Artist Books & Multiples of Miranda Maher


Redbook: Redux

A reinvention of Maher’s 1992 xerox book Redbook: A Book of Hours, Redbook Redux assembles visual elements appropriated from illuminated manuscripts spanning several centuries in both Europe and the Middle East.  But on this luscious ground we find FBI statistics on “forcible rape” used to divide the days of the month into intervals of six minutes. Logged against a listing of women’s (and men’s) names, this book becomes a horrific testimony of the extent to which our culture tolerates personal violence.

Edition of 500
5.5×8.5″ Digital lithography, casebound with ribbon bookmark (imprinted w/title)
2011, Brooklyn N.Y.

100 of the edition – signed and numbered by the artist

How to Forget What You Gave Away

How To Forget What You Gave Away

Designed with scrolled, calligraphic script, Miranda Maher’s poster How To Forget What You Gave Away satirically mimics the United States’ Declaration of Independence. With witty, subversive statements like “Don’t wonder what happened to our independent, truth seeking media. (Troublemakers!)” and “Enjoy the increasing power of the corporate wealthy (Pretend you’re one of them),” Maher cleverly suggests that the mass amnesia plaguing our homes was, if not enthusiastically, then passively, embraced, making change all the more difficult.

Digitally printed poster, 12×18″

Brooklyn, 2010.


After Reasonable Research

After Reasonable Research [Expanded Third Edition]

This astounding document of the absence of peace in our time lists all open and declared armed hostile conflicts that have taken place between the year 1 and the year 2006. Printed in a tiny font and arrayed in two seemingly endless columns, these conflicts fill a mind-boggling twenty-two pages. The book is printed on accordion folded decorative paper, an uncomfortable reminder that the refinements of civilization are inseparably bound up with brutality.

This third edition comes in a plastic slipcase and includes a printed statement by the artist.

Laser printing on decorative pape.

Brooklyn, 2006


1000 Coordinates of Violence

1000 Coordinates of Violence

As the title suggests, this book compiles a list of the exact longitude and latitude of 1000 cities that have been sites of aggression between the years 1 and 2000 C.E. Culled from the artist’s local library resources and edited at her own discretion, the list disclaims comprehensiveness. Instead, as Maher explains in the introduction, this book attempts to collapse the temporal and geographic distance we maintain between historical violent events and our own lives, leading the reader into an “examination of our relationship to the profound and unremitting violence of history.” Included in the back is a list of activist, peace-seeking websites.

Lithography Book.

Brooklyn, 2001.


How to Read & Write in the Dark

How To Read And Write In The Dark
Miranda Maher and Barbara Henning

An illustrated narrative of an intimate relationship. “This novel poem, short story, essay, work of history, record of days in August 1994, was composed from splinters of travel and museum guides, postcards, passing remarks, journal entries, fantasies, reflection and analysis. A composite of tiny speech genres, illustrating a disruption of scientistic knowledge by the sensual and physical.”

Laser printing and Color Copy,

Brooklyn, 1996.


Sur Veils

Sur Veils

Designed to look like official documents, the loose pages of this artist’s book are printed on what look like government bonds. Inside the frame of each rectangular page’s sober gray and blue scalop edge, texts describe five aspects of a phenomenon that pervades our culture: surveillance. In between the chapters entitled surveillance and knowledge, surveillance and purity, surveillance and reciprocity, surveillance and glamour, and surveillance and absurdity, the artist has inserted veils or masks. Photographs of faces with eyes closed have small holes cut into the eyelids so that the wearer can “turn the tables on those adversaries – whoever they may be – ” and practice his or her own version of surreptitious observation.

Lithograph and laser printing, loose sheets in a vellum envelope.

Brooklyn, 1996.


100 Coordinates of Violence

100 Coordinates of Violence

Incidences of violence–contemporary or historical–are identified only by their longitude and latitude. A short poem introduces the work, and an epilogue succinctly laments unrelenting violence in all its forms–war, murder, execution. A Hole is drilled through all the pages to reference the marking point on the earth.

Xerox boo.

Brooklyn, 1995.


GIRLS! GIRLS! GIRLS! : Madwomen & Murderesses

GIRLS! GIRLS! GIRLS! : Madwomen & Murderesses

From Printed Matter:
Murderous madwomen Jean Frame, Aileen Wuornos, Madeleine Smith, Jeanne Webber, Karla Faye Tucker, the Papin sisters, Roxanne Gay, Ruth Snyder, and Irma Grese are the players in this fascinating and ambitious artist’s book. Printed on the onion skin pages of the book with black circles over their mouths, the women speak instead through Maher’s collection of quotations from doctors, patients, scientific studies, news reports, and criminal trials. The quotations are accompanied by found and original “explanatory” drawings and diagrams that give a sense of how how elusive any single explanation actually is. The complexity of the cultural phenomenon of murderous madwoman is evident in the titles of the book’s chapters: Madness as Fear and Anger; Madness as Invention; Madness as Failure; Madness as Fragmentation; Murder as Release; Murder as Compulsion; Murder as Silencing; Murder as Scientific Method; Murder as Escape; Murder as Masculinity; Murder as Deliverance; Murder as Ball-Busting; Murder as Domination; Murder as Resistance. The artist created a related Printed Matter window project in September, 1994.

Xerox on varied papers,

Brooklyn, 1993.


18 Self-Portraits, 15 Portraits, 9 Portraits in 2 Different Forms

18 Self-Portraits, 15 Portraits, 9 Portraits in 2 Different Forms.

The survey behind this methodical book asked respondents to list ten dates in their lives “representing significant events/actions/occurrences/influences.” Maher then mapped these coordinates by shooting “10 rounds from a 45 caliber automatic handgun, penetrating all sheets at one time” at the Westside Range, New York. She also documented the responses onto rubber stamps, imprints of which are included in the book, along with copies of the original responses.

Brooklyn, NY : Horse in a Storm Press. 1991


Redbook: A Book of Hours

Redbook: A Book of Hours

Redbook uses FBI statistics on “forcible rape” to divide one year into intervals of five minutes. Logged against a random selection of women’s names, this book becomes a horrific testimony to the extent to which our culture tolerates violence against women. Maher conceptually links the distancing effects of statistics to the division of time, designated by the Christian Book of Hours for prayer, to suggest an underlying ideology of compliance.

Brooklyn, New York 1992


Emergency Instructions & Contemporary Immaculate Conceptions

Emergency Instructions – [3 booklet set]

Emergency Instructions I, II, III

These three booklets provide the reader with step-by-step instructions on how to physically react to danger. Includes:

I. How to Swallow the Lump in Your Throat
II. How to Shore your Shaking Knees
III. How to Give the Gift of your Back-Brain (and maybe escape away)

Xeroxed, Saddle staple binding. Red cardstock covers with red paper band.
Detroit, MI  1990


Contemporary Immaculate Conceptions

Contemporary Immaculate Conceptions

Conflating scientific intervention in childbirth with the Christian mythos of sexless “immaculate” conception, this multiple presents four test tubes posing as pseudo Christmas tree ornaments, each representing an actual incident of choreographed conception gone awry. Cards tell each baby’s story. In leatherette presentation box and paperboard box.

Edition of 50
6×8″ Mixed media multiple. Signed and dated.
1998, Brooklyn N.Y.
$48 (low stock)