A Crisis Ethicist's Directions for Use
(Or How to Be at Home in a Residence-Cum-Laboratory)
Text by Madeline Gins and Arakawa, excerpt from Architectural Body
Portland: INK-A! Press, 2003. Edition of 50 copies.
12 x 7 x 3.5" cloth covered box with string and metal button closure. Contains plastic box of chrome thumbtacks and a ring-bound 5 x 5.5" booklet in a handmade paper slipcase. Text and image are printed from hand-processed photopolymer plates and hand-set type on Zerkall paper. Design, imagery, and structure by Inge Bruggeman.
INK-A! Press: "Inside this Fluxus-inspired box structure resides a plastic box of chrome thumbtacks and a ring-bound booklet ... The text pages of the booklet fold out to show the transformation of text into architectural building blocks mixed with other imagery ... Images on the back of each page make up an architectural plan that can be reconstructed with the thumbtacks on a wall if the viewer / reader is so inclined."
$925 |
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Simple Harmonic Motions
Text by Hank Lazer, excerpt from Days
Portland, Oregon: INK-A! Press, 2001. Edition of 50.
7.75 x 10.25", 32 pages. Letterpress printed on Kitakata paper. Typeface for poems: Spectrum. Morse code font created by Bill Morrison. Text and image are printed from hand-processed photopolymer plates. Inks are muted browns and greys. Book laid-in case which includes compact disc of the author reading the poems and performing them with The Alabama Poetry Ensemble. Design, image, and structure by Inge Bruggeman. Signed by Bruggeman and Lazer.
Based on selected poems by Hank Lazer from his larger body of work Days. These verbal sound excursions rely more on beat than image, jazz exploration than narrative construction. The binding structure of the book is a cross between French-fold and accordion, printed on both sides, so the book circles back on itself. One side features each selected ten-line poem with a Morse Coded message spanning the bottom of the linked spreads. The opposite side copies the poems in reverse order, but the words are scratched to obscurity, clearly words but unreadable, a visual expression that evokes the sound of scratching itself, suggests a high-pitched screech. Across the bottom is a sound play: "dah-dit-dah-dit di-dah dah-di-dit" etc. Sound waves are printed along and straddle the folded tops of the pages. Halftone images of mouths—some more photonegative reproduction than photo positive—are layered with a variety of graphed measurements in a printed circle. Includes a miniature compact disc (the same size as the circular images) of the author reading and performing the poems with the Alabama Poetry Ensemble.
$675 |
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Bad News
Short story by Lynne Tillman
[Tuscaloosa, Alabama]: INK-A! Press, 1993. Edition of 37.
28 cm; 41 pages. Letterpress printed from handset Centaur and Futura Medium Condensed. Images began as small clay structures which were photographed and printed from hand-processed polymer plates. Soft cover with printed wrapper. Design, image, and structure by Inge Bruggeman.
Inge Bruggeman: "The design of the book, its structure, typography and the prints within it all work together to inflect a visual and tactile reading of the book. The prints evoke the mental landscape of the main character's psyche. The typography and page layout with its huge margins nestles the text (the main character's world) inside a more protected environment, farther away from reality of the edge of the page. Also the reader/viewer is forced to read across the fissure made by the exposed spine (coptic) sewing structure. This is meant to create a mild tension while reading.”
Featured in the Type section of the New York Public Library's Ninety from the Nineties exhibit: "Inge Bruggeman used typography and colored ink to separate a story broadcast on the New York news radio station 1010 WINS from the text of the short story by Lynne Tillman."
$690 (Last Copy)
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