The arists' book is a box of items related to a tour of Buenos Aires. "Se han editado 1000 ejemplares no numerados y 100 numerados y firmados"--Interior of case. Una guía = A guide -- Un mapa = A map -- Un CD-ROM -- Un diccionario = A dictionary -- Un misal = A mass book -- Una carta = A letter -- Postales = Postcards -- Estampillas = Stamps-- Buenos Aires tour -- Buenos Aires tour, English version.
Self published zine issues by local area artists and Texas State University alumni Suzy González and Elle Minter. Their zines cover feminist issues, social justice issues, animal rights issues, veganism, and more.
Original art books created by Marc Snyder & other artists, which start as a mixed media image, incorporating drawing, painting, collage, rubber stamps, photographs, and printed text. Then the image is xeroxed onto high quality resume paper, then cut and folded in a very clever way to make an eight page book. These are single-sheet origami or maze books. Some issues are a bit different from the typical "book". For example (2013 [no.2]): On the envelope was a linocut of a howling dog, with "Rex Howls At..." in pencil, with another linocut in the envelope title "The Moon". These books were purchased through the Book of the Month club that the artist offered. They were mailed almost every month.
"An extraordinary and surreal art book, this edition has been redesigned by the author and includes new illustrations. Ever since the Codex Seraphinianus was first published in 1981, the book has been recognized as one of the strangest and most beautiful art books ever made. This visual encyclopedia of an unknown world written in an unknown language has fueled much debate over its meaning. Written for the information age and addressing the import of coding and decoding in genetics, literary criticism, and computer science, the Codex confused, fascinated, and enchanted a generation. While its message may be unclear, its appeal is obvious: it is a most exquisite artifact. Blurring the distinction between art book and art object, this anniversary edition-redesigned by the author and featuring new illustrations-presents this unique work in a new, unparalleled light. With the advent of new media and forms of communication and continuous streams of information, the Codex is now more relevant and timely than ever."-- Publisher's description
"This edition of the Codex Seraphinianus, thirty-two years after the first edition published in 1981, has been enriched by yet another original preface by the author"--Colophon
Originally published in 1981 by Franco Maria Ricci, Parma, Italy
Includes booklet Decodex, in Italian, English, French, German, Spanish, Portuguese and Russian. English translation by Sylvia Adrian Notini
Booklet inserted in pocket on page [3] of cover.
1 volume (unpaged) : color illustrations ; 35 cm + 1 booklet (22 pages : color illustrations ; 24 cm)
Warship #2 is all about one of our favorite directors, the Barron of gore himself, David Cronenberg. This is a limited edition of 100, 160 pages, and is full of comics, short stories, reviews, drawings, and more! It comes packaged in a VHS box and includes 2 stickers, a button, and a mini print! 1 portfolio (1 zine, 2 stickers, 1 print card, 1 pin button) : illustrations ; in VHS box (19 x 11 x 3 cm).
"For this special project, Auerbach has created an oversized pop-up book featuring six die-cut paper sculptures that unfold into wonderfully elaborate forms. While much of Auerbach's work has previously dealt with compositions staged in the flux state between 2D and 3D, [2,3] represents an expansion for the artist towards a more sculptural medium. Engineered by the artist, each "page" opens into a beautifully constructed object, intricately conceived so that the large-scale paper works--some up to 18" tall--collapse totally flat when closed. In [2,3], the six sculptures take their cue from a range of geometric forms--the pyramid, sphere, ziggurat, octagonal bipyramid (gem), arc, and möbius-strip. The use of a bright, contrasting palette is familiar from Auerbach's previous work across a range of materials, including acrylics, etchings and C-type prints. By matching intense color to form, [2,3] causes the eye to get lost in the twists and intersections of paper and the viewer finds it difficult to envision how the pages work without animating the book in hand. Bringing together an array of interests, Auerbach has created a groundbreaking project that advances the field of pop-up technology and works as an astonishing stand-alone hybrid book/art-object. Published by Printed Matter, each folio of [2,3] measures 20" x 30" when open. The six volumes will be housed in a specially designed slipcase, and published in an edition of 1,000"--Publisher's Web site. 6 unnumbered volumes : all color illustrations ; 53 x 42 cm + colophon card
"The covers or cover are made of recycled cardboard with corn silk. The interiors are made of recycled paper and everything is silkscreened, that is, sheet by sheet." - From the publisher, Taller Leñateros. Issued in decorated box. The top cover is a face in relief.
