The previous post shows Jonathan Monk’s Billboard Book Project, a project published through Three Star Books. This led to a further investigation of their practice…
“Founded in 2007, Three Star Books is the creation of Christophe Boutin, Cornelia Lauf and Mélanie Scarciglia. The company is based in Paris, with a desk in Rome. […]
Three Star Books produces artisanal book editions by the finest contemporary artists. The term “book” is interpreted loosely, as the final product often exceeds the physical and conceptual parameters of publishing. Editions have included aluminum sculpture, wooden reliefs, glitter paintings, and other outgrowths of a given publication.
The trademark of Three Star Books is finely crafted, hand- made (or manually modified) objects–globally sourced. Each title closely follows the indications of the artist, elaborated in close discussion with the partners. Inspired by the legacy of the Parisian livre d’artiste, in a virtual age where most publishing is obsolete, Three Star Books aims to render significant subjects in significant forms.”
SLAVS AND TARTARS
Love Letters (wool, yarn, 2013) takes an original Mayakovsky drawing and features several failed attempts to assign Cyrillic letters or graphemes to sounds or phonemes (from Polish to Abkhaz, Moldovan to Tajik) that did not previously exist in a Cyrillic alphabet.
Taken from the language usurped by Twitter, the title for Ryan Gander’s I’M TRENDING is prescribed to the way in which multiplied uses of a word, idea or concept grow in popularity based on the nature of repetitive use. By the artist’s account, this project is viewed as a collision between the book and an artwork; what happens when various forms coalesce?
STAB/GHOST, is a a translucent book composed of clear plastic (PVC) pages, silkscreened with patterns, sewn with lanyards of plastic thread, and mounted on a specially designed light table. True to her interest in complex geometries and color theory, the book also functions as a light sculpture.
When asked to design a publication, Rehberger chose to make the kind of stand-up publication that the smallest of children play with. The rigid and yet loose “pages” of Holy Silence are constructed so as to fit something like the elements in Charles and Ray Eames’ 1952 House of Cards, a toy that is also a piece of complex engineering.