Search Results: Authors starting with P from Vamp & Tramp, Booksellers, LLC

Tuscaloosa & Havanna:: Parallel Editions,, 2012.. Edition of 66. 7.25 x 9.75" wrapper with pamphlet and prints. Letterpress printed pamphlet of 12 pages sewn into wrapper. 8 intaglio prints signed and numbered slipped into back folding flaps. Text in English and Spanish. Handbound in paper wrappers. Angel Manuel Ramirez: "The Experimental Graphic Workshop of Havana, a workshop, that this year celebrated its 50th anniversary, already has a long history with the trajectory of prints. Many Cuban and foreign artists have made use of the facilities in order to leave their own mark. Nevertheless, over so much time, the number of projects related to books was not so great as to represent a line of work. "That was when Anna Embree and Steve Miller, from The University of Alabama, arrived on the scene with their projects, their constantly renewed students, and above all their enthusiasm and keen knowledge needed to begin the miracle, to construct books where everything is art, and to… Read More

Clonmel, Tipperary, Ireland:: Coracle Press,, 2019.. Unstated. 72 pages; 160 mm x 240 mm (6.3 x 9.4"). Softcover. Casebound with flaps. Offset printed. Photographs of street and pavement covers taken in various countries around the world in 2011. Each photograph with location and date documented.  The overriding arch of Downbrough's work is examining the meaning of space and place (see Art Dictionary article accessed 8.19.19 https://www.hatjecantz.de/peter-downsbrough-5626-1.html). Peter Downsbrough: "With the word, one takes part in a dialogue, a discourse on its precise meaning. … The word for me is an object. It has both a precise and a vague meaning. It is a universe one is confronted with. But there is no obligatory way of reading."

Rochester, New York:: Visual Studies Workshop Press,, 1993.. Edition 1000 (only 700 printed). 5.5 x 7.9"; 96 pages. Pentagon with 4" spine and each of the other sides 4.25". Unmatched irregularly cut pages. Offset printed. Produced and printed for Montage '93, International Festival of the Image, Rochester, NY, 1993. Signed by the artist. Johanna Drucker, The Next Word: "The pages of [High Tension] are cut at the edge in that triangular shape. It's about anxiety, and it pricks your fingers as you turn the pages."  Renee Riese Hubert & Judd D. Hubert, The Cutting Edge of Reading: Artists' Books: "[High Tension] overwhelms us with a surprisingly varied profusion of images. Each of the many double pages introduces at least one radically new picture having more often than not merely a marginal relationship with those that had preceded. We must process these words somewhat gingerly in terms of our own past experiences when immediate recognition fails.… Read More

Barrytown, New York:: Space Heater Multiples,, 1983 / 1984 .. 5 x 8" closed, unfolds to 23.625". Printed offset in four-color plus white on a pale gray paper. Text, appropriated images, patterns reproduced in exaggerated dot screen. Saddle sewn with wrap covers. Without stamp sheet (which is out of print). Phil Zimmermann: "In late 1983 I decided that I wanted to do a book that reflected the upcoming Orwellian year of 1984. The cold war was still at its coldest and most frightening. Ronald Reagan uttered the now famous words at a microphone that the USSR should not worry, the bombers were already on their way to hit the Soviet Union. He meant it as an adlibbed joke, but many of us thought that it was a Freudian indicator of his true feelings about the bomb and the Soviet Union as the Evil Empire. It would be hard for the youth of today to know how scary many people felt the times were there. I participated in a huge Ban the Bomb rally in Manhattan during the summer of 1983. No one… Read More

Tucson, Arizona:: Spaceheater Editions,, 2014.. Edition of 30. 8 x 8"; 30 pages. Printed by archival inkjet on uncoated oatmeal Speckletone paper made by The French Paper Company. Drum-leaf binding. Signed and numbered in silver ink on the back board by the artist. Prospectus: "The book is a slightly off-kilter investigation into the nature of faith and its relationship to scientific evidence. The interior narrative text is relatively straightforward but the covers hold other informational text in a circular or spiral manner that is not conventional. "Created as a series of two-page board-book spreads that minimize the visual distraction of a traditional 'gutter'. The edges of the book cover have text that goes around the entire book and includes some text that is set in a type face that is called Deseret, created by Mormons in the 1860s and abandoned after a few years. Phil Zimmermann: "On January 5th, 2014, seven book artists were in Salt Lake City to… Read More

