Maureen Cummins (79 results)

Paperback. Condition: Good. Ship within 24hrs. Satisfaction 100% guaranteed. APO/FPO addresses supported.

Condition: Very Good. Used book that is in excellent condition. May show signs of wear or have minor defects.

Hardback. Condition: Very Good. The book has been read, but is in excellent condition. Pages are intact and not marred by notes or highlighting. The spine remains undamaged.

paperback. Condition: Good. Open Books is a nonprofit social venture that provides literacy experiences for thousands of readers each year through inspiring programs and creative capitalization of books.

Paperback. Condition: Good. Paperback. Accordion book (2 paperbacks joined at center). 337 pages. Some marginal dampstain, especially to bottom page edge of final pages, else decent shape; serviceable condition overall. Community art project featuring resettled Iraqis and Syrians in Philadelphia area. Hard-to-find title. Heavy book: priority or international shipping may require additional charges. Book.

Condition: Very Good. Very Good condition.

Soft cover. Condition: As New. Maureen Cummins (illustrator). 1st Edition. Quarto, 28 pages, Paper bound with printed cover. Designed, printed & Illustrated by Maureen Cummins. In conjunction with the Center for Book Arts, New York. The type is Century Schoolbook with initial caps from wood type. Both type and color woodblock illsurtations were printed letterpress on handmade paper with typesetting assistance from Eriko Takahashi & Adam Zucker. Copies number 1-25 were printed for parton members of the Center for Book Arts. Copies numbered 26-50 are reserved for publication. Ten press copies were marked PC." Signed on colophon page and numbered "1". Very good condition, very clean. Inventory #84198-1. Signed by Illustrator(s).

paperback. Condition: fine. Dust Jacket Condition: fine. Limited. Designed, Printed & Illustrated in Conjunction with The Center For Book Arts. 4to, plain wrappers with printed card dust wrapper. (New York), 1994. Limited Edition. Fine. Both type and color woodblock illustrations were printed letterpress on handmade paper. Of an edition of 60 copies, this is marked AP & signed by Maureen cummings. "Aureole to Zingaresca represents years of fortuitous lexigraphical trouvailles. It is the book of a bibliotaph gone berserk, a fabulist's treasure trove, a sesquipidalian delight.".

hardcover. Condition: fine. Limited. Woodbock prints with watercolor, printed on accordion-folded leaves which can stretch across a table. Illustrated, printed and bound by Cummins in cloth-backed hand printed boards, linen slipcase with inset woodblock print. N.p. Inanna Press, (1993). Limited edition. One of only 30 copies. This one is marked P.C. (Printer's Copy) and has an intimate presentation "to ---, without whom the blocks for this book may never have been finished.

Condition: Fine. Limited Edition. Limited Edition. "Anonymous was produced in the fall of 2019 by Maureen Cummins as part of the Friends, Peace, and Sanctuary project. . The text of the book is based on interviews that the artist conducted with three resettled Middle Eastern refugees and their families: XXXXX, XXXXX, and XXXXX. Anonymous was typed by the artist using a vintage Smith-Corona typewriter, then redacted by hand with waterbase black ink." [Colophon]. Bright and unmarred. Loose sheets, held in an aluminum clipboard. np [8pp]. Limited numbered edition, this being 4 of 20.

