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Artist's Books by Brad Freeman

Annotated Amusement Guide Magazine, 2012
offset printed artist’s book
10" x 11 3/4"
68 pages
edition size 100

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Wrong Size Fits All, 2010
offset printed artist’s book
8 3/4” x 5 3/4”
112 pages
edition size 200

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CUBA & Torre de Letras y Musica, 2006
inkjet printed artists’ books
collaboration between Brad Freeman & Johanna Drucker
clamshell box - 12 1/4” x 9 1/4” x 2”
36 pages and 64 pages
edition size 20

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Nether Wallop, 2003
offset printed artist’s book
5 3/4” x 5 7/8”
96 pages
edition size 114

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The Grass is Greener, 2001
offset printed artist’s book
7 1/4” x 5”
48 pages
edition size 500

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JAB - Journal of Artists’ Books
1994 - current

Once Removed, 2003, Minnesota Center for Book Arts, 32 pages, 17 1/4” (h) x 12” (w) closed, case bound, jaconnet hinge binding; edition size 50 signed and numbered copies; offset printed at the printing company Concept to Print owned by Dik Bolger in Minneapolis. ($250)

Once Removed is a collaboration between Brad Freeman and Anne George for the Concept to Print Residency at MCBA. The project set forth by the artists was to explore through textual / visual means the concept of artificial flowers. Emanating from this point of reference were ideas of permanence, the constructs of female beauty, ephemerality, simulacra, fashion, color, shape and much more. While not collaborating directly on individual pages, the artists had an artmaking conversation - the influences going back and forth between one another.

Emerging Sentience, (Brad Freeman & Johanna Drucker) 2001, JAB Books, 32 pages in duotones, CMYK, and silver; photographs, image sequencing, digital prepress, offset printing and binding by BF; text and text design by JD; casebound; 16” x 10” (closed), edition 50, signed and numbered by the artists on the colophon page. The paper is Monadnock Astrolite and Mohawk Superfine.

The idea for this collaborative book is held in the following question about artificial intelligence: Is conscious self awareness an emergent function of complex systems or is it the spark of life?

The Grass is Greener, 2001, JAB Books and Nexus Press, 48 pages in duotones and CMYK, smythe sewn by Bind Tech Nashville, soft cover and offset printed by BF on Astrolite by Monadnock (alkaline pH and buffered), 7 1/4” x 5”, edition 500, ISBN 0-932526-87-X ($12)

The pathos and beauty of moral frustrations comprise the central theme of The Grass is Greener. The repetitive enclosure of the book form, with its capacity to enact a cycle of constraint within the bound sequence of its pages, reinforces the irony of this work–even as the final signature pulls back, catching its breath and ours in a dry laugh of response. It is tight, succinct, and highly aesthetic as an expression of a wry, dark vision of the lived condition.

The Grass is Greener
is available from Nexus Press, 535 Means Street, Atlanta, GA 30318

Nova Reperta, (Brad Freeman & Johanna Drucker) 1999, JAB Books, 66 pages, 16 5/8” x 20 1/8” (closed), photographs and offset lithography (digital & photomechanical prepress) by BF; text by JD; design by both artists; hardbound with brass posts in boards and silk. The paper is Mohawk Superfine. Each copy comes with a stand of varnished red oak that serves as a base. Edition size 75, signed and numbered on the colophon page.

Nova Reperta is a contemporary response to a book of engravings made from drawings by the Dutch artist Jan van der Straet (Johannes Stradanus) in which he celebrated those innovations that had shaped the modern world in the latter half of the 16th century. Produced in an era of rapid-seeming development and considerable global exploration, the spirit of Stradanus’s work reflected an unqualified embrace of progress. Celebrating change wrought by various mechanical and technical inventions, including the reproduction through copper engraving that fostered the printing of images, his drawings documented many specific discoveries in pictorial formats.

The authors’ response is conceived as a dialogue with rather than an imitation of the original work. It makes no attempt to mimic Stradanus’s pictorial strategies, nor to be consistent with his celebratory spirit. Rather, it is a critical reflection upon the extension of that worldview of progress from a perspective possible more than four centuries later.

MuzeLink: The Tours, 1997, 168 pages, 11” x 8 1/2”, traditional and alternative graphic arts darkroom pre-press as well as computer generated photo based imagery offset printed by BF on LOE dull coated 100 lb. text, in around ten colors. Duotones, tritones and four color separations throughout. Case bound and hand sewn by the artist in an edition of 100. ($750.00)
MuzeLink is a personal / printing history starting with a playful deconstruction of the offset printing process then linking to four color reproductions of 19th century chromolithographs (the progenitor of offset lithography). These images provide a succinct view of the social values of that time and place. This is a complex book which resonates backward and forward, referencing the book as concept and historical form, and the book as an artist’s medium.
Nancy Princenthal writes of MuzeLink , “ . . . there is nothing schematic about this book. Presented in unique covers collaged from set-up sheets titled in silver, and bound in Asahi silk, Freeman’s visual feast can be sampled as freely as any hot-linked hypertext. It is served, however, with the composure of someone who knows his story will satisfy even those who read it from front to back.” (From “On Paper”, Nov. - Dec. 1997)