Tucson, Arizona:: Spaceheater Editions,, 2015.. Edition of 50. 6.5 x 9"; 40 pages including covers. Acid-free French Paper. Images printed using archival inkjet ink with three-color foil stamping on the cover, the title page, and the back cover. Interior flame sheets are loose-inserted in a slot in each interior folio. Hard-bound using a multi-needle coptic stitch with sewn-on hard covers made of acid-free solid-core black museum board. Signed and numbered by the artist. Laid in acid-free phase box. Philip Zimmerman: "I started doing research on the history of book-burning after seeing a video posted by the Islamic State/Daesh showing jihadists burning all the books from the Mosul Library in Iraq. I found that burning books has a long and infamous history dating back a couple of thousand years. Most people know about the Nazi's burning books as well as the famous Ray Bradbury book 'Fahrenheit 451', but it turns out that almost every authoritarian regime (and some are nominally… Read More

Tucson, Arizona:: Spaceheater Editions,, 2018.. Edition of 50. 7 x 7"; 52 pages. Perfect bound in illustrated paper-covered boards. Accordion (6. 5.75" closed; 9 pages) insert attached to back pastedown. Interior text block printed by HP indigo. Accordion insert at the rear of the book printed by archival pigmented inkjet. Printed on acid-free Mohawk Superfine paper. Signed and numbered by the artist on the back free end page. Spaceheater Editions: "Trophy is a reaction to the current social and political state of the United States of America and the criminal and immoral administration that currently wields the power in our country. Although superficially the subject matter is the cruelty of the Trump sons, their activities are an indicator of the worldview of the morally bankrupt family and administration of Donald J. Trump."  In 2012 the Trump sons went big game hunting in Zimbabwe. The photos in Trophy are of the sons posing with their kills from the trip - an… Read More

Los Angeles /Tucson, Arizona:: Ice Plant / Spaceheater Editions,, 2020.. Edition of 666. 14.5 x 10 " unfolded to one page; 56 pages. Printed on newsprint paper. Full color in an unbound tabloid newspaper format. Photographs by Phil Zimmermann. Edit and deisgn by Mike Slack. Phil Zimmermann, blog 09.30.20: "The year 2020 has been quite an earthquake for all of us living on this stressed-out planet. Aside from the terrible COVID-19 pandemic, we have been in the middle of the most unusual and stressful election cycle for president that this country has ever seen. This is thanks to the amoral, narcissistic, criminal conman who inhabits the White House. "In order to try to attempt to fight against his reëlection campaign and the morally bankrupt Republican Party, I decided to try to do something that would use their own 2020 Republican National Convention against these forces of evil and anti-democracy. "Here is the result: The Ice Plant (Los Angeles) and Spaceheater… Read More

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… Read More

Quilcene, Washington:: Pied Typer Press,, 2011.. Edition of 30. Of the edition 1 -7 deluxe, 8 - 26 standard. Signed by the artist. This is a standard copy. Standard: 5.5 x 4.5"; 16 pages. Flutter book construction. Printed digitally on an Epson Stylus Pro 3880 onto archival Moab Entrada Rag Natural 190 paper. Bound with paper covered boards and bookcloth spine. In a paper slipcase with window to reveal the title from the front board. Short story and images by Peter Newland using vintage lead figures. Bound so as to be displayed in a star-shape. Peter Newland: "The images were created photographing my Britain's Mammoth Circus lead figures using shadow puppet theatre techniques. It is a short story about a small troupe travelling the back roads of early America and their encounter with a full moon."