Original Wraps. Condition: Fine in Fine Slipcase. Limited Edition. Limited Edition. Original Wraps. "One day, to everyone's astonishment, someone drops a match in the powder keg, and everything blows up." [James Baldwin] "Newark 1967: A Narrative in Black and White was produced by Maureen Cummins during the summer and fall of 2020, with typographic assistance from Kathleen McMillan. The project, which began as historical research during the months before the COVID-19 outbreak, quickly became, in the aftermath of the killing of George Floyd and Black Lives Matter protests across the country, a surreal parallel to the racism of our time. The events in Newark that Cummins set out to document arose out of decades of discriminationâ" in housing, education, and government, not to mention longstanding police brutalityâ"all of which culminated on the night of July 12, 1963. When a black cabby, John Smith, was seen dragged into police custody and rumored to be dead, an angry crowd of residents gathered outside the precinct, and violence broke out. What followed was five days of mayhemâ"businesses looted, buildings in flames, and crossfire from multiple armed forcesâ"that left 26 people dead and hundreds injured. Driven by her own family's story of white flight from Newark, Cummins began her research by making weekly trips to the city, first to the New Jersey Historical Society, then to the Charles F. Cummings Center for New Jersey Information, housed in the Newark Public Library. Both resources provided a treasure trove of information: books, maps, protest fliers, news clippings, autopsy reports, transcripts of eye-witness accounts, and press photographs. What the artist did not expect to discover, six months into the project, was the way in which her research would come to life before her eyes: in Minneapolis and other cities across America, scenes from Newark's racist playbook were repeated again and again: in the form of en-forced curfews, food shortages, tanks in the streets, attacks on unarmed citizens (by police, military, and armed militias), references to snipers, outside agitators,"insurrection," "left-wing radicals," and clarion calls for "law and order." Newark 1967: A Narrative in Black and White reads as history, memoir, current events, and cautionary tale. The text of the book is comprised of ten stories, most of them a chorus of voices, many dramatically different: "The Newspaper Stories," "John Smith's Story," "The Activists' Story," "The Law Enforcement Story," "The Black Survival Story," "The Firemen's Stories," "The Eyewitness Stories," "The Grand Jury Story," "The Mother's Story," and "My Father's Story." On facing pages, images of events transpiring people on the ground are viewed through cutout openings within quiet-seeming domestic scenes. In this way, two realities are depicted: black and white, "high" and "low," the protected and the targeted. Within the pages of the book, which mimic newspaper stories and photos, the artist uses color to comment on color: while the white characters are foregrounded and printed in bold black ink, the black characters are viewed from afarâ"ghostly, barely there, an allusion to Ralph Ellison's "Invisible Man." A closer read of both sets of photos, however, reveals a more nuanced and parallel story: the double meaning behind the phrase "domestic unrest." [Artist statement] All text and imagery in "Newark 1967: A Narrative in Black and White was silkscreen-printed onto Schaeffer Graphic Board, with laser cuts by Sarah Pike of Freefall Laser. The book was bound by Lisa Hersey using hand-dyed Yukyushi paper for spine-lining and hinges. Period photographs of Cummins and her family are from the artist's personal collection. All original press photographs have been reproduced by kind permission of the Associated Press and The Newark Star Ledger, with the exception of the images facing The Grand Jury Story and The Black Survival Story, which are believed to be public domain." [colophon]. Tight, bright, and unmarred. Printed natural board wrappers, black paper spine, black ink lettering, cut out elements, printed natural boards textblock; matching slipcase. Oblong 4to. np. Illus. (b/w plates). Numbered limited edition, this being __ of 30. Signed by the artist.

Condition: Fine. Limited Edition. Limited Edition. Unpublished Ms, 1946juxtaposes a memoir by Hans Bargasâ"a survivor of Buchenwald who resettled in Pennsylvaniaâ"with a rejection letter from the head editor at Readers Digest. This spare and chilling book speaks powerfully to issues of anti-semitism, denial, and the erasure of cultural memory. Bright and unmarred. Loose sheets in clipboard. 154pp. Illus. (b/w plates). Numbered limited edition of 15, this being 12. Signed by the artist.

