V I T R I N O S O P H E S
Fall 2020
Salt & Cedar’s letterpress editions, artist’s multiples and objects at Trinosophes
Letterpress Editions
Maps Across Time/Across Space: Fox Creek. Hand-rendered by Paul Bartow. Edition of 50, $25/ea.
letterpress printed in deep gray on Crane’s Lettra ecru 110lb. cover stock. [6 versions]
A New Map of the Moon: network of proposed highways for U.S., Russia, Japan, Germany, England. $35/ea.
Paul Bartow. Letterpress printed in 6-colors over a blind-stamped topographic map of the moon. Crane’s Lettra soft white or ecru 110lb. cover stock. [2 versions]
Paradox. Oblique wood type on vintage Hahnemühle Ingres paper, printed at p98a. $12
Quote from Patrick Leigh Fermor. Edition of 7.
Ex-Cities. Hélène Cixous. Limited edition prints on vintage Hahnemühle Ingres paper. $45
Edition 45 on variable hues of paper w/a range of artist’s proofs available.
Cancer: Poems After Katarina Gogou. Sean Bonney. Typeset + printed w/Leander Johnson. $22
Edition of 45, signed and numbered by the poet.
Aesthetics of Secrecy. Hannah Jones. Typeset in Block and printed by the poet on vintage $11
ecru Strathmore writing paper. S&C embossment on lower left. Printed at p98a.
Destroy, she said. Proof of larger 2-color edition printed at the Jan van Eyck Akademie. $18
Geometric postcards. Handset in Futura ornaments, printed on opalescent stock. $2
Not shown in case, but available:
Berlin Trilogy. Tree [3] posters, title-page and a single-page of text by the printer. $120
Composed in Futura ornaments and Akzindenz-Grotesk and printed with metallic gold + gray inks on soft-white acid free stock at p98a. Edition of 45 in tagboard folio.
ARTIST’S MULTIPLES
The Beginning of the War Will be Secret. Jenny Holzer. $150. Silkscreen on wood in the shape of a postcard. Tis version was published through
Printed Matter in 2002, as a re-release of the 1992 series Truisms.
Holzpostkarte + Filzpostkarte. Joseph Beuys. [Wooden postcard + felt postcard.] $350
Silkscreened black text on pine; white text on gray felt. Second edition, 1985.
Lebenszyklus / Cycle de la vie / Life Cycle. Adrian Frutiger. $70
Cham, Switzerland: Syndor Press, 1999. 4to with French fold signatures, including three gatefolds. A series of printed free-form paper cutout abstract shapes of a cyclical nature. In German, French and English, typeset in three fonts—one for each language.
VARIOUS OTHER PRINTS + OBJECTS
Filmore Lumber. Hand-cut letterforms relief-printed on pink card. Some sunning. $5o
Blank Clock Face. Roman numerals. From the flat files of John Derian. $35
Lettres d’hors. Two unopened brown paper parcels containing a shipment of plastic $60/ea.
Notes:
The contents of the vitrine are from the archive of Salt & Cedar Letterpress founded—just across Gratiot and the off-/on-ramps to the highway—in 2012 by Megan O’Connell. The press had an auspicious run of five years. After being priced out of the neighborhood in 2017, O’Connell has traveled across three continents,
printing, offering artist talks, deepening her understanding of European type, and garnering co-conspirators along the way. As artist-in-residence at p98a Erik Spiekermann’s post-digital letterpress workshop in Berlin, O’Connell worked with poets, translators, performers, impresarios and activists, as well as stewarding her own typographic experiments and passion projects,some of which are represented here. Look for two major book publications in 2019.
* Please direct all inquiries to:
info@saltandcedar.com or meganoconnell@me.com
Look for @saltandcedar on Instagram and FB
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Please email rebeccakmazzei@gmail.com for purchasing and shipping inquiries
Jim Crawford is a name that some may have never heard of, and others know well. Even as a young graduate of Wayne State University’s master of fine arts program in 1969, Crawford was a respected figure of the Cass Corridor movement. Detroit Institute of Arts influential contemporary curator, Sam Wagstaff, introduced Crawford and other artists to Detroit’s collectors. With this entrée and his own initiative, Crawford exhibited work in Detroit and in New York.
Crawford’s intellectualism and fascination with the industrial landscape align him with artists from the pivotal Cass Corridor era. His early experimentation with such unconventional materials as neon and dry ice, as well as his radical public performances and ephemeral site-specific installations also connect him to early Minimalism and related movements, such as Process Art, that emerged from the avant-garde New York and Los Angeles scenes.
Showcased here are original print works from that exciting period of activity, c. 1967-1978 in Detroit. The Pile Series, previously exhibited in the Detroit Institute of Arts seminal 1980 exhibition, "Kick Out the Jams: Detroit’s Cass Corridor 1963–1977" includes lithographs and silkscreens featuring minimalist photographs of Detroit's industrial landscape that Crawford printed in 1972 as part of the Willis Gallery (Detroit) exhibition "Pile Series."
Find out more about the Jim Crawford exhibition at Trinosophes here.
Read the transcription of a 2016 interview with the artist here.
Willis Gallery Exhibition Poster with Hand-Stenciling
(1 of 3 remaining copies)
$500
Suite of six prints from the Pile Series (signed)
(1 of 2 remaining suites)
$1,200