"Prólogo de la segunda edición: Elena Poniatowska"-Colophon. 11 unnumbered pages, 190 pages : illustrations ; 25 x 26 cm
In Spanish and Tzotzil
"The cover or lining is made of recycled cardboard, with one side embossed. The interiors are made of recycled paper printed using silkscreen and hand-offset printing." - From the publisher, Taller Leñateros. Issued in box 17 x 16 x 4 cm, book has sculptured face on cover. 167 pages : illustrations (some foldout, some color) ; 15 cm + 1 audio disc (61 mins ; digital, 4 3/4 in.) Para convocar a los muertos -- En Bolom Chon -- Un brindis -- Para Evodio -- La muerte de Mario -- La borrachera de la mujer del alférez -- Canto de la mujer borracha -- Anuncio de la fiesta -- Para que la lagartija no coma el frijol -- Para que el murciélago no muerda al borrego -- Contra el arco iris -- Para que no venga el ejército -- Para no tener que robar -- Antsun ti antsun -- Para curar potslom -- Bolom Chon -- La pedida de mano -- Para que el perro no ladre al novio -- Para matar al hombre infiel -- Macho vinik -- Bikitik manvel -- Bolom Chon -- Radio comunidad indígena -- Conjuro para vender pexi cola -- Gracias por darme un hijo -- En el vientre de mi madre sueño conjuros -- Aprendiendo a canta el Bolom Chon -- Canto de la pastorcita -- Soy mujer mi mujer -- La niña tejedora -- Antsot ti antsot.
Nine panoramic thermal prints (31.5 x 8.75 inches) made by the artist. Synthetic paper wrap printed with UV ink. Japanese clip binding. Presented in a cardboard tube.;"Limited Edition of 350.";"Transmission is a communication from our future to our recent past. A warning that if we dont stop stripping our home bare and consuming it to death we will bring about our own extinction."
Library's copy 1 (Special Collect): No. 10 of 20 copies. Purchased. In container with lift-out tray.;" A book in the shape of a tetrahedron is pretty close to the general shape of a volcano. Primeval could be showcasing the earth millions of years ago, but is actually showing the current landscape. With a brief description of what happened in the massive 1980 eruption of Mt. St. Helens and overhead photos of the newly reformed landscape, in the aftermath of an earth changing event. Primeval unfolds to 4 panels, 3 foldouts, lots of photos, text about the eruption of Mt St Helens, a colophon, and a sampling of real ash from the volcano, bound with wire edge binding. The book is 5.5 x 6 x 6 . Comes with a tetrahedron case. Edition of 20 --From publisher's web site.";"Deluxe, gray case has black bands in center of each side. Title print on each band. Case material is mildly abrasive.";"Includes color illustrations, descriptive and historical text, a capsule of ash from the eruption, and a description of publication production information."
Illustrated and printed in woodblock prints and silk-screens by contemporary Mayan artists a pop-up jaguar in the center fold. "The cover or lining is made of recycled cardboard with corn silk in low relief. The endpapers are made of maguey fiber paper. The interiors are made of recycled paper and are all silkscreened, sheet by sheet. The jaguar's whiskers are made of maguey fiber. The entire book is handmade." - From the publisher, Taller Leñateros. Book design, typesetting, page numbers [by] Ambar Past and Sara Miranda. Recording the CD [by] Ámbar Past [and others].;"Includes a CD audio of several versions of the song, Bolom chon, tucked into a pocket at the back of the book.";"An edition of 99 copies, numbered and signed."
