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                <text>Issued in a slipcase. "Images are from scientific books and other "official" sources dating from 1590 to 1968. Accompanying texts are a series of imagined apologies written by the artist in the style of the time period. Both text and imagery were printed letterpress from photoengraved plates onto handmade sheets of Velke Losiny Prague. Color fields on recto pages are waterbased ink washes. The edition is three-quarter bound in the style of 19th century textbooks."--Colophon. "This edition was printed and bound by the artist in the spring and summer of 2014, with typographic assistance from Kathleen McMillan. Calligraphy and handwritten texts are by Linda Broadfoot, Maureen Cummins, Karen Gorst, Nancy Howell, and Emma Shoots."--Colophon. Limited edition of 25 copies, signed and numbered by the artist.</text>
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                <text>Description from Skidmore.edu &lt;a href="http://digitalcoll.skidmore.edu/cdm/ref/collection/p15968coll3/id/1629"&gt;http://digitalcoll.skidmore.edu/cdm/ref/collection/p15968coll3/id/1629&lt;/a&gt;</text>
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                <text>60 unnumbered pages : illustrations, maps ; 22 x 30 cm</text>
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              <text>DEN Spec Coll          N7433.4.H37 J87 2016</text>
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                <text>3.5 x 4.5 x 1.5" ; 62 double sided cards. Divided into two card sets of 31. Digitally printed. Enclosed in wrap and slip case with title on front. Signed and numbered by the artist.&#13;
&#13;
"Just One Look: Pairing / Passing" contains two decks of cards to play two games giving the participants opportunities to confront issues of identity through race, gender, religion, and culture.&#13;
&#13;
Pairing instructions: "30 cards. front: b&amp;w images. back: Roman numerals. 1 to multiple players. Players take turns to complete individual rounds. Using the whole deck and without sharing results, the first player creates image pairs for all cards (15 pairs) and notes the pairings on a piece of paper by writing the identifying Roman numerals that make up each pair. Subsequent players: repeat. Compare results. Single players: replay to create new pairings."&#13;
&#13;
Passing instructions:"30 cards. front: skin tones. back: Arabic numerals. 1 to multiple players. Players decide on a 'passing' stack or stacks. What is 'passing'? Passing for black? White? Latino? Asian? Middle Eastern? African? Etc.&#13;
&#13;
"Deal hands face-down using all cards. Players take turns placing one card at a time on the mutually designated stack(s). On a piece of paper, completed stacks are noted by listing the Arabic numerals that make up each stack. Shuffle and play again." - See more at: http://vampandtramp.com/finepress/h/lyall-f-harris.html#sthash.irTleuI5.dpuf</text>
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                <text>Description from Vamp and Tramp &lt;a href="http://vampandtramp.com/finepress/h/lyall-f-harris.html#sthash.irTleuI5.dpuf"&gt;http://vampandtramp.com/finepress/h/lyall-f-harris.html#sthash.irTleuI5.dpuf&lt;/a&gt;</text>
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                <text> 62 cards : illustrations ; 12 x 9 cm&#13;
Edition of 20</text>
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                    <text>The Cover of Artist's Book Canto A Matanzas envelop</text>
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              <text>DEN Spec Coll          N7433.4.R55 C25 2014</text>
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              <text>&lt;a href="https://primo.denison.edu/permalink/01OHIOLINK_DENISON/stl7e4/alma991050375329708509"&gt;https://primo.denison.edu/permalink/01OHIOLINK_DENISON/stl7e4/alma991050375329708509&lt;/a&gt;</text>
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                <text>Latin America and Caribbean Studies, Spanish, Studio Arts</text>
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                <text>The book is incased in a pocket that has a loop of rope at the top which suggests it is meant to be hung. The pocket is designed to look like a front of a house. The roof of the house is a flap that opens up to reveal a folded peice. The peice contains the Canto a Matanzas which is a poem written by Clarida Olver Larbra.</text>
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                <text>Oliver Labra, Carilda &amp; Ponce, Augustina &amp; Ríos, Marialva</text>
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                <text>Ediciones Vigía</text>
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                <text> 1 volume (unpaged) : color illustrations, portrait ; 21 x 23 cm&#13;
Denison's copy is no. 126 of 200</text>
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Promotional statement: "Through laser-cut rotating wheels (volvelles) Rain/fall proposes a new poetic form determined by weather data, where each page contributes two lines to a poem assembled by the reader in accordance with the local forecast. Designed by Denise Bookwalter and fabricated at Small Craft Advisory Press at Florida State University, the book is part of a hybrid project: a companion app, engineered by Meg Mitchell at the University of Wisconsin, and available free of charge on Apple’s App Store, performs the same function digitally, accessing local weather data through GPS.&#13;
