Hourglass,
sundial,
gothic
clock,
pendulum,
weights
&
wound
spring
combine
with
skeletal
elements
to
produce
detailed
&
arresting
images
of
devices
that
portend
the
end
of
the
world.
Etchings
of
clocks
encompass
iconongraphic
depictions
of
destruction
throughout
the
ages,
from
the
fanciful
seven-eyed,
seven-horned
lamb
from
Revelations
to
the
stark
oven
of
the
Holocaust.
A
jaunty
skull
host
sports
a
horizontal-hourglass
bow
tie;
a
skeletal
Fortuna
pedals
the
hands
of
a
clock
wheel.
A
pair
of
poems
bookend
the
thirteen
etchings
which
the
artist
has
printed
in
divers,
vibrant
hues
to
create
a
carnival
atmosphere
reminiscent
of
El
Dia
de
los
Muertos.
The
Double
Elephant
Press
published
Apocalypse
Clocks
in
the
late
spring
of
the
year
two
thousand
of
the
Christian
calendar.
Michael
Kuch
drew,
bit
&
printed
the
copper
plates
and
composed
the
poetry.
Art
Larson
printed
the
text
letterpress.
The
sixteen
point
van
Dijck
was
cast
by
M
&
H
Type.
The
paper
was
made
by
hand
for
this
undertaking
at
Papeterie
St-Armand
in
Montreal.
Shoshanna
Wineberg
bound
the
edition
in
wood-veneer
boards
with
a
glass
window
in
the
cover
revealing
an
etched
clockface
printed
on
the
first
page;
all
is
housed
in
a
drop-back
box.
The
edition
is
of
sixty
copies.
One
through
thirteen
include
an
additional
suite
ofunbound
etchings,
a
pastel
of
a
clock
&
a
cancelled
plate
set
into
the
box;
the
last
four
are
hors
commerce
for
the
conspirators.
