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Naughty Dog Press
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Clues series |
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The Flexagon Series 7.6 x 10.75" cloth-covered box containing five letterpress printed flexagons. 1) Inside Out or Denial is a Wonderful Thing: 6" square; continuous flexagon printed in two colors on Mohawk Superfine paper, enclosed in a folder with complete operating instructions. 2) Mid-Coastal: 5 x 10" tetraflexagon printed in two colors on French's cement-colored construction paper enclosed with an instruction card in a plastic sleeve. 3) Nice vs. Polite: 6 x 4" woven flexagon printed in two colors on Mohawk Superfine paper and enclosed in a plastic sleeve. 4) A Game of Fetch: 6 x 6" hexaflexagon printed in two colors on Mohawk Superfine paper and enclosed with an instruction panel in a plastic sleeve. 5) Where Ever You Go There You Are: 5 x 5" rotating ring format printed in three colors on slate blue construction paper from the French Paper Company and enclosed in a plastic sleeve with a paper wrapper containing the operating instructions and colophon. Emily Martin: "This series was started with an idea of the formats but no specific plan regarding the content. As it turns out the series functions as an odd sort of chronicle of the last two years." A pamphlet included in the set gives context to the events chronicled in each flexagon: long-distance relationships, commutes, inner dialogue, the death of a beloved dog and the end of a relationship, the power of friendship. |
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Mutually Exclusive A letterpress printed set of 5 magic wallets provoked by the events of 9/11 which address the cacophony of news reports, emotions analysis and opinions (expert and otherwise) that follow in the wake of any major news event. The righteous indignation and reciprocal intolerance, whitewashed by ideals from religion to political correctness, raise the question of personal belief. Using the magic wallet format, the books panels flip back and forth forming two opposing statements that reflect the slipperiness of forging a personal philosophy. Each of the texts has three layers, the pairs of basic statements in large type and the 10 sets of words from the Pythagorean table of opposites printed in transparent ink. The wallets are contained in a Japanese box wrapper with bone clasps made by Rosa Guimarae. Printed with the assistance of interns during an artist's in residency at the Center for the Book Arts in New York City. Each Wallet is 6 inches by 4 inches. |
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Juror #13 4.5 x 6"; 16 pages. Archival inkjet printed on Crescent and Canson papers. Pamphlet sewn pages and end papers with wraparound paper cover. Emily Martin in a simple way details the conflicting reactions one might have to serving on a jury. Each statement of the text is paired with another statement. The pages are laid out with one statement along the bottom of the page and the other upside down along the top of the page. The book has two fronts and can be opened from either end for alternative readings. Believing the defendant and not the cop is politically correct. Believing the defendant and not the cop is naive. |
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| Many of Martin's works deal with everyday happenings around family and home. | |
More Slices of Pie 9" diameter; 8 wedge shaped books. Inkjet printed on ivory 20 lb. text paper and cream Canson paper. Trimmed with wavy scissors. Typefaces: Century Gothic and Copperplate Gothic Bold. Wedges laid into aluminum pie pan, which is housed in clear plastic pie container with snap-on lid. This bookwork is based upon an earlier work Eight Slices of Pie (2002). Eight slices of comfort food containing family stories, bits of advice, and recipes: "First bite, last crumb" (introduction and colophon); "The eating crow pie" (Pie Shake); "Grandma's pie crust" (Recipe); "Me, Martha & pie in the city" (Peach Pie); "Todd's special pie" (Banana pie); "Not flan pumpkin pie" (Pumpkin Pie); "Heaven on earth pie" (Chocolate Ambrosia Pie); and, "Camp Van Vac pie" (Wild Blueberry Pie). |
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Siftings 11 x 6"; 70 pages. Printed letterpress and inkjet on Arches Text Wove in Gil Sans. Images pressure printed with hand-cut stencils. Endsheets and cover paper Hannemeuhler Ingres Camel. Bound using the Secret Belgian binding, a historical binding rediscovered by Hedi Kyle. Of the edition 1 -10 are housed in a silk covered clamshell box lined with marbled paper made by Stephen Pittelkow. A photograph, taken in 1960 is embedded inside the box. This is one of the first ten. Memory can be used as a counterweight to time. From the Colophon: "This book arose from my attempts to remind myself of my mother as she used to be. While she is still alive, she is much diminished both mentally and physically. It was not always so and I started to think of her when we were both younger." Siftings also reminds us that when we remember others, we are remembering ourselves. Emily Martin: "The text is a set of 50 short sometimes very short stories of events from my growing up. It started as a remembrance of my mother and expanded out to include my family, my neighborhood, my elementary school, and my nervous stomach." |
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Vicious Circle #6 5" diameter; flexagon rotating ring format. Printed letterpress on a Vandercook SP15 in two colors. Printed in Courier on safety orange construction paper from the French Paper Company. Enclosed in a paper wrapper containing the operating instructions and colophon. Emily Martin: "Each 'volume' consists of a leaf folded … to form a ring of three connected pyramids; continuous rotation of the ring reveals the text printed as single words on the sides of the pyramids." Hint - Suggest - Demand. She is ignored. Then the circle begins anew. Hint - Suggest - Demand ... |
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Fly Away 7 x 6 " closed, triangular accordion book printed letterpress, inkjet and pochoir on Sakamoto paper. A nontraditional variation of the Japanese double leaved album with an attached hard cover wrapped in Moriki paper. Three texts viewed two ways, as the page turns or as a series of hills and valleys when standing. Pochoir and inkjet printed text on Sakamoto paper. A new book from Emily Martin that muses on the sometime desire to flee one's life. The texts repeat over a yellow brick road, "There's no place like home", flight defined as running away, and the artist's 2001 essay on escape. |
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Slices 4 x 8" A letterpress printed carousel book constructed of Moriki paper and Thai striped paper. The text is printed on each of the twelve cake slices. Hard cover of book covered in Moriki paper with embedded magnetic strips to form the circular cake structure. An artist book produced in celebration of the artist's 50th birthday. Opening a pink doily lined cake box one finds a celebratory birthday book. The carousel book forms twelve slices of "cake" with each slice containing fifty words of text. A wonderful to celebrate one's "coming of age." |
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The Family Game 5.5 x 8.5" six page pamphlet on Mohawk superfine paper. Attached cover of Emerald Canford paper. Archival inkjet printed. Contains a colorful pop-up presenting the playing board. A game for all ages since everyone has a family of some kind. Subtitled "Lose just by playing."
