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"American Breeding Standards explores the systemized rules about what comprises a good or bad horse, a good or bad woman--and the steps one might take to achieve the breed standard"--Crooked Letter Press website, viewed on August 25, 2014. 1 volume (unpaged) : color illustrations (some folded) ; 21 cm

"[This guide] features modern books banned and challenged under categories like racism, nudity, or homosexual content with quotes about censorship and intellectual freedom"-- Vendor's website. 22 unnumbered pages : illustrations ; 8 x 10 cm

"This book takes the text and imagery from an 2009 artists' book of the same title. I wrote the original text; the original illustrations were oil-paintings, re-created as line illustrations for this project. The book pages are transparent, and thus allow sections of several pages to be viewed at once. The pages are rigid and thick, designed to display well both flat or upright. When displayed upright, lighting can be adjusted for increased interplay between the line illustrations and the shadows they cast. Text selection from the book: there is one who touches me so it burns my hands open at their feeling of the length of me. Thanks to Shannon Perry who prepared the illustrations for laser etching, and to Stefanie Cornish and Jonathan Wiley for their help with all phases of production." - artist's statement

"Now Leaves presents itself as a block. Physically it adopts the scale of a human hand, its weight present, its structure flexible, almost human. The pages fall loosely apart to reveal dense black graphics – letters shaped as tongues, twisted to form barely legible words. Each page inscribed, playing on repetition, the word 'leaves' repeatedly tongued. The successive pages form statements, occasionally benign – it starts LEAVES FOR LEAVES – but as the pages turn a more visceral violence exudes from the pages – SLAVE LEAVES HAPPY LEAVES, FUCKING LEAVES LOST LEAVES KILL LEAVES, BLOODY LEAVES POSITION LEAVES. Whilst visually arresting, the experience of reading Dean's book reduces reading to the physical intimacy of your own mouth; as you to attempt to read the barely decipherable words to take pleasure in the babble, you feel your eyes contort as your own tongue does trying to shape the words, tempted to twist, stretch or replicate the graphic tonguing on the page." -- Publisher's website

"There were two sources of inspiration for 'When the Veil Becomes the Apron:' a 1930s Hotpoint electric cookbook for content and a facsimile of a Victorian children's pop-up book ('A Day in the Zoo') for structure. My impressions of life in the 1930s changed after researching this decade through 'Good Housekeeping.' It was not yet a fully consumer culture. There were hints at emerging women's emancipation. The narrative is drawn from somewhat conflicting articles and advertisements resulting in 'Happy Hotpoint's Helpful Hints' of six kitchen recommendations for a successful marriage. The introduction of so-called labor-saving devices did not, in fact, reduce the time required to attend to housewife duties. As the equipment reduced time to do some chores, the time was then filled with tackling the increasing complexities of the chores, including cookery with more recipes using a greater variety of ingredients. Facsimiles of related ephemera sit on the back side of the panels." -- Artist's statement from 23 Sandy Gallery 1 volume (unpaged) : color illustrations ; 23 x 14 cm in box 25 x 16 x 5 cm