인스타그램 스토리 저장

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Rose Wylie: The Picture Comes First
@royalacademyarts
28 February–19 April 2026
—
‘The Picture Comes First’ is an exploration of Rose Wylie’s iconic paintings, and the Royal Academy of Art’s first solo exhibition by a British female artist. Showcasing a mixture of bold, large-scale works and intimate sketches referencing cinema, celebrities, literature, and ancient civilisations.

The exhibition design is kept simple, featuring slightly off-white walls and dark charcoal dry-transfer captions, all set in Items Text, a typeface that pulls its inspiration from both classical letterforms. traditional print and the early digital era. A mix of multi-media influences that works well alongside Wylie’s loose imagery. A condensed weight is used for the large-scale room titles, screenprinted directly onto the walls, playing with the stretched proportions of figures within her work.

The exhibitions’ vestibule entrance uses a dramatic deep ochre colour, often found in Wylie’s work, which strongly contrasts with the neutrality of the interior painting scheme. The title is created with a three-dimensional, beveled structure – the inverse of classical stone carving – painted with a high shine black finish that catches the light.

The introduction panel echoes the donor panels opposite, being composed of a solid, thick backing board and polished brass holders. It has a strong monumentality while also fitting in with the overall furniture of the RA.
–
Curators: @katharine.stout @tarinimalik with Colm Guo-lin Peare
Design: @wolfehall.studio
Type: Items Text by @schicktoikka
Photography: @thomasadank
–
#rosewylie #royalacademy #exhibitiondesign #exhibition #wolfehall
–
Credit for image 2: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Credit for image 8–9: Rose Wylie, Swimming with Cats (Blue Twink), 2002. Both courtesy the artist and David Zwirner. Photography ©Royal Academy of Arts, London; photographer Marcus J. Leith.

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Antony Gormley: SURVEY
@nashersculpturecenter
–
A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover reminiscent of workshop manuals creates a feeling of permanence. An outline of a figure from the ‘Domain’ series screenprinted onto the front, overlaid with a white foil title to create a physical impression.

The book is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography, interspersed with full-bleed photography of new work to creater solid divisions. Each layout evolves from the other, creating individual feeling sections that react to the work and text.
–
Editor: Jed Morse
Texts: Carlos Basualdo, Thomas Nail, Amanda Gluibizzi
Publisher: @delmonico_books
Print Production: @roy.killen
Type: Recital by @optimofoundry

#antonygormley #sculpture #exhibitioncatalogue #artbook #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Anish Kapoor: Early Works
@thejewishmuseum
@anish.kapoor
24 October 2025 – 1 February 2026
–
Exhibition and publication design for the first United States museum presentation dedicated to celebrated artist Anish Kapoor’s early work, presenting rarely seen works on paper, sketchbooks and striking pigment sculpture. Each showing Kapoor’s ongoing investigations into the boundaries of sculpture, colour, and form.

The exhibition design is kept simple to leave space for the bold colours of the artwork, positioning interpretation in clustered groups along the edges of the walls. Labels are produced on a recycled cotton-rag, nodding to the base material of the works on paper.

A richly illustrated, small-format publication accompanies the show, including an interview between Kapoor and Chief Curator, Darsie Alexander, exploring Kapoor’s journey and process. This book takes on a landscape format to allow for paired compositions of works and larger reproductions of installation photography.

The cover of the publication colour matches the early red pigments of Kapoor’s work on paper, punching through with a circular die-cut to reveal an expanse of special ‘Deep Space Black’ ink on the inside in reference to Kapoor’s more recent ‘Vantablack’ work. Sculpture that uses a nanotechnological substance that absorbs nearly all light, playing with a viewers perception of the physical form.

Text is set in LL Ivory, a geometrically designed serif that pairs well with Kapoor’s experimentation with shape.
–
Curator: Darsie Alexander with Shira Backer
Editor: Joanna Ahlberg
Type: LL Ivory by @lineto_com
Photography: Kris Graves

#anishkapoor #jewishmuseum #exhibitiondesign #exhibitioncatalogue #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Magali Reus (@magalireus)
‘Our Volumes’
–
A comprehensive catalogue for the mid-career retrospective of London-based Dutch artist Magali Reus at Museum Kurhaus Kleve, Germany (@museumkurhaus).

Structured like a periodical binding, the publication spans seven volumes, each containing expansive exhibition views and archival work indexing. Every volume has its own ‘cover’ with a tipped-in photograph on rigid kraft paper.

Positioned alongside her own works, Reus selected from over one hundred pieces spanning two decades from the museum’s renowned historical collection.

