Project Timeline



Yoko Ono and Christophe Cherix presenting Report US with the 2016 Courage Award
at MoMA's Modern Restaurant,
Sunday, October 30.

















Democratic National Convention

Exhibition: Truth to Power

















The Daily Paperbacks are complete (31 for January)



Volumes 1–4 are complete.





The bound book blocks arrive back in NY with Lee for the final production phase.















Delivery of the printed volumes and materials to Lee Marchalonis in Detroit.




Printing of first four Volumes of Report US : January 2015, with 3,136 gun incidents.



Printing quality control, back and forth between Smudge and Boxer studio.






Robbin Silverberg makes the endpapers at her mill on Dobbin Street. Experiments with pigments and process.





Changed paper specs, winter dry air and paper grain cause unsurmountable problems printing with the paper shipment. The problem is resolved quickly with a new order of rolls from Hiromi in LA. Rolls are  cut down at Soho Letterpress and printing of VOLs 1, 2 & 3 proceed while editing continues on VOL 4.



Paper shipment arrives from Japan.  Leni at Smudge marvels at the packing.




Editing continues on the January reports. Experimenting and prototypes explored for the Daily books.


December 23

Recipient of the Yoko Ono Lennon Courage Award for 2016!


December 5

The final amount raised through the Tilt sourcing was $4,500.00. My deep thanks to all those who contributed. Onward!


November 9

Tilt minimum goal was reached — total contributions as of today: $2,260. Many thanks to all our contributors.


October 11

Tilt campaign reached $585.01. Efforts to spread the work about Report US continues. Contribute here.


October 6

Tilt crowd funding campaign started.


September 30

Cleo Gordon has joined our team as an intern and has begun to assist with the monumental data editing.


September 20

Congratulations to Julia Geist, who has made big strides writing the code to extract our text from the media reports accessed from the GVA. This is a huge accomplishment towards the success of this project. I am very grateful for her participation, professionalism and talent.


August 28

Colin Miles, co-founder of Wikiburg, and I are brainstorming about ideas to disperse the Report US data. This is just after the live feed shooting of two young journalists in Roanoke. I am proposing digital billboards and posters.





August 25

Julia Geist, who comes to this project via Girls Who Code and Wikiburg, is on board to write a program that will extract reports data from  news sites.


August 20

Designed and built


June 4–July 17

Report US prototype book is exhibited at Francis Naumann Gallery’s exhibition: Past & Present, alongside works by Marcel Duchamp, Man Ray, Jacques Villon and others.


Colin Miles of Wikiburg wants to include Report US into his project’s lead cause and we agree to collaborate to get the word out towards obtaining funding for the project.



Marykate King, Lauren Dickerhoof and Jane Lowe were part of my team of interns in the data extraction.




With the prototype complete, beautiful and largely successful, I redefine the project to cover incidents for 2015 instead of 2014 because links to some news websites had become obsolete.


During the first few months of the year I put together a budget for the large project and began to extract and edit 2015 data.


Everytown march over the Brooklyn Bridge


With the master prototype complete, I worked on ideas using the design and edited text and conceived and produced a prototype DAILY book, a paperback, on-demand print, through Blurb.


By the end of the summer I shifted and expanded the project’s concept. I would (somehow!) extract and edit every gun incident reported and sourced to the GVA for 2014, into 52 volumes, one per week, of approximately 2000 pages each.


On June 10, The New York Times posted their last entry of Nocera’s Gun Report. In contact with Jessica Mascia, Nocera’s assistant and the primary editor of Nocera’s gun reports, I contacted The Gun Violence Archive and established a method to obtain my data for the project though that source.



The master prototype was finished the last days of December, 2014. Happy New Year.  Incredibly beautiful.



In the meantime, throughout the summer and into the fall, I experimented with painting blood on cloth, first pig’s, then cow’s blood, (obtained from a local butcher). Sought advice from Karen Klingbiel, master textile conservator, in Dresden, on the book cloth and its reaction with blood. Ludwig Mohr, former advisor to Josef Beuys and Anselm Kiefer, advised me on how to work with blood chemistry. By November I had resolved the chemistry and the methodology for the book cloth that the book-binder would be able to work with. Continued dialog and advice with Robbin Silverberg on cloth and paper materials.




Lee Marchalonis, on board as master book-binder, began the signature sewing process at the Center for Book Arts, where she teaches.



Final text was edited and flowed into my design template, and edited again. Imposition pdfs were formatted by Leni Bergson at Smudge.


Laser printing of the text pages were done in my studio : 1,154 incidents on 2,308 pages in 73 signatures. This process took about 5 days.


Experiments moved to a different approach using loose pigment embedded into the paper with denatured alcohol. It took several months to find the right color and to perfect the process.



Extensive research for the right text paper eventually led me to Hiromi’s Asuka digital paper, 45 gsm. It fit the bill on several fronts; translucent, soft and ‘skin-like’, specially formulated for laser printing. Anne Noonan, at Soho Letterpress, cut the roles into 11 x 17 sheets.


Robbin Silverberg, a master book artist and paper maker, offered to experiment with me to make a red paper that would “bleed.” and she offered advice on how I might realize the binding of a massive book.


After many starts and stops I decided to use the edited Nocera reports from January 2014 for a prototype. A layout template was designed.





By mid-2013 I decided to condense my ideas into a book — a format that I knew well as a professional book designer.  The visual and structural concept was designed: Hand-bound of dictionary heft and proportion, using a thin, translucent, bible-like paper. The hard-cover cloth, treated with real blood. Endpapers made or treated with unfixed pigment, would “bleed” red when touched, leaving fingerprints as one leafed through the book. Font would be bold and solidly leaded, News Gothic Bold. If the type spread slightly when printed, like gun powder, all the better.  Centered, one report per page, like a mass of bullet holes.


I continued to research and feed Wilner anything I could find about the bizarre state of gun obsession.  What struck me the most were the individual reports about the incidents and the people affected.  During the month that I fed Wilner gun stories, I conceived a website,  and a digital billboard concept.




The seed for Report US began February during a month-long collaboration with artist Martin Wilner where I was asked to feed him news or thoughts, every day, for the entire month of February on anything of my choosing.  My first post to Martin read as such:

“I went to bed last night catching up on recent past issues of The New York Times, and discovered Joe Nocera’s op-ed on gun violence. The shootings, the culture, the politics. The gun culture in the US grabbed my total attention. I find the culture of guns so bizarre and surreal and the stories unreal.”