Hardcover. Condition: Fine in Fine Portfolio. Limited Edition. Limited Edition. Hardcover. Typographic assistance by K. McMillian and binding by Lisa Hersey. Letterpress printed on Asian paper, titling redacted by hand in graphite. All photos reproduced from original 35mm film. Bound in the form of a stenographer's notepad. The work "deconstructs the life and death-by-suicide of her mother, Dolores Bodkin, an aspiring artist who was forcibly committed in 1963 after attempting to leave her violent and abusive husband. Using language that is factual and at times chilling, the artist plays upon the original meaning of the word secretary--"secret keeper"--to allude to the secrecy and shame that existed in her household, as well as the cultural silencing of women around the experience of sexualized violence. Cummins uses several layers of information to tell this story: her own memories; excerpts from a diary her mother kept for two years before her suicide; a list of roles that Bodkin embodied, all crossed on the final page; and most dramatic of all--photographs taken by her father that span the period 1956-1975. These images, reproduced in ghostly silver ink and retaining film-strip terminology such as "Hypersensitivity" and "Kodak Safety Film," are both beautiful and deeply disturbing. Repeatedly the subject is photographed without her consent: while angry, while sleeping, while contemplating the dilemma of her broken leg. Viewed together, and with the accompanying text, these portraits serve as a documentation of Bodkin's destruction. By bringing a critical female gaze to bear upon classic examples of the male gaze, Cummins invites her audience to become aware of, and truly see, multiple forms of invisible violence. By the end of the book, an act that many call "senseless" makes perfect sense." [artist's statement]. Tight, bright, and unmarred. Quarterbound, blue paper boards, black leather spine, black ink lettering, cave paper endpages. 4to (8.5x14.5). np. Illus. (b/w plates). Numbered limited edition, this being 19 of 30.

Hardcover. Condition: Fine in Fine Archival Box. Limited Edition. Limited Edition. Hardcover. Retrospectivewas designed and printed in the winter and spring of 2022, with typographic assistance from Kathleen McMillan. Inspired by the fact that I recently celebratedmy thirty-fifth anniversary of making artist's books,Retrospectiveis a look back on my career. A delightful play upon the traditional catalogue raisonné,Retrospectivealso makes visual reference to scrapbooks, archives, and exhibitions. The text, which culminates in alist of works printed from 1985 to 2021, is comprised of one-page vignettes that speak to a variety of subjects: growing up with books, my early art training and interest in book illustration, apprenticeships and early projects, the influence of history in my work, the role of travel and research in my practice, and a variety of topics which I hopewill illuminate â" for students, researchers, and collectorsalikeâ"the nature and scope of an artist's life. The text ofRetrospectiveis juxtaposed against a variety of images: actual and reproduced bookpages; a diary page from age 18 describing my desire to be a book illustrator;documentation of early art projects,edited-out images fromeditions; and photographs of seminal places in my career, including the Yolla Bolly Press, where I apprenticed; my first printshop, in Brooklyn; the American Antiquarian Society,where I was an artist-in-residence, and Kinngait Studios, a printshop in the Eastern Arctic that I made a pilgrimage to. Many of the stories included are from past lectures given to students. I recount the story of how I fell in love with letterpress (by pieing a case of type), how I bought my firstpress (at an estate sale for $200), and how I was able to rentmy first studio when I only had twelve dollars in the bank(a process I now refer to as Indiegogo before Indiegogo). Ibelieve that an essential part of my role as an older artist is to demonstrate, with examples from my own life, the way in which being an artist is itself an ongoing act of creativity." [artist statement] All text inRetrospectivewas printed letterpress ontosheets of Arches Cover. The accompanying images provide a rich sampling of artistic methods and materials, including silkscreen, letterpress, collage, digital printing,watercolor, and colored paper. The structure of thebook â" staggered pages which fan out like a card deck, allowing the viewer to see a slice of each image simultaneously â" create a blur of color that invites the reader/ viewer to explore. The box which houses the book,specially designed and crafted by Jim Lee, contains a side piece which lifts up for easy access to and handling of thebook.The cover of the box, constructed out of plexiglass and laser-etched by Sarah Pike, allows the book to be displayed even when it is safely stored. Tight, bright, and unmarred. Unusual structure, printed using a variety of techniques (silkscreen, letterpress, collage, digital printing,watercolor, and colored paper); archival hinged box with plexi-element to allow viewing when sealed. fo. 66pp. Illus. (color and b/w plates). Signed limited edition of 30 copies.