Accordion fold format with bark paper sculpture covers attached; paged front to back and then back to front on verso. Poems and art by the Lacandon Indians of Mexico. "The cover or lining is made of recycled cardboard with maguey fiber in relief. The interiors are made of recycled paper and are all silkscreened, sheet by sheet. The binding is inspired by the ancient codices of our Indigenous Peoples. The entire magazine is handmade." - From the publisher, Taller Leñateros.
Facsimile of Leonardo's ms. treatise on water dynamics, composed in Milan between 1506 and 1510, and now in the collection of Bill Gates; Title from sheet mounted on box;Accompanied by editorial notes and colophon (2 sheets).
Self-portrait in a convex mirror. In round silver brushed metal canister with convex mirrored dome. Poem in a round format, vinyl record with poet reading the poem. Essay, forward, and colophon. Eight original signed and numbered (86/175) limited edition prints. Copy 86 of an edition limited to 150 copies.
Title from box.;" 'The Veil' was written and designed by Julie Chen in the fall of 2002. It was letterpress printed using a combination of photopolymer plates and collagraphic blocks on Wyndstone Marble papers, and cut using a Universal Systems Lasercutter. The binding was done by Julie Chen and Anna Sacramento at the studios of Flying Fish Press. The text that appears on the back layer of pages is from the preamble to the Charter of the United Nations which was written in 1945. --Box lining paper.";"Limited ed.of 100 copies, signed and numbered by the artist.";" This book can be displayed as a standing sculpture by curving the concertina into a circle, with all the pages facing outward, until the front and back covers touch. Magnets embedded in the covers will hold the book open in this position --Colophon.";"Book is a nested accordion structure. Each numbered opening has an image of the world seen through an increasingly dense veil of cut paper. Book is in a box (33 x 22 cm.) with magnetized closure.";"Library's copy 1 (Special Collect): Purchased. In container 34 cm."
"Issue 4 of Warship is the David Bowie issue! This issue comes with 3 zines (totaling a bit over 100 pages), 4 stickers, 1 pin, 1 mini print, and comes in a sweet package! Zine features art and some writing on Bowie."
Five separate texts housed together in a separate cover; "An edition of 50 copies and two artist's proofs.";" This project was printed during the Sally R. Bishop artist's residency at the Center for Book Arts, New York, NY summer 2002 --Colophon.";"While provoked by the events of September 11, 2001, these five magic wallets address the cacophony of news reports, emotions and opinions (expert and otherwise) that follows in the wake of any major news event. Each wallet opens in either the left or right side, revealing one of two opposing statements.";"Library's copy 1 (Special Collect): Relocated from General Collection. In container."
Musician(s): Mance Lipscomb & Conqueroo. Navasota, Texas, bluesman Mance Lipscomb sits at the bottom of the poster while Charlie Prichard, guitarist for Conqueroo and, according to Franklin, the inspiration for Gilbert Shelton's character Fat Freddy from his underground comic "The Fabulous Furry Freak Brothers," floats above.
Musician(s): The Mahavishnu Orchestra. Featherston riffs on the style of Czech artist Alphonse Mucha, the most notable purveyor of turn-of-the-century art nouveau.
Musician(s): Dinettes, The Next, & The Dicks. Guy Juke progressed with ease from one style to the next. This poster offers an example of what Micael Priest describes as Juke's "cubist bebop" phase.
Musician(s): Bo Diddley & Storm. Franklin, who took over the Ritz Theatre in 1974, says that it was a dream come true to book Bo Diddley at his own venue.
Musician(s): Bob Seger & Ruby Starr. According to Sam Yeates, he was inspired by circus posters: "I’ve always loved the lions and the tigers coming out at you. Sometimes, shows at the Armadillo were circuslike... I was trying to marry music and the circus together. The tiger had flames wrapped around him. The guitar neck was one of my favorite images that represent rock and roll."
Musician(s): David Johansen. Jacobson became one of Austin's most nostable poster artists of the 1980s. His entree into the world of rock-and-rock art began when he worked at Club Foot, a large downtown venue. According to Jacobson, " For three years I was bar manager and promotional director...I found it especially exhilarating when my duties allowed me to commission posters, and even to experiment with designing some myself...I used markers and X-Acto blades for the simple sketches and collages I attempted first."