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Away 3 x 4.25" closed; opens to 24". Accordion structure. Paper over board covers. Letterpress printed. Ah, summertime is here whenever you open this book. The three Rs are Relaxation, Recreation, and Rejuvenation. The text explores both the pluses and minuses of "getting away from it all." In a reverie of detail, Martin invokes the double-edged lure of the primitive, the cabin by the lake where there is "Nothing to do that you have to do" and "Newspapers are for lighting fires." Yet, eventually, we won't be able stand it anymore, that "chance to do nothing for a week or maybe two, but . . . not a minute longer." The back spread of this two-sided accordion is a continuous image of lounging swimming fishing reading vacationers. . I can smell the marshmallows burning! |
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The House Detective, Abridged 7 x 4.25 x 2" of a series of graduating house shapes with Xeroxes of intaglio prints on Japanese paper with cut up detective novels on foam core. Accordion bound using Japanese screen hinges. An abridged edition of Martin's original The House Detective. |
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| Bookworks from Martin's "Eyes Were Watching" series | |
Crime and Romance 5.5 x 8.5"; 36 pages. Black-and-white xerox slice book [slice book is Martin's own coinage, see below] with text and images. Card stock with a black plastic comb binding. A book from Martin's "Eyes Were Watching" series. Each page is divided into thirds; each third holds an image or a connecting phrase (for example, "Suddenly it was revealed," "Later that same day"); images and phrases can be sequenced in a mix-and-match mode, giving multiple combinations and viewing scenarios. Much like an exquisite corpse structure. Martin:"I somewhat arbitrarily called them slice books, I think the form predated the Exquisite Corpse games, which did combine images but on intact pieces of paper." |
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| A bookwork from Martin's "It Isn't Always Funny" series | |
How Can I Love You? 4.25 x 5.5"; 33 pages. A color Xerox slice book. Card stock with a green plastic comb binding. Emily Martin on her slice books: "I somewhat arbitrarily called them slice books, I think the form predated the Exquisite Corpse games, which did combine images but on intact pieces of paper. I had forgotten children's Mix and Match books, it certainly has weight as to the number of commercially printed books using that term for the form." Color xerox images from one of her series of bookworks: "It Isn't Always Funny." Pages are divided in thirds, one image per third, for multiple viewing possibilities. No text. |
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Yes Please, No, No, Never 3.5" x 3.5 x 2" Jacob's ladder format of the do's and don'ts of manners. Color Xerox images over binder's board with plastic straps. Contained in a folded box with operating instructions.
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| Clues Series | |
Clues but no answers 11 x 14"; 9 prints. Images letterpress printed using pressure printing, polymer plates, and a linoleum block. Texts letterpress printed from handset Baskerville and Broadway type. Paper: Mohawk Superfine. Contained in a black cloth-covered portfolio with black elastic band closure and paper title on front. Colophon printed on back pastedown. Emily Martin: "A suite of nine prints organized as if casting a play, with three separate figures holding weapons of various kinds; three pairs kissing, dancing or toasting each other; three separate figures crying, sneaking or running; a crime scene body outline; and two different versions each of four different room settings. The title of the series is the same as the text included in each image, 'Clues but no answers.' "These various characters and settings are layered on the prints in a variety of combinations. There are two constant features, the text is always the same and the body outline is always in the lower left corner. The words and the images work together to suggest an ambiguous narrative. There is a cumulative effect to viewing the different images and texts that suggests different meaning, or stories depending upon the setting and also depending upon the viewers themselves." |
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It Didn’t Just Happen 9 x 6.5"; 12 pages. Accordion structure. Images letterpress printed using pressure printing, polymer plates, and a linoleum block. Text letterpress printed from handset Baskerville type. Paper: Mohawk Superfine. Paper case of Canford paper. Emily Martin: "An accordion book of images with overprinted text lines, working together to suggest an ambiguous narrative. The images are organized as if casting a play, with three separate figures holding weapons of various kinds; three pairs kissing, dancing or toasting each other; three separate figures crying, sneaking or running; a crime scene body outline; and two versions each of four different room settings." Text: "... there was no cause / but it didn't just happen "
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Who, What, Where, When 9 x 6.5"; 20 pages. Images letterpress printed using pressure printing, polymer plates, and a linoleum block. Texts letterpress printed from handset Baskerville type. Paper: Mohawk Superfine. Drum leaf binding with red cloth over boards and black over spine. Paper title label on spine. Emily Martin: "A drum leaf bound book of words and images on facing pages, working together to suggest an ambiguous narrative. The images are organized as if casting a play, with three separate figures holding weapons of various kinds; three pairs kissing, dancing or toasting each other; three separate figures crying, sneaking or running; a crime scene body outline; and two versions each of four different room settings." Text excerpt: "… there were clues / but no answers" |
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| Naughty Dog Press Out of Print Title: • Eight Slices of Pie • In One Ear: a three part story • My Twelve Steps • The Peacock's Complaint |
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Page last update: 05.23.09
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