booklet of high resolution black/and/white photographs of his workshops in their various locations in Southern California. All in a leather-backed solander box. Whittington Press: "Vance Gerry began printing books in 1963 when he started his Peach Pit Press. Four years later he changed the name to the Weather Bird Press which he ran in South Laguna, California from 1967. Until his death in 2005 he produced a stead stream (he'd have preferred 'trickle') of some of the most understated, beautifully printed and ravishingly illustrated books from any private press, ever. Vance's lightness of touch, his incomparable facility as a draughtsman, the slightly starved look he gave to the inking of his type, the quiet humour of his writing (when the mood took him), combine together in books that have few parallels elsewhere. "He was an undisputed master of the medium of the pochoir, or stencil, technique, and the editions he issued of these, and the other books, are therefore small.
The Republic of Dreams

The Republic of Dreams

[Nawakum Press] Bruno Schulz. [Gig Harbor, Washington]:: Nawakum Press,, 2019.. Edition of 36. 9 x 15"; 36 pages. Bilingual edition. Includes three original etchings by Thomas Wood. Letterpress printed in green and black ink from photopolymer incorporating Preissig and Irena typefaces. Printed on handmade DaVinci paper from Twinrocker Paper and Nideggen mouldmade paper from the German Zerkall paper mill. Bound in Metallic decorative paper covers produced by Ingrid Butler in Sausalito, California. Housed in a Japanese cloth, overlapping double panel box enclosure secured by rare earth magnets. Print and bindery production by Foolscap Press. Numbered and signed by the artist. Nawakum Press: "Bruno Schulz died tragically over seventy years ago in 1942, lost during the Holocaust to a Gestapo officer's bullet. He was a Polish writer, painter, literary critic and art teacher born in 1892 in what has now become a part of Ukraine. He is often referred to as the 'Polish Kafka' and was one of the greatest Polish-language prose stylists of the 20th century. Both Schulz and Kafka belonged to assimilated Jewish families of the Austrian-Hungarian Empire, and both held down ordinary jobs while spending their free time writing. Schulz came to writing late, and his body of written work is small, just two volumes of short stories remain- 'The Street of Crocodiles' and 'The Hourglass Sanatorium'- along with a handful of compositions, a great deal of correspondence, some critical essays, and over five hundred paintings and prints. Several of his written works have never been recovered, including the unfinished novel 'Messiah', and the novella 'The Homecoming' written entirely in German. Schulz was a solitary man, who traveled little and wrote of familiar surroundings where he invested prosaic events with dreamlike imagery. In his stories, as in 'The Republic of Dreams', there is a fluid reality that is subjected to constant metamorphosis, blurring the borders of time, the real world and dreams, the physical and the spiritual. This story was written sometime in the first half of 1936, most likely in Warsaw, and the setting is not far from the city of Drohobycz where he lived and died, and where his family would occasionally go to escape the oppressive summer heat. The underpinning of the fantastic, with references to actual places where Schulz lived and from which he wished to escape, but which in smothering him fed his imagination, is a familiar theme in his work. In 1938 Bruno Schulz was awarded the Polish Academy of Literature's prestigious Golden Laurel Award. "Since the 1970s Thomas Wood has been an artist and printmaker; he studied at Western Washington University's Fairhaven College, and in Florence, Italy. His art brings easily recognizable elements of nature and civilization into strange concrete fusion, often combining moral and meta-physical ideas in a delicate dance that at once both challenges and delights. … The artist lives in Bellingham, Washington, with a view of his garden, and Lummi Island beyond. "This new translation is from the Kenan Professor of Slavic Literatures Emerita at the University of North Carolina, Chapel Hill. Levine received her Ph.D. from Harvard University in 1971. Her translations from Polish include 'Bread for the Departed' by Bogdan Wojdowski, 'The Woman from Hamburg' by Hanna Krall, and four volumes of prose by Czeslaw Milosz. In 2018 Northwestern University Press published her translations of Schulz's 'Collected Stories'. Bill Stanley from the University of Cambridge describes her work as both courageous, and impressive in her fidelity to the original text. "The Republic of Dreams was designed in collaboration with Peggy Gotthold and Lawrence G. Van Velzer of Foolscap Press. All print and bindery production was executed at their Press in Santa Cruz, California. Peggy Gotthold previously worked as a bookbinder at Schuberth Bookbindery in San Francisco and at the Arion Press. She trained in letterpress printing and typesetting at Cowell Press (UCSC), Yolla Bolly Press and Artichoke Press. Lawrence G. Van Velzer operated his own press and worked as a printer and typesetter at Arion Press. The proprietors of Foolscap Press are known for their inventive, finely made, hand-crafted books, and since 1990 have consistently published remarkable work that both surprises and delights." Colophon: "The text is letterpress printed … incorporating Preissig and Irena typefaces. Vojt?ch Preissig was a highly accomplished Czech graphic designer, painter, illustrator, and typographer in the early 20th Century. He participated in the resistance movements of both World Wars and died at the Dachau concentration camp in June of 1944.
You Can Help Yourself.