Quilcene, Washington:: Pied Typer Press,, 2011.. Edition of 30. Of the edition 1 -7 deluxe, 8 - 26 standard. Signed by the artist. (This is a deluxe) Deluxe: 8.5 x 4.75 x 2.5" custom-made box with book, vintage lead figures, and fold out circus ring. Book: Moonlight Circus bound in cloth and has marbled end papers. Fold out: 8.5 x 4.75" closed, 8.5 x 9.5" open, with display of circus ring in red and yellow cloth. Figures: three antique lead figures fitted in bottom of box. There are seven acts in this circus, each with 3 figures. [For example, the "Boxing Kangaroo" is made up of the kangaroo and two clowns; the "Clown Riding Elephants" of one clown and two elephants. See the "Moonlight Circus Deluxe Box Configurations" for the available acts.] Only one set of each act available; hence, each deluxe is unique. Box covered in black and gold bookcloth with illustration tipped on lid. Each box custom-made to accommodate the specific lead figures. Short… Read More

[Boston]:: Ellen Shattuck Pierce,, 2023.. Edition of 12. 8.5 x 14"; 44 pages. Black laser printing. Hand-cut stencil overlays. Hand colored laser prints. Printed on Mowhawk Superfine ext. Typfaces: Playfair Display, Vista Sans.Sewn stab binding. Laid in a relief print cover. Printed band closure. Cover relief cut on BFK Rives paper. Signed and numbered by the artist. Ellen Pierce: "Linoleum is a sketchbook for me, a meditative place. Making a linocut allows me to slowly carve lines that are very certain in this uncertain time. Since March 16th 2020, I have created imagery related to the Covid pandemic, resulting in 'The Covid Chronicles', a series of eighteen relief carvings. The carvings each measure 18 x 24 inches and chronicle my experience of the Covid19 pandemic in Boston, Massachusetts and its wider impact in the United States. With the pivot to online teaching, I zoomed into two hundred and thirty homes to teach art to kindergarteners through fifth graders. Making the… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, [2023].. Edition of 25. 4 x 3.75" paper formed lidded box with 4 x 3.5" clear plastic pieces laid at bottom of box and on top of book pieces to add stability. Retreating accordion structure. Line drawings and text letterpress printed from photopolymer plates. Solid silhouettes printed from laser-engraved wood blocks. Text set in Superclarendon. Paper waxed Masa. Signed and numbered by the artist. Marnie Powers-Torrey: "This interactive piece was made in response to the call for 'Seeking Balance', an invitational exhibition curated by Kayla Clark. The images are derived from photographs, mostly snapshots taken by the artist post-2000. The two 14" x 31" sheets were letterpress printed from photopolymer plates and laser-engraved woodblocks and then treated with beeswax. Each of the sheets was then cut down into four 3.5" high strips and folded into retreating accordions, a structure developed by the artist. The… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, 2017.. Deluxe boxed edition of 35. 5.5 x 5.5" four-flap box containing four 2.5 x 2.5" volumes laid in sectioned base. Each volume in paper slipcase. Found objects inked and printed on Masa, Niddegen, Lana Laid, and Domestic Etch via letterpress and gelatin monoprinting as well as stamping and risography. Volume 1 treated with sumi ink and salt wash. Volume III treated with wax. Each volume is a one page book with snake fold construction. Each volume signed and numbered by the artist. Box illustrated and with paper title label and twine and grommet closure. Marnie Powers-Torrey: "Roadside Attractions documents collected evidence, inviting the reader to draw individual conclusions on the quasi-environmental study conducted by the artist. The small boustrophedon forms take notice of the intricacy of waste that proliferates at America's roadsides. Each book is a grid of micro-meditations that attempt to balance human being's misuse of… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, 2019.. Edition of 100. 3" x 6.5". Materials: paper, ink,; wax,;gray Fabriano Tiziano and White & cream Ingres papers. Printed on a Risograph duplicator. Interlocking loops accordion structure. Split edition of waxed and unwaxed sheets. Marnie Powers-Torrey: "Printed from around 75 found objects, this book sculpture is a conglomerate of the past and a document of the here and now. Each of these objects carries its own narrative, inherent to its current shape and surface, told through stamped ink. The form is Hedi Kyle's interlocking loops structure." Levi Sherman, artistbookreview.com:" The great achievement of this book is that such lofty speculations arise from what is, in fact, documentation of various found objects. Powers-Torrey’s process of mono-printing and stamping directly from inked objects gives an interesting and complex ontological status to both the objects and the resulting images. The images are… Read More

