Transforming Hate: An Artist’s Book

1_Transforming-Hate-Box-FrontPress Release

8 x 8″; 108 pages including covers. Perfect bound softcover. Four-color offset lithography. Illustrated paper wrappers with flaps. Housed in foldout die-cut box with gold foil origami crane inserted into cover slot.

Excerpt from the foreword:
I am a black woman. I am an artist. For many years I have been creating work to bring issues of social justice into the public discourse. This book evolved from a project for which I folded origami cranes from pages of white supremacist books for the exhibition, Speaking Volumes: Transforming Hate. It was organized by the Montana Human Rights Network and the Holter Art Museum in Helena, Montana and opened in 2008.

In Transforming Hate: An Artist’s Book, I was trying to look at what it was like for me to turn the hateful words of the white supremacist books into a beautiful art object. That exploration helped me understand more fully the many levels of oppression and violence at the intersections of race, gender, class and sexual orientation. Why do we keep each other from being who we really are? How can we begin to talk about what separates us?

In our roles, as voyeur and as participant, we make daily decisions about who gets to have rights and who is marginalized in our society. I ask us to question our perceptions about history, reality, identity and voice. Do we have the courage to live differently?

A few randomly selected book pages are shown below


Edition numbered signed copies of Transforming Hate: An Artist’s Book may be purchased for $50.00 from:
Vicky & Bill Stewart
Vamp & Tramp, Booksellers, LLC
E-mail :
Telephone : (205) 824-2300
Also available on Amazon.

About Clarissa

photo_clarissa-sligh_by-kimberlypurser_9_5_16_8x10Clarissa Sligh (b. 1939) makes photographic series, artists’ books and text-based installations to explore concepts and constructions of identity, transformation, the family snapshot and the documentary photograph. Projects vary, but all draw from experiences accumulated over a lifetime and on where I come from: the Southeast, a black blue-collar community, small white frame houses, the gospel music of summer revivals, rhythm and blues, James Baldwin and jazz. Framing the image is much like choosing a perception on which to base one’s reality.