Artist book by Harry Reese. Numbers 1-6 were co-published with Alpha Presse (Frankfurt) in 1995. Between 2007-2017, Edition Reese produced numbers 7-20 in a revised, expanded version. Contains prints, collages, rubbings, drawings, and paintings off and on and from 33 1/3 vinyl lp records, with unoriginal texts and ruminations by the artist. Variable edition of unique prints and labels.
Edition Reese · an edition of 73
signed and numbered by the artist
An artist book by Jean-Pierre Hébert. The poems and illustrations for this project are inspired and structured by Italo Calvino’s text and by John Cage’s “mesostics.” Inﬂuenced by the typography of Iliazd, we feature hand-set upper case Gill Sans on Niyodo Natural. Turkey Press handmade paper on the front and back covers.
In the words of the artist: “First, the book title as mesostic line ﬁlters and selects proper city names as wing words. Then, city-name mesostics assemble each poem from snippets chosen in their order of appearance within each city chapter. Last, fractal timelines animate worlds of lines, colors, and symbols implied by each city character and text properties. Generative poetry composed by ideas translated into code, deliberate rule breaking through chance or bugs, and digital humor.”
The images for this long poem were originally created for a unique artist’s book by Harry Reese in 2003 (Edition Reese 12). The type is handset Dante printed on dampened Hahnemühle Biblio. The images for this edition, based on scans from the 2003 book, were cut on a Roland plotter from 12 x 18 inch sheets of adhesive-backed printed Kitakata. The poem was written in 1964 and first appeared, in a slightly different form, in City Lights Journal, Number Three, in 1966. It was included in Ship Without Paper (Turkey Press 16). Signed and numbered by the poet and the artist. 26 pages. Edition of 75 copies. 9.25 x 14.5 inches.
Kinnikinnick Brand Kickapoo Joy-Juice · Meta-Fours by Jonathan Williams
Seventy-six power packed gulps of quintessential Jonathan Williams (1929-2008) in the form of meta-fours (four-word-per-line poems of undetermined length) in combination with pen and ink drawings by John Furnival (printed from polymer plates). Designed, letterpress printed, copiously adumbrated and bound by Sandra Liddell Reese in a false-accordion, sewn-boards style with handmade paper on the spine and cover. The type is Narrow Bembo and Gill Sans cast by The Letterfoundry of Michael & Winifred Bixler and printed on Dulcet. Signed by both poet and artist. Edition of 145 copies. 10.5 x 4 inches.
Heart Island & other epigrams · Poems by James Laughlin
Forty-four short poems accompanied by twenty-four wood engravings printed for this edition from polymer plates. The paper is Nideggen for the poems and French-folded Kitakata for the images. The type is Walbaum, composed by the Letterfoundry of Michael & Winifred Bixler. The wood engravings were made or compiled by M.L. Breton for Dictionnaire Infernal, published in Paris in 1818. Signed by the poet. Edition of 200 press-numbered copies. 5 x 8.25 inches.
Five Meters of Poems · Poems by Carlos Oquendo de Amat
Translation by David M. Guss with woodcuts by Antonio Frasconi reproduced from photoengraved plates. This first English language edition consists of eighteen typographically playful poems in a visual sequence of accordion fold panels that when fully extended measures five meters long. Handset in Goudy Modern and Underwood typewriter. Edition of 300 on Mohawk Superfine. 40 copies on Barcham Green India Office in a box with a typographic print on the cover by Harry Reese. Signed by the translator and the artist. 8 x 9.75 inches.