Musician(s): Austin Strangler & Electric Tools. Duke's Royal Coach Inn was at 316 Congress Avenue, the same building that once housed the Vulcan Gas Company. Duke's was a short-lived venue that hosted a slew of Austin's early punk bands.
Musician(s): The Next & The Dicks. Davy Jones, a veteran Austin guitarist who has played with the Next, the Dicks, and the Hickoids, among other bands, offers the Dicks singer Gary Floyd in place of John Travolta in this parody of the Bees Gees' "Saturday Night Fever."
Musician(s): Judys, Big Boys, & Electric Tools. Randy "Biscuit" Turner, one of many punk musicians who also produced flyers and a wide array of visual art, fronted the Big Boys, one of punk rock's most groundbreaking and genre-defying bands. This flyer captures Biscuit's idea of punk, funk, and all-night fun. Known primarily for his work in the Big Boys, Biscuit also appeared with the Kerry Awn-led Uranium Savages before starting the Big Boys.
"NeWave Extravaganza," featuring musicians The Judys, STB, Big Boys, Delta, Devices, & Aces 88. Michael Nott's work had a measured simplicity to it but ran counter to the trend to be crude, shocking, and primitive. He had earned a bachelor of fine arts degree as a student in UT’s Design Program and strove for a look that was “clean and sharp.” Much of his work tended to be meticulously geometric.
Musician(s): Big Boys & The Dicks. NOXX was one of Austin's most prolific punk handbill and poster artists. This poster advertises the live recording sessions at Raul's that would result in the Dicks/Big Boys split live LP, a classic Austin punk record.
Musician(s): Joe "King" Carrasco and Los Crowns, Delinquents, & Shades. Patoski, a Texas music and popular-culture scholar and former manager of Carrasco, produced this notable example of a collage-based flyer, a medium that proved to be affordable and effective in the later 1970s and early 1980s.
Musician(s): Violators & Skunks. Sublett, a founding member of the Skunks, Austin's early pioneering punk band, had been a cartoonist and writer before he stepped onto the rock-and-roll stage. This flyer advertises one of the first punk shows at Raul's, a key venue in Austin's burgeoning punk scene. The band members depicted in the flyer spot Iggy and the Stooges-inspired T-shirts. Sublett notes, "If you ended up at Raul's in 1978, it's about a 99% chance you were a big fan of Iggy Pop."
Musician(s): Roky Erickson & The Explosives. In addition to his work as guitarist for the Explosives, a power-pop act that moonlighted as one of Roky Erickson's great backing bands, Cam King produced posters and promotional material for his own Flathead Studios.
Musician(s): The Ramones & Aalon. Priest explains that he wanted the lettering of the poster to look like "raw steaks with the little rind of fat." He also cites the "Famous Monsters of Filmland" magazine as an inspiration for the lettering.
Musician(s): Patti Smith. Turner’s most readily identifiable work is what he’s done in the punk collage style. One example is his Patti Smith poster incorporating as its main character the Gustave Doré engraving of Nimrod from Dante’s "Divine Comedy," with which he attempted to convey the dark, melancholy tone he heard in Smith’s music. For his lettering, Turner approximated the look of a ransom note by forming words out of incompatible individual letters severed from books and magazines.
Musician(s): Pointer Sisters. Shortly after this concert, a disgruntled concertgoer, who had previously been thrown out of the club, killed poster artist Ken Featherston - who was one of the Armadillo's security guards that night. The loss of Featherston deeply affected those connected to the Armadillo World Headquarters music scene.
Musician(s): Bobby Bare, Freda and the Firedogs, & David Allen Coe. Freda and the Firedogs backed Bobby Bare for these concerts. Bobby Earl Smith explains why Bare was surprised upon his arrival in Austin: "He showed up about an hour before the show was slated to start. The Firedogs were standing around backstage wondering where Bobby Bare was when we heard a knock at the door on the loading dock. We raised the sliding door, and there stood Bare all decked out in a cool Nashville-style white suit. He took one look at our Firedogs hippie Austin duds and smiled and said, 'Shit, I told my wife to pack some jeans.'"
