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                <text>	Chronicles the Holocaust experiences of Alexander Groth as told to Barbara Milman in 1994&#13;
Originally published as part of: Light in the shadows. Middle Village, N.Y. : Jonathan David Publishers, 1997&#13;
"The linocuts are from an edition I started in 1995-1996 (limited edition of 25) and I have been gradually assembling them over the years into the accordion books"--Artist's email, dated 17 Sept. 2010&#13;
Letterpress printed. Accordion-folded pages attached to black paper-covered boards. Text and images are printed from linocuts</text>
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                <text>[El Cerrito, Calif] : [Red Parrot Press]: [Barbara Milman]</text>
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                <text>	14 unnumbered pages : illustrations ; 34 cm</text>
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                <text>Artist's book by Ginger R. Burrell&#13;
"Un[Hood]ed is printed on white vellum and Epson Premium Presentation paper with Laserjet and archival inkjet inks. The font is Consolas. Bound in quarter cloth hard cover with screw post binding." Un[Hood]ed is presented in a white sheet case. Quotes have been verified across mulitple media sources and, where possible, direct transcripts. Ginger R. Burrell ©2017. Edition of 20."--Colophon&#13;
Summary	"Un[Hood]ed examines the alarming audacity demonstrated by white supremacists in the United States. Once hidden under homemade white robes, today's alt-right members feel emboldened, empowered, and unafraid of the consequences of their racism. They no longer feel that they have to hide their identities. Un[Hood]ed looks at the direct and indirect messages from President Donald Trump to white nationalists. While he frequently claims ignorance of such a movement, his behavior and language tell another story ..."--From artist's statement on Vamp and Tramp Booksellers website</text>
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                <text>24 unnumbered leaves : illustrations (some color) ; 23 x 29 cm</text>
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(SECOND PLACE WINNER) Letterpress printed handmade artist's book / music project, housed in a clamshell box with postcards and lei-making kit. Printed from photopolymer plates and laser engraved wood blocks on cotton abaca handmade paper, chipboard, and French papers. / 12 x 12 x 3/4 in. / Edition of 50&#13;
Custom sectioned clamshell box containing pamphlet, postcards, lei-making kit, lyrics sheet, record in sleeve, stencil-cut portrait. Letterpress printed. Images and text printed from photopolymer plates and laser engraved wood blocks on handmade cotton/abaca, chipboard, and French Papers. Edition of 50: 10 deluxe, 40 standard. Both versions bound in illustrated printed papers. Standard copies are quarter-cloth bound; deluxe copies are quarter-leather. Title blind embossed on spine&#13;
Booklet has cover title: Uncovering Hawai'i's past, beyond textbooks and travel guides&#13;
Sound disc is accompanied by liner notes with lyrics (4 p.) and a papercut portrait of 'Onipa'a&#13;
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                <text>28 unnumbered pages : illustrations ; 22 cm + 1 audio disc (analog, 33 1/3 rpm; 12 in.)</text>
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                    <text>Photo of the cover of artist book They Called Her Styrene by, Edward Ruscha </text>
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              <text> DEN Spec Coll	 N7433.4.R78 .T49 2000</text>
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                <text>Los Angeles-based artist Ed Ruscha, one of the seminal American artists of the past 30 years, is known for taking elements from the visual language of advertising and commercial art: he has made hundreds of 'word' prints, drawings and paintings that exhibit an interplay between bold letters and softly shaded, atmospheric backgrounds. This book reproduces close to 600 'word' artworks by Ruscha, all of which characterize his artistic scope and identity. Assembled together in the form of a thick block, making the book and art 'object' in itself, these images become a sort of novel without an obvious plot: a series of words with no narrative but, rather, with a life of their own. Some of the works consist of only one word - great , mud , trust - and others of short combinations or phrases, such as Indeed I do , She Sure Knew Her Devotionals , Your Polyester People , That Housing Tract is Only Texture , and, of course, They Called Her Styrene . In these works Ruscha's words transcend their apparent randomness to become visual icons of universal emotions and places known and imagined, exposing a dimension of multi-layered irony and threads of subtle and inventive social commentary. This volume embodies an aesthetically appealing compilation presented, in the manner of its content, with bold flair and bright colours: a book that simply cannot be left alone.&#13;
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                <text>Description provided by: &lt;br /&gt;https://secure.syndetics.com/index.aspx?isbn=0714840114/summary.html&amp;amp;client=ohwesleyu&amp;amp;type=rn12</text>
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                <text>	[584] p. : chiefly col. ill. ; 13 x 20 cm</text>
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                <text>Creative Writing, Poetry </text>
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            <name>Description</name>
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                <text>	"Illustrations by Blanche Fisher Wright are in the public domain. Text is from traditional nursery rhymes. Manufactured in the United States"--Colophon&#13;
"This book is a small collection of stories taken from the 1916 The Real Mother Goose by Blanche Fisher Wright. Having been in print for almost 100 years--the most recent printing taking place in 1992--The Real Mother Goose has influenced the lives of children over many generations. This book explores the evolution of language and image under the contemporary connotations by obstructing and omitting portions of the original stories. The end goal of this remixed and redacted edition is to create a slightly different narrative calling on the linguistic differences created in the 100 year time span"--P. [30]</text>
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                <text>selected illustrations by Blanche Fisher Wright ; remixed and redacted by Robert E. Wilson II</text>
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            <name>Publisher</name>
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              <elementText elementTextId="9049">
                <text>Tucson, AZ : Spaceheater Editions,</text>
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            <name>Format</name>
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                <text>28, [3] p. : col. ill. ; 19 cm</text>
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            <name>Language</name>
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                    <text>Artist Book Nakazora scroll opened with images revealed and box cover placed next to scroll.</text>
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              <text>TR647.Y246 N35 2001</text>
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              <text>&lt;a href="https://primo.denison.edu/permalink/01OHIOLINK_DENISON/1jlgpk8/alma991035749739708509"&gt;https://primo.denison.edu/permalink/01OHIOLINK_DENISON/1jlgpk8/alma991035749739708509&lt;/a&gt;</text>
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                <text>East Asian Studies, Photography, Art History</text>
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                <text>'Nakazora' is a Buddhist term that has multiple meanings, including "the space between sky and earth; a state when the feet do not touch the ground; the center of the sky; the zenith." This combination of definitions and implications leads one to think of the spiritual, and in particular, how the physical world can reflect that 'other' world. It is a perfect word to use in relation to Yamamoto's work, for he is seemingly not concerned so much with subject matter as he is with allowing the subject to be a signpost to the immaterial, to that 'other'. Nakazora is the second publication on this Japanese artist's work, but it is not a book. Yamamoto designed an 18-foot scroll that has been printed in process color on uncoated Japanese stock. It is limited to 1,000 copies and is housed in a wood-and-acrylic presentation case. </text>
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                <text>Yamamoto Masao</text>
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            <name>Publisher</name>
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                <text>Nazraeli Press</text>
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            <name>Date</name>
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                <text>2001</text>
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            <name>Rights</name>
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                <text>Descriptioin from &lt;a href="http://www.photoeye.com/bookstore/citation.cfm?catalog=TR091&amp;amp;i=1590050231&amp;amp;i2="&gt;http://www.photoeye.com/bookstore/citation.cfm?catalog=TR091&amp;amp;i=1590050231&amp;amp;i2=&lt;/a&gt;</text>
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                <text>1 scroll : col. ill. ; 28 x 570 cm</text>
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                <text>Japanese</text>
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