As part of the BAR initiative, we are launching a set of resources aimed to help share information and opportunities among the global artists’ book community. These include:
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
Headline
vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as
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vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted
Headline
vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted I recognized its design. The white spine of Claudia Rankine’s Citizen: An American Lyric (2014) stood out from the shelf. I knew the book well, but I picked up this copy up anyway. The cover’s smoothness felt familiar, as
Headline
vid-19 pandemic began. A book in the poetry section caught my eye because I recognized its design. The white spine of Claudia way. The cover’s smoothness felt familiar, as did the book’s heft, an effect of its 182 pages being printed on matte coated paper. David Hammons’s iconic sculpture In the Hood (1993) greeted