Musician(s): Frank Zappa and the Mothers of Invention & Martin Mull. Priest notes that many of his posters feature portraits that recall "wanted" posters. Because rock and roll is a form outlaw art and music, Priest suggests that the "wanted" poster is an appropriate means of advertising its performance.
Musician(s): Asleep at the Wheel & Greezy Wheels. Garrett, whose work often features hidden symbols that he describes as "Easter eggs," alludes to "The Urantia Book," a collection of theses by unknown authors first published in 1955 that expounds on philosophy, science, and religion.
"Willie Nelson's 4th of July Picnic," featuring musicians Waylon Jennings, Tom T. Hall, Rita Coolidge, Kris Kristofferson, Doug Sahm, and Sammie Smith. Willie's first 4th of July Picnic, an annual event that has continued for 40 years, featured a who's who of early seventies country music.
Musician(s): Willie Nelson. Priest's sad cowboy drowns his sorrows to the tune of "Hello Walls," a classic Willie composition that Faron Young took the top of the country charts in 1961. The poster advertises Willie's first Armadillo World Headquarters performance.
Musician(s): New Riders of the Purple Sage & Jon Emery. Priest references Lee Marvin's character Kid Shelleen, the drunken gunfighter from the comic western "Cat Ballou." Priest's horse and gunfighter toke joints and the saddle is outfitted with a small tray for cocaine.
Musician(s): Shiva's Headband, Hub City Movers, & Whistler. Shiva's Headband and company would help usher in a decade of music at the grand opening of the Armadillo World Headquarters.
Musician(s): New Atlantis, Lavender Hill Express, Texas Pacific, Eternal Life Corporation, & Georgetown Medical Band. First use of the armadillo icon in Austin music poster art.
Monthly concert calendar featuring Stevie Ray Vaughan Triple Threat Revue. Kerry Awn's Soap Creek Saloon posters helped establish the club's visual aesthetic and advertised performances for several years. Based on a photograph by Ken Hoge, the portrait captures the young Stevie Ray Vaughan with his band of Austin Blues regulars.
Musician(s): Big Joe Williams & Sky Blues. Franklin's portrait of Big Joe Williams is based on a photograph taken by Burton Wilson after a dinner at East Austin's Victory Grill.
Musician(s): New Moan Hey, Onion Creek, & Shiva's Headband. Harter describes this poster as a work that recalls a monastic procession that is accompanied by nineteenth-century French organ music. These monks, however, are smoking joints (new-mown "hay"). Harter explains that the lettering for his Vulcan posters was inspired by Austrian Jungendstil artist Alfred Roller, a common influence for poster artists of the era.
Musician(s): Velvet Underground, Ramon, Ramon and the Four Daddyos, Crowbar & Water Brothers. Franklin recalls a conversation with Lou Reed of the Velvet Underground at a diner following one of the concerts. Reed questioned Franklin's choice of a tomb for the poster's central image, noting that the Velvet Underground was a happy band.
Fugs & Shiva's Headband. The downtown Austin skyline is seen uprooted by a masssive toilet. The poster reflects the cultural upheaval that shook the city in the late 1960s as psychedelic music and lifestyles emereged in a town that was mostly known for legislation and Longhorn football.
Musician(s): Shiva's Headband, Conqueroo, Rubaiyat, & Lightnin' Hopkins. Franklin notes that the hot plate represents Lightnin' Hopkins. Because of segregation in the South, black traveling blues performers often had to bring their own provisions for cooking while on the road.
Musician(s): Conqueroo, Golden Dawn, Afro Caravan, & Shiva's Headband. Of all the Vulcan posters, Gilbert Shelton's favorite is this one, because it approximates the look of the light-show images that would be projected on the wall through glass dishes full of colored oil and water.
Musician(s): 13th Floor Elevators (VG7), Swiss Movement, South Canadian Overflow, & Shiva's Headband. The word "pot" emerges from the maze of brainlike matter in this poster for the 13th Floor Elevators, Austin's premiere psychedelic band.