Pierrot Lunaire
21 etchings printed twice, in intaglio and in relief, the original French is set in Bembo italic; the German in Gill Sans Light; and the English translation is set in Monotype Bembo; type cast, set, and printed by Dan Carr and Julia Ferrari of Golgonooza Letter Foundry on Magnani Pescia paper, in an aluminum box decorated by the artist and lined by Sarah Creighton
2007
A folio from the dark, caustic, and poignant 1912 song cycle Pierrot Lunaire by Arnold Schoenberg. Pierrot Lunaire evolved from a request in late 2002 from the Yellow Barn Music Festival in Putney, Vermont, for Cohen to create an etching for a performance of Arnold Schoenberg’s atonal song cycle based on setting of poems by the Belgian Symbolist poet Albert Giraud. The twenty-one pages in this book are single sheets—unfolded and unbound. Each page presents one of the 21 poems in its original French; in the German of Schoenberg’s song cycle; and in a new English translation by the artist. The etchings are printed twice from a single plate on each page—in intaglio and relief, a visual analogy to the sudden and startling reversals of emotional tone from tenderness to despair in the music... In Cohen’s words:
As I listened to, read, and researched this expressionist song cycle from 1912, I realized an affinity to the work and its dark, caustic imagery. Over time I envisioned etchings for each of the twenty-one songs in the suite ... Images of the moon and moonlight recur throughout the songs, with symbols and characters from the commedia dell’arte. I sought to evoke the arid, brittle, crystalline texture of the piece, its chilly and eruptive luminosity. I saw in the character of Pierrot a pining Romantic, a sadistic trickster, a divine fool shifting between profound longing and mocking nastiness.
Aloe Corry is an artist working with painting, text, and printmaking. She obtained her BFA from Brigham Young University in 2016 and an MFA from the Northumbria University BxNU Institute in 2019. Much of her work explores narrative, repetition, and documentation: she gathers different components from the environments around her to build new stories, histories, and mythologies. Aloe’s most recent exhibitions include “Kunst am Strom,” “Radical Hope,” “While You Were Out” at 36 Gallery, “Until We Run Out of Roads” at Baltic 39, and “If You Can Stand the Glare” at Goldtapped Gallery.
Ron Linn is a multidisciplinary artist from Portland, OR, whose work is primarily based in drawing. He received his BFA from Brigham Young University in Studio Art and his MFA in Painting and Drawing from the University of Oregon in Eugene, OR. His work engages in issues of place and the connection between human and non-human nature through an examination of memory, myth, and both personal and imagined histories. His work has been shown at Carnation Contemporary, Disjecta Contemporary Art Center, the Rio and Alice Galleries in Salt Lake City, Bountiful Davis Art Center, and PDX Contemporary Art. He currently teaches painting, drawing, and printmaking courses at Brigham Young University and Utah Valley University in Provo, Utah, where he lives and works.
shattered stones (a song for sigurður björnsson)
Risograph on Legion Mulberry Paper, letterpress on Fabriano Clay Paper, letterpress on walnut ink dyed St. Armand Canal Paper
2025
“shattered stones (a song for sigurður björnsson)” is a poem of sorts reflecting on stones and memory inspired by a walk beside a glacier in Iceland. Sigurður Björnsson was a young man caught in an avalanche which I read about on the trail I was walking. I also noticed a large amount of shattered stones along same trail and I imagined their witness to this small moment of human disaster. The original drawings were executed in walnut ink. The images in this book were printed in three color risograph, while the text was printed letterpress. The cover was hand-dyed in walnut ink and the book was bound by the artist.
this is a most glorious place
Risograph and letterpress on Crane’s Lettra writing weight paper,
2025
“this is a most glorious place” is a meditation on the sublime and waldeinsamkeit (a German term for the feeling of being alone in a forest) inspired by old postcards found at flea markets in Germany and Prague. The book is hand-bound by the artist and contains risograph prints of original watercolor drawings of the fronts of the postcards along with facsimiles of the backs of the postcards arranged on the white spreads of the pages. The text is printed letterpress and was written by the artist.
actions for the wind
Letterpress on handmade paper and BFK Gray, hand-sewn mini-windsock and cover wrapped in reclaimed tent material, watercolor on handmade paper
2016
“actions for the wind” is a flag book referencing the moving shape of a windsock, a body which makes the invisible forces of the wind visible. Inside a pocket are loose leafs of letterpress printed instructions for interacting with the wind, which the reader can do making use of an included mini windsock made of reclaimed tent material. The book is contained a clamshell box which is wrapped in reclaimed tent material.
Christopher Lynn is a Utah-based interdisciplinary artist, curator, writer, and educator. His work has been shown at The Holland Project: Serva Pool Flux, Reno, NV; Kunsthalle Below, Germany; Czong Institute for Contemporary Art (CICA), South Korea; I Never Read, Art Book Fair Basel, Switzerland; North Art, Aukland, NZ; Alfred University, NY; Mess Hall, Chicago; Dorsch Gallery, Miami, FL (now Emerson Dorsch); Hedge Gallery, Cleveland, OH; American Greetings, Cleveland, OH; Thomas Nelson Community College’s Visual Art Gallery, Williamsburg, VA; Finch Lane Gallery, Salt Lake City, UT; the Rio Gallery, Salt Lake City, UT; Southern Utah Museum of Art, Cedar City, UT; and The Flat File, Salt Lake City, UT. He was a 2017 Peripheral Vision Publication Fellow and a 2025 Utah Artist Fellow.