OTHERSPACE: Martian Ty/opography, 1992, Brad Freeman and Johanna Drucker; Nexus Press & Interplanetary Productions, 96 pages, 6 1/2” x 6 1/2”, computer generated images, printed offset by Michael Goodman, duotones & silver, hard cover, edition 500. ($35)
OTHERSPACE: Martian Ty/opography is a sci-fi narrative starring Jane, an earthling scientist, of cross cultural relations, (mis)representation, knowledge, and sexuality in interplanetary communication. The work draws on contemporary sources as well as archival materials in the history of astronomy.

This book was chosen as the offset book of 1984 in the exhibition “Offset Artists’ Books”, Art of the Book Room, Sterling Library,  Yale University, New Haven.

SIMWAR, 1991, 28 pages, 6 x 6 1/2”, offset printed by BF on Lustro Dull, edition 300, $15;
Television and video game images of simulated and real war raise questions as to how these technologies separate people from the tragic consequences of war. A parallel autobiographical text relates the author’s adolescent experience in a hospital with men wounded in war.

OVERRUN, 1990, 33 pages, 8 3/8” x 9 3/8”, 11 colors, photo montage printed offset by BF on Superfine, edition 165,  soft cover and hard cover with metal plates OUT OF PRINT;
The titile refers to the overrunning of our planet by humans and to the multi layered printing techniques involved in the production. This free-wheeling visual book raises questions about mass entertainment pseudo events experienced as reality in our fast paced car culture.

Long Slow Screw Alphasex Book, 1990, 15 panels (Superfine mounted on bookboard), 3 1/2” x 3 1/2”, held together with a long screw, 4 color offset with silver text (printed by BF), edition 30, OUT OF PRINT;
Interactive, whimsical alphabet book utilizing words relating to sex. The typography for each word reflects the emotions conveyed. The book is also a puzzle that when put together forms images on both sides.

Murder of Crows, 1990, 16 pages, 4 5/8” x 6 7/8”, five colors, offset printed by BF on Mohawk Superfine, edition 65, $15;
Author’s text and drawing dealing with dream sequences of alienation, lost love, and recovery.

Program, 1989, 13 pages, 14” x 8 1/2”, hard cover, duotone montaged photographs, offset printed by BF on Mohawk Superfine, edition 65, OUT OF PRINT;
An apocalyptic vision which joins the (dead) Anasazi Native American civilization of Chaco Canyon, New Mexico (circa 1200 A.D.) with the (dying) contemporary US urban civilization of Philadelphia.

Weird Habits, 1988, 63 pages, 4” x 6”, accordian fold, opens to 16’, hard cover, edition 250, offset printed by BF on Warren’s Lustro Dull (alkaline), $50.00;
This book combines photography with the inherent qualities of offset lithography to create a uniquely colorful, rhythmic, and humorous extravaganza. It takes place at the interfaces of sleep, driving to work, and play. The chimeric possibilities of Godzilla dancing with & swallowing up an adolescent man at mid-life are explored.

Miscellany: Ink on Paper, 1985, 37 pages, 8 1/8” x 5 1/8”, long stitch binding designed by Keith Smith, offset printed by BF, edition 215, $50.00;           
Vividly colored visual book of altered photographic imagery. As the pages turn a lyrical movement of human and plant forms change abruptly to t.v. images of the Republican National Convention juxtaposed to Red Square in Moscow (correlative state/corporate mass entertainments), and Reagan as tv face and target.

JOE, 1984, 68 pages, 8 1/2” x 11”, offset printed by BF, edition 240, $50.00;
Photo/text documentary about Joe Ruther - printer, book artist, photographer, teacher, and redneck philosopher from Tallahassee, Florida. Most of the text is taped conversation between Ruther & Freeman. Multi color printing throughout (at least 10 colors) including duotones, posterizations, subtractive over-printing, & split fountains exploring the potential of offset as a creative printmaking medium.
This book was chosen as the offset book of 1984 in the exhibition “Offset Artists’ Books”, Art of the Book Room, Sterling Library,  Yale University, New Haven.

Lake House, 1980, 52 pages, 8 1/2” x 11”, offset printed by BF, 20 duotones, edition 138, OUT OF PRINT;
Photo/text documentary about developmentally disabled adults living in a group home.

Artist's Books available from:

Brad Freeman, 4236 N. Monticello Ave; Chicago,IL 60618;

Johan Deumens, Editions & Artists Books, DR. N.G. PIERSONSTRAAT 1, NL-2104 VG HEEMSTEDE, The Netherlands, tel (31)023-52 82 491;   e-mail:

artist's books | artist statement | c.v. | contact