︎
2022
30 copies
Signed and numbered
34×32 cm - 13.4×12.6 in.
25 sheets
Xerox® digital printing
170g/m2 Keaykolour
375g/m2 Curious Translucent Clear
Cerlox Binding
Foil stamped hard cover
2500€
Liz Deschenes (b. 1966) is an artist and photographer, whose work is engaged with expanding the terms of photography and the conditions of display.

For REGISTRATION, Deschenes first project with Three Star Books, the artist decided to look back at her seminal series of moirés* from 2007.
Twenty four new moirés, specially created for this occasion, are printed on a combination of Keaykolour and Curious Translucent Clear paper, the plates are bound with a Cerlox Binding — the same used on Man Ray’s book: “Photographs 1920 - 1934” (Hartford, James Thrall Soby, 1934). The bound volume is protected with a cardboard and fabric hot foil stamped cover.

REGISTRATION by Deschenes perfectly exemplifies the artist's rigorous method in conceiving new works. An intense exchange of text messages, emails, videos and express courier packages between the artist and Three Star Books were crucial in the production of this definitive and delicate book. As the late and revered master of The New Topographic Movement of the late 1970’s Lewis Baltz once told us: “It is interesting to observe how conceptual artists are precise and concise when it comes to producing any type of physical object, and how their attention to production details is of the utmost importance.”

REGISTRATION is also the perfect demonstration of how we publish books at Three Star. Our work method is to solve any technical questions which may occur during a project’s conception and production in order to make the artist’s initial desire and vision tangible; to help them identify, retain and finally replicate with the published object the spark that initiated their artist’s book project.

*Some words about Deschenes’ moiré series from the press release of:
LIZ DESCHENES - Registration - APRIL 6 — MAY 20, 2007 @ Miguel Abreu Gallery, New York:
Liz Deschenes relies on traditional photographic principles. In her recent Moiré series, she begins with a sheet of perforated paper placed against a well-lit window. She opens the shutter, closes it, and registers the silhouetted pattern of the paper on an 8x10 inch black and white negative. However, Deschenes does not print this singular photographic event. Rather, duplicating the negative, she superimposes two copies in the enlarger distorting the original image. Printed in color, the final image does not reveal the perforated paper, but, through the artist’s mis-registration of the two negatives, a unique moiréd formation.
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