Salt Lake City, Utah:: Marnie Powers-Torrey,, 1999.. Edition of 15. 7.875 x 11"; 22 pages. Twentieth Century Medium Italic typeface. Handset and printed on an Asbern letterpress. Photographs gum bichromate prints, photolithographs, and intaglio prints from photopolymer plates. A cross-country road trip, recounted and pictured with bleary perception Marnie Powers-Torrey: "Visual and verbal snap shots taken through the lens of a car window by a twenty-something traveling across country. Individual stops are connected by the long road of the concertina spine. "

[Salt Lake City]:: Marnie Powers-Torrey,, 2017.. Edition of 50. 5.5 x 5.75" folded cotton wrapper with pockets and tie closure. Text and textural elements printed letterpress from polymer plates. Pockets contain instruction pamphlet/travel journal, items for completing project, and completed boustrophedon of the poetry. Signed by poet and artist. Numbered. Marnie Powers-Torrey: "In November 2018, Amie Tullius invited Marnie to contribute to the production and dissemination of a traveling literary journal 'Train Tracts', a collaborative effort led by Amie and Stefanie Dykes of Saltgrass Printmakers. Marnie was paired with writer Rachel Marston, Assistant Professor English at the College of Saint Benedict and Saint John's University in Minnesota, who offered a challenging text for interpretation and visual translation. The final edition of thirteen was due to the post office by January 31, 2019 so that the tracts, twelve editions of collaborative artists books by printmakers/book… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, 2019.. Edition of 100. 3" x 6.5". Materials: paper, ink,; wax,;gray Fabriano Tiziano and White & cream Ingres papers. Printed on a Risograph duplicator. Split edition of waxed and unwaxed sheets. Marnie Powers-Torrey: "Printed from around 75 found objects, this book sculpture is a conglomerate of the past and a document of the here and now. Each of these objects carries its own narrative, inherent to its current shape and surface, told through stamped ink. The form is Hedi Kyle's interlocking loops structure.

Salt Lake City, Utah:: Marnie Powers-Torrey,, 2016.. Edition of 32. 4.75 x 6.75"; 14 pages including pastedowns. Letterpress printed from polymer and metal type. Bound in paper over boards with cloth spine. Signed and numbered by the artist. Marnie Powers-Torrey: "Edition of 32, the age of the artist when she became pregnant and gave birth to her second child, realizing that she'd never be the same again.  "Work on this book began in 2006 in a workshop with the brilliant Julie Leonard, just after the birth of the artist's third and last child. After nine years of gestation, the book was finally released into the world. Imagery is derived from circular ink washes suggesting the cyclical nature of being, constancy of motion, revolving planets, ripe ovum, and lactating breasts. The text is experimental and broken, collected in haste throughout the early years of motherhood. Stripped of formality and exposing raw, maternal femininity, the words string together a visual poem… Read More

[Salt Lake City]:: Marnie Powers-Torrey,, 2017.. Variable edition of 40. 2.5 x 2.5" closed, extends to 10 x 10"; one sheet book. Snake fold. Signed on back page of book. In paper slipcase with printed titles. Hand-numbered on slipcase. Marnie Powers-Torrey: "This small boustrophedon takes notice of the intricate waste that proliferates at America's roadsides. The book is a grid of micro-meditations that attempt to balance our startling misuse of the planet with human beings' incredible ingenuity. The prints document tiny indicators of how our country thrives and falters, each small page a critical piece of an unknown something, and the book structure a map of discarded pieces of the great American puzzle. The found objects were inked and printed on Masa via letterpress and gelatin monoprinting. Each single sheet was treated with a sumi ink and salt wash, folded, and housed in a paper slipcase which is signed and numbered by the artist.