You Can Help Yourself.

[Cabbagehead Press] John Risseeuw. Tempe, Arizona:: Cabbagehead Press,, 2019.. Edition of 10. 36 pages; 6.25 x 8.25". Three codex sections with two accordion sections in between. 6 copies with shaped deckles on the accordion sections and 4 copies on a different handmade paper. Printed letterpress in metal and polymer and an unknown wood type. Handmade papers leftover from artist's previous projects. Includes two-page footnote section. Bound in dark brown leather with paper title on front board. Blue belly band closure with "Federal Reserve" printed on it. Signed and numbered by the artist. Colophon: "'You Can Help Yourself' was created in 2019 after a group study of Privilege brought long-considered concerns to a place of necessary witness. Billie Holiday's song has played in the background of my days for years, and its plaintive verse provided the starting point, finally, for a way into a print project on the subject of wealth inequality with substance appropriate to these days of chaos and idiocy. ... All completed by the proprietor, John Risseeuw, because he could, he wanted to, and he had to." John Risseeuw: "The subject matter is income inequality. The title and some phrases inside are from Billie Holiday's 'God Bless the Child.' The rest of the texts are all factual from multiple sources that are footnoted at the end." Text excerpt: "[The 2017-passed tax] cuts for middle-class wage earners fade over time. By 2026, changes to individual tax rules expire, while corporate changes are permanent. "In 1933, corporate taxes provided 30.5% of federal revenues. In 2018 it will be 6.5%.
Talisman.

Talisman.

[Crooked Letter Press] Ellen Knudson. Gainesville, Florida:: Crooked Letter Press,, 2019.. Edition of 100 (1-53 Deluxe; 54-100 Standard). 4.625 x 5.75" folded. (12 x 18" flat). Single sheet book. Three linoleum cut prints. Printed from photopolymer plates. Written, designed, letterpress printed, and bound by Ellen Knudson. Signed and numbered by the artist. Deluxe: Printed on Okawara paper. Includes wrapper enclosure made from Cave Paper treated with foil stamp and metal grommets. Interior pocket "FEAR" and "DOUBT" cards to be used for personal notes. Standard: Printed on Mohawk Superfine 80# text paper. Delivered flat with instructions to fold into book structure if desired. Wrapper enclosure and pocket cards are not included with the standard edition. Crooked Letter Press: "Talisman is an offering in support of artists and creative people that might be feeling alone in the world these days. Since 2016, as an artist (and as a human being) I have found it difficult to feel motivated while the worst traits of humanity have not only surfaced in our country, but are being celebrated. Writers and artists before us have lived through similarly poisonous times and created iconic works despite the tumultuous climate. Talisman is an amulet, a charm to keep with us. The linocut image of the boat-tailed grackle is intended to be a familiar spirit to guide us through rough territory. In times like these, it helps to keep our friends close.