2001-2003

Angelo Plessas, 2001-2003
Softcover, 140 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Angelo Plessas started in 2000 to create web sites as artworks. This book contains most of the illustrations that he created during the period of 2001-2003. Some of these works are not yet published on the web.

Collection

Chris Plytas, Collection
Softcover, 160 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Through fashion photography I am able to continue a theme which consistently appears in my work, the celebration of youth and the desire to exorcise mortality.

Poems

Seth Price, Poems
Softcover, 160 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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From notebooks, 1999-2003.

iamveryverysorry.com

Rafaël Rozendaal, iamveryverysorry.com
Softcover, 160 pp., digital 1/1, 140 x 225 mm
Edition of 250
Published by onestar press

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STOP (onestar press)

A. L. Steiner, STOP (onestar press)
Softcover, 150 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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STOP onestar press is a poetic visual documentation of the paper manufacturing industry. Divided into three chapters, the book opens with 48 portraits of trees, then documents the fate of these trees as they are cut, piled, hauled and finally pulped in giant factories. The book concludes with an inventory of disposable paper products: bundled paper, cardboard boxes, newspapers, paper cups, paper bags, and, in a self-critiquing gesture, the pages of the book itself.

149 business cards

John Tremblay, 149 business cards
Softcover, 150 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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149 Buisness Cards has great meaning to me as it attempts to do several things at once. First, it functions as a kind of self-portrait or autobiography through the people I’ve met and places I have visited. Though, it must be noted only a certain type of people and merchants create & carry buisness cards. I have met or visited almost everyone or buisnesses in this book except maybe one or two. So in this way it is a kind of time line or map to my past. It is very honest. In a more obvious way it serves as an address book. If I need someones adress I can just pick up the book. In this case each card triggers specific memory more so than a normal address book written in ones own handwriting. Some of these people and buisness have moved on, noteably Loeffler Intercoms (card on page 19). Its a place I visited over a decade ago and with a full dose of forshadowing is now the famous Printed Matter, book shop which distributes this very book (!) as well as other onestar press publications. Lastly as a piece of conceptual art it works just fine though not quite as perfect as the book which inspired it: namely Ed Ruscha’s book entitled “Business Cards”

Domain Poems

Mai Ueda, Domain Poems
Softcover, 150 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Domain names are new Haiku because Mai said so. On this book Mai Ueda wrote love poems as domain names Emotionaly arranged as free jazz on paper. Some of them are on internet as her artworks, some are still available. It is an experiment.

Modern typefaces

Vier5, Modern typefaces
Softcover, 184 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Vier5, Modern Typefaces. All typefaces are created by Vier5, Typefaces in this book: 1Try, 131Try, Klingspor, 172Try, Reg, 1722Try, 18Try, Annette Bands Wand. All texts are from the archive of Vier5.

Pages from an imaginary book

Rudy VanderLans, Pages from an imaginary book
Softcover, 150 pp., digital 1/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Imagine this book to be twice as large, with a hardbound cover and gold debossed title, beautiful endpapers, head and tail bands, and a dust cover with a French fold. The inside would have glossy, coated paper throughout. Printed on this paper would be a number of carefully selected full color reproductions of landscape photographs of the Mojave Desert. The photos would have been taken with a field camera holding 8 x 10 inch negative film. The reproductions would be scanned with the latest high-end scanning device, and printed at 300 lines per inch in five colors with a spot varnish. The tonal qualities and detail of the reproductions would match the originals perfectly. To explain the images and create context, there would be two critical essays by well known critics. And to lend the book credibility it would be published by a New York art book publisher or institute of photography. It would be a beautiful book, indeed. This is not that book (See figures 2-155).

Studio Visit

Tim Maul, Studio Visit
Softcover, 148 pp., digital 4/1, 140 x 225 mm
Edition of 250
Published by onestar press

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Historically, artists studios in Manhattan range from cavernous silver factories to rented rooms where dust breeds.This photographic tour allows us to scrutinize an artists ’workspace’ in the absence of both the artist and art. An obsessive portrait in pictures imposes a narrative where we ’visit’ and ’look’ and possibly find evidence that a book cannot be judged by its cover.