Wordswordswords
Artist: Edwin Schlossberg (American, born 1945)
Artist: Robert Rauschenberg (American, 1925-2008)
Publisher: Universal Limited Art Editions
Printer: text: Christopher Pullman (hand-set and hand-printed); lithographs: Fred Genis; etching & embossing (Rauschenberg): Donn Steward
Binder: Louis Liebel, Jr., metal box
Author: Edwin Schlossberg (American, born 1945)
Date: 1968
Dimensions:
Box: H: 12 1/8 in. (308 mm); W: 9 1/4 in. (235 mm); Depth: 1 3/4 in. (45 mm).
Book: H: 12 in. (305 mm); W: 9 1/8 in. (232 mm); Depth: 1 5/8 in. (42 mm).
Page (varying): H: 11 in. (280 mm); W: 8 9/16 in. (217 mm).
Image (untrimmed): H: 11 in. (280 mm); W: 17 in. (432 mm).
Medium: Original prints: 1 etched embossing (by Rauschenberg), 4 blind embossings , 5 lithographs, 1 etching in white, 12 letterpress.
Text: letterpress.
Paper: various (see remarks).
Classification: Books
Credit Line: Gift of Molly and Walter Bareiss
Object number: 1984.956
Label Text:Universal Limited Art Editions (ULAE) began as a lithography studio in the home of Tatyana Grosman. She bought a second-hand press and used paving stones from her doorway path as lithography stones. Grosman became intrigued by the visual poetry of Edwin Schlossberg and invited him to work on a project at ULAE.
In Wordswordswords the poetry is printed by various means on a variety of surfaces. Some poems appear on cut or folded sheets of paper or are divided among several sheets of clear plexiglas. Others are blind-embossed (stamped without ink) or written backwards. As the book is not bound, the reader can rearrange the pages at will and "read" it in several ways, including looking through the transparent pages to words seen underneath. Rauschenberg’s contribution to the project was a double-page blind embossing laid in as a preface or frontispiece.
In Wordswordswords the poetry is printed by various means on a variety of surfaces. Some poems appear on cut or folded sheets of paper or are divided among several sheets of clear plexiglas. Others are blind-embossed (stamped without ink) or written backwards. As the book is not bound, the reader can rearrange the pages at will and "read" it in several ways, including looking through the transparent pages to words seen underneath. Rauschenberg’s contribution to the project was a double-page blind embossing laid in as a preface or frontispiece.
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In Collection(s)