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                <text> 1 volume (unpaged) : illustrations (partly color) ; 20 x 21 cm&#13;
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                <text>11.25 x 11"; 56 pages. Double-sided accordion. Designed and letterpress printed by students of the VCUArts Bowe House Press under the creative direction of Professor Jamie Mahoney — Adele Ball, Collin Brideau, Claire Corneal, Ben Evjen, Ashley Gladner, Mary Selph, Kyle Tellier, and Weijian Zhou. Digitally printed by Christian Gregory, VCUArts Painting + Printmaking. Numbered.&#13;
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VCUArts Bowe House Press: "Sanctuary, a limited edition of 50 books, is the result of over two years of work by more than 50 writers, artists, and activists. The idea for making a codex was born in a writing class in the Richmond City Jail. Our codex is a blend of politics, pop culture, and art. It navigates the border between inside and outside, as prisoners, some still incarcerated, some now free, created the writing and the drawings. We believe that art has the potential to transform culture. This is our attempt. It certainly has transformed us. " - See more at: http://www.vampandtramp.com/finepress/v/VCUarts.html#sthash.hFumX2me.dpuf</text>
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                <text> 4 volumes : color illustrations ; 25 cm, in a slipcase measuring 27 cm&#13;
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                <text>Psychology, Creative Writing, Studio Arts</text>
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                <text>Offset lithography on paper; book cloth on millboard. Printed on Gmund Bier paper made of recycled beer labels, pulp and beer fibers (hops, malt and yeast).&#13;
&#13;
Looks at the way we choose to deny our own realities through alcoholism, an addiction that perpetually allows us to disavow our difficulties with the world as we find it. The book reflects the never-ending cycle that is characteristic of any addiction, as the addict continually attempts to grapple with a reality which is uncomfortable and intolerable. What is favored by the addict is a short-term solution to long-term psychological discomfort at the expense of living in reality and working though the reality’s unpleasant aspects. The result is a repetitive reliance on a diction that controls and restricts what we perceive and feel as real. The book utilizes the page shape of a pint glass, and by doing this, the angled unfolding of the book’s monologue creates a full circle when open that carries the visual and structural metaphor of the cycle of addiction. </text>
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                <text>Description from Vamp and Tramp &lt;a href="http://www.vampandtramp.com/finepress/w/weston.html"&gt;http://www.vampandtramp.com/finepress/w/weston.html&lt;/a&gt;</text>
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                <text>30 unnumbered pages ; 15 cm&#13;
Denison's copy is signed by artist and is no. 86</text>
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              <text>DEN Spec Coll          N7433.4.W477 R42 2000</text>
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              <text>&lt;a href="http://consort.library.denison.edu/record=b4867082~S6"&gt;http://consort.library.denison.edu/record=b4867082~S6&lt;/a&gt;</text>
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                <text>4 x 4.75”; 16 pages. Handsewn in red cloth over boards. Cover title of raised and impressed letters, seen from below the surface of the cloth, extends the theme of text and subtext. Signed and numbered edition.&#13;
&#13;
This highly unusual artist's book uses heat-sensitive ink, that relies on the reader's inevitable contact with the page, to explore the ordinary and uncomfortable phenomenon of blushing. At first sight, the book contains a text that is reversed (white) out of red ink—like letters incised into a surface. But as the reader handles the book, the warmth from her fingers causes the ink to fade, revealing a private and intimate text, between the lines. The reader has to actually feel her way around the primary text, to get the full picture. Rationale gives way to inner dialogue. The calm, reasoned voice of, " I f I'm honest, I think I was put off by my rather disarming tendency to blush. At the slightest thing. I t always perplexed me," covers subconscious embarrassment: "Never do this again. Avoid this at all cost. Confusion and distress cloak themselves in shades of nonchalance. It's only a colour. I'm fine. Really." The interaction of the materials informs the process of reading and the unraveling narrative. </text>
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                <text>1 volume (unpaged) ; 13 cm Denison's copy is signed by artist is is no. 108</text>
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                <text>Description from Vamp and Tramp &lt;a href="http://www.vampandtramp.com/finepress/b/Hannah-Batsel.html#sthash.XvylQCGw.dpuf"&gt;http://www.vampandtramp.com/finepress/b/Hannah-Batsel.html#sthash.XvylQCGw.dpuf&lt;/a&gt;</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="3775">
                <text>4 volumes : color illustrations ; 14-24 cm, in box (26 x 18 x 6 cm) + 1 sheet (24 x 17 cm) in envelope Denison's copy is signed by the author and is no. 41 of 50</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="3776">
                <text>English</text>
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