Phillip K. Smith III: 10 Columns
Book and Cover
Title: Phillip K. Smith III: 10 Columns
Author/Editor: Angela Bryant (contributor), Dan Cameron (contributor), Mandy Kahn (contributor), Cara Megan Lewis (editor), and Linnéa Spransy (editor)
Publisher: Bridge Projects
Design Firm: Content Studio Design Studio
Book Designer: Kimberly Varella
Photographer: Lance Gerber and Steve King
Production Coordinator: Lisa Doran (Content Object)
Other Credits: Color Separations: Echelon Color, Santa Monica, CA; Assistant Designer: Nikki Roach (Content Object); Copy editor: Nancy Zastudil
“Phillip K. Smith III: 10 Columns” is the premier publication in a series of books published by Bridge Projects in Los Angeles. Founded in 2017, Bridge Projects is dedicated to exploring the connections between art history, spirituality, living religious traditions, and contemporary art practices. The scale of the book block for the series, plus the inclusion of a fabric bookmark, are subtle nods to the vernacular prayer book. Each forthcoming book will follow the general template of “Phillip K. Smith III: 10 Columns,” while responding to the specificity of each project through subtle changes in material and design.
The artist Phillip K. Smith III, based in California’s Coachella Valley, uses light as a medium to create captivating sculptures and installations. Inspired by the ever-changing color of Smith’s installation at Bridge Projects, the introductory and concluding pages of this book are laid out as a gradient rainbow printed in fluorescent colors on French Fold signatures. On these pages the curators have selected quotes on light, art, spirituality, and phenomenology that shaped the curatorial vision of the project. The use of French Fold signatures here, as well as throughout the entire book, was inspired by the meditative temporality of Smith’s work. The center of the publication presents a signature of installation photographs printed, again, in fluorescent inks (swapped out CMYK separations) on glossy paper, flanked on both sides by essays on Smith’s work printed on a white matte paper. The book’s lightweight jacket unfolds as a poster for the exhibition.
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