CODEX X International Book Art Fair and Symposium in Oakland, California. It was so great to be there with my work, and the best assistant, my mom!
#codex2026 #bookart #printmaking #mezzotint
Guerra González, Antonio. Tzompantli. Mexico City: Taller Azul, Arte Útil, 2013. Accordion folded sheet with silkscreen images bound in leather with linoleum printed carving and clasps made of carved deer antler. “This book draws an analogy between the pre-Hispanic Tzompantli (skull rack) and the violence in Mexico of the recent past. It contains the names of the places with the highest rates of violence in Mexico, which are joined together to form a single, endless word. This word is a metaphor for the unity and strength of society; by acknowledging the violence and reading the word, it functions as a kind of mantra that helps heal the pain of the people.” Copy 3 of 10 signed by the artist. https://searchworks.stanford.edu/view/10084297.
Cegarra, Alejandro. Dos muros = Two walls. Manizales, Colombia: Raya Editorial, 2025 https://searchworks.stanford.edu/view/in00000881702. “Explores the journey of migration along Mexico's borders, emphasizing the barriers—physical, administrative, and psychological—that many face. Over eight years, I documented these stories, witnessing Mexico transform from a refuge into an extension of U.S. immigration policies. This book is a historical record of resistance, resilience, and identity—an ode to dignity and memory. It's my way of honoring those I’ve met and creating a lasting testimony that migrating is not a crime” author’s site https://tinyurl.com/44hhcjmz.
Guerrero Murillo, Marcela and Edinson Montaño [et al]. Hebrando mis raíces[Weaving my roots] https://searchworks.stanford.edu/view/in00000290023. A tribute to Afro identity, history, and cultural resistance, narrated from the perspective of curly hair from an Afro-Colombian young woman. A reflection on displacement, memory, and the symbolic power of hair as a vehicle of resistance and pride. The book uses synthetic fiber to resemble curly hair and is designed to be read bottom up in just the same way as Afro hair grows up and up and up. It’s housed in a box, which has (three-dimensional) braided synthetic hair (Kanekalon) woven into a picture frame design, with a braided knob and hook that serve as a locking mechanism. Bound in printed paper wrappers with a wraparound tab to cover the page edges; pages are double-folded with fold at outer edge. Image: Adan Griego. See also artist's website https://www.hebrandomisraices.com/.
romero, gino. The Things We Take (and the Things We Couldn't). [New York, N.Y.]: [gino romero], 2024 https://searchworks.stanford.edu/view/in00000462458. Box set containing an assemblage of items comprising 4 artworks, including: sculpted cut-paper flower with miniature book attached; small manila envelope containing metal key and metal tag on metal key ring; muslin teabag containing rosary made of rolled paper beads and cardstock paper cross; plastic LED votive candle and pop-up paper house "altar." All objects are enclosed in a wooden box that replicates a shipping crate. The top lid of the box features three travel stamps in black: "VZLA," "MIA," "NYC", and printed label in red and white: "Fragile, Please Handle With Care, Thank You." "This set of books is inspired by what one is able to take and what one is forced to leave behind. These books explore the political crisis in Venezuela, diasporic grief, and religion through personal narratives and poems"--Artist's statement. Edition size of 16, signed and numbered by artist on box, colophon, and each individual art piece. Image: https://booklyn.org/catalog/the-things-we-take-and-the-things-we-couldnt/.
#Codex2026 book fair tinyurl.com/mrp3pvpf coming to Bay Area w/ lots of #artistsbooks. To complement the fair see sample works from/about #LatinAmerica & the Latinamerican diaspora in US tinyurl.com/3n4n2pf7, all from @stanfordulibraries.bsky.social. @spantoja.bsky.social @adiazcayeros.bsky.social