We Are Sorry, Never Again/We Are Sorry, Here We Go Again
Risograph on Neenah Cotton, custom sleeve with laser-cut lettering
2025
My 𝘞𝘦 𝘈𝘳𝘦 𝘚𝘰𝘳𝘳𝘺, 𝘕𝘦𝘷𝘦𝘳 𝘈𝘨𝘢𝘪𝘯 series was inspired by a visit to the Topaz Japanese Concentration Camp site near Delta, Utah. A previous visitor to the site had used gravel from the parking area to spell out “WE ARE SORRY / NEVER AGAIN” on a concrete slab. Using satellite imagery of the hillside letters scarring Utah’s mountains that celebrate towns and schools, I redirected the letters to spell out a monumental, statewide apology—turning symbols of public pride into public contrition. The piece was updated in 2025 to “We Are Sorry, Here We Go Again” to reflect the rhyming of history.
The 50 Card Project
Letterpress on various papers and sizes, contained in a custom enclosure
2017
The 50 Card Project is a collection of limited-edition letterpress cards printed every week from Trump’s first Inauguration Day to the end of 2017. This project is directly inspired by the statement liberty and justice for all. The collection is housed in a custom-made enclosure. A book summarizing the project accompanies the work. The book is also available on its own.
”I made a card of FDR’s Four Freedoms to commemorate Inauguration Day. By the end of the three-color limited edition of 100 cards I decided to make a card every week for the entire year. Each card is printed with vintage letterpress type, cuts and/or other printing matrixes like linoleum blocks and the occasional polymer plate. Each card is my weekly practice to reframe events that were occurring in our country in a positive way. They also serve as a reminder about what is important and at stake in our country.
As part of my action, I sent the cards each week to members of the Trump administration, including Trump. I weave irony and subversiveness into each card through choice of quote, image and color.”
PRESS | 29 PRESS is Letterpress as a Public Art Project and Melanie Mowinski.
A Collection of Fifteen Plants (Liverpool Side, Wirral Side)
https://www.instagram.com/art.maria.samuelson/
Lady Chapel
digital prints on various paper, hand-bound in a custom envelope
2025
Lady Chapel is a joint project between Maria Samuelson and Chris Lynn. It examines the resonances and tensions between sacred architecture and bras, pairing arching line, floral decoration, and constricting ribs which form the basis of both.
http://www.michaelsharpartist.com
Michael Sharp is a book artist working in the Great Basin of the Western United States. Sharp uses the book arts inherent interdisciplinary properties to bring his love for photography, printmaking, and paper together. Sharp emphasizes the interactive nature of the book through exploring structure and materials. Conceptually, Sharp draws from the land, looking at themes of aridification and water’s role in shaping geology and human interaction with place.
Sharp has an MFA in Studio Art and a BA in Art History. He studied at the Corcoran College of Art + Design in their MA Art and the Book program. He has had residency at the Book Arts Program at the University of Utah and was a Grabhorn Fellow at Arion Press. Sharp was an artist assistant at Sarvisberry Studio & Gallery.
Dry Creek
Six gold toned salted paper prints (salted with salt collected from Great Salt Lake) on Arches MBM bound in a triple accordion structure using Hahnemuehle Bugra and Korean Hanji, letterpress printed text and colophon, covered in vellum with titling hand-tooled in silver.
2025
Dry Creek is a collection of six gold toned salted paper contact prints from silver gelatin negatives woven and sewn in a triple accordion. The images are taken from the Dry Creek Trail, a trail that follows the urban wilderness interface along a deep meander in the surrounding alkaline soils, remnant from the inland sea that once covered this now desiccated land with water. The path is paved in asphalt, cracked and broken by the earth’s movements. The cracked asphalt covering has been patched with stripes of tar, an attempt to repair the paradoxical claim of designating a place for human interaction with land and water in the desert.
Book of Leaves
Cyanotype contact prints of leaves collected at the Utah State Arboretum at Red Butte Gardens, hand set letterpress text and titling, M fold structure sewn on double cords with an exposed spine, custom cyanotype enclosure with additional text printed photographically, 90lbs Arches watercolor paper.
2013
The cyanotype process was used by the 19th century botanist Anna Atkins, soon after its discovery by Sir John F W Herschel, to make visual records of her collected plant specimens. This book references Atkin’s “Photographs of British Algae: Cyanotype Impressions.” I am drawn to the use of the cyanotype process because of its connection to scientific documentation and use in architectural blueprints to present structural forms.
Each leaf in this collection is printed directly from nature. The leaves were selected and hand picked as a representation of their respective species. The leaf’s impression left through the action of light creates a connection from the once living plant to the paper and on to the viewer. A ghost of each leaf stands starkly on the page, a record of the leaf that rested there.
The bold silhouettes give focus to shape and outline in a comparison of both similarities and differences, through which each species identifies itself. The scientific and common names letterpressed below each silhouette act more as a mnemonic guide than a literary description. The minimalist nature of the text emphasizes the visual connection to form.
The pages are crisp and slightly cockled, mimicking the texture of leaves. As the pages are unfolded they bend and crack, if not delicately handled, similar to dry leaves. The leaves are laid out one to a page giving a sense of singularity within the comparison of two in each spread. As the entire book is folded out in an organic leaf-shaped round it presents a broader sense of diversity to be explored and discovered.