The catalogue also features a commissioned essay by Evan Moffitt.
–
Design: Wolfe Hall (@wolfehall.studio)
Text: Evan Moffitt (evanpmoffitt)
Publisher: MER. Books (@merbooks.studiolucderycke)
Typeface: Antique Legacy by Optimo (@optimofoundry)
–
#magalireus #ourvolumes #sculpture #artbook #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Joy Gregory: Catching Flies with Honey
@whitechapelgallery
8 October 2025 – 1 March 2026
–
‘Catching Flies with Honey’ is the first major survey exhibition and publication of artist Joy Gregory, whose culturally resonant and materially rich practice takes shape through a diverse range of media, ranging from photography, film, and installations, through to textile work.

The large-scale book divides Gregory’s artwork into numerous series, with multiple essays and an interview interspersed throughout. The cover poetically interplays typography and stylistic interpretations of a self-portrait (front) and a blind-debossed branch of vegetation, taken from Gregory’s cyanotype explorations (reverse).

The exhibition design forms a simplified translation of decorative design elements found in the catalogue. Featuring signpainted lettering to give a human touch and a subtle shifting variation rather than a perfectly mechanical reproduction.

The series titles are formatted in a mix of regular uppercase capitals and italic lowercase letters, referencing decorative botanical notation, a linking theme found in several series of Gregory’s works.
–
Curators: Gilane Tawadros, Katrina Schwarz
Publisher: @prestel_publishing @whitechapelgallery_books
Type: ABC Otto and ABC ROM by @abcdinamo
Photography: Above Ground Studio
–
#joygregory #whitechapelgallery #exhibition #exhibitiondesign #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

Thirst: In Search of Freshwater
@wellcomecollection
26 June 2025 – 1 February 2026
–
Looking back at the making of ‘Thirst: In Search of Freshwater’, which is now in its final weeks at the Wellcome Collection.

Working with ceramicist Charlotte Moore, we created titling for the exhibition with rounded pipe-like edges, and explored finishes and glazes that responded to the environments of each section: Aridity, Rain, Glaciers, Surface Water and Groundwater. For instance, combining stoneware with material from lost London rivers for Groundwater, or impacting the clay’s surface with water droplets for Rain.

Historically, clay has been shaped and moulded by humanity as a sustainable and natural way to transport and store water. The Romans were one of the first to innovate with municipal water systems in their towns. Lead water pipes (fistulae) – often inscribed with patrons’ names – supplied water to the homes of Rome’s wealthy citizens. Terracotta pipes were used in towns, cities, and areas of larger population density, where they could be cheaply made and quicker to repair. Examples of this lettering can be found in the exhibition.
–
Curator: @janicecyli
3D Design: @material_cultures
Ceramics: @charlotte.l.moore
Photography: @thomasadank and Charlotte Moore
Type: ABC Solar by @abcdinamo
–
#thirstexhibition #wellcomecollection #water #exhibition #wolfehall

✨ Contents of 2025 ✨

1. Modern Japanese Printmakers: New Waves and Eruptions (@tigertanuki_japaneseart @prestel_publishing)
2. Joy Gregory: Catching Flies with Honey (@joy_gregory_studio @whitechapelgallery, @prestel_publishing)
3. Steve Harrison: Forty (@steve_harrison_pots @stuartshavemodernart)
4. Planetary Realism: Art Against Apocalypse (@bad_honey_monster @sternbergpress_official)
5. Antony Gormley: Survey (@nashersculpturecenter @delmonico_books)
6. Here is a Gale Warning: Art, Crisis, and Survival (@kettlesyard)
7. Serpentine Pavilion 2025: A Capsule in Time: Marina Tabassum Architects (@marinatabassum @serpentineuk)
8. Rodrigo Hernández: Carrés (@rodrigo___h @kh_bremen @paktamsterdam)
9. Catherine Goodman (@cathgoodman_studio @hauserwirth)
10. Anish Kapoor: Early Works (@anish.kapoor @thejewishmuseum)
11. Duane Linklater: akâmi- (@new_curators)
12. Dirty Looks: Desire and Decay in Fashion (@barbicancentre)
13. Donald Locke: Resistant Forms (@spikeisland @ikongallery @camdenartcentre)
14. Paula Rego: Visions of English Literature (@hayward.gallery)
15. Magali Reus: Our Volumes (@magalireus @museumkurhaus @merbooks.studiolucderycke)
16. Cynthia Hawkins: Maps Necessary for a Walk in 4D, Chapter 4 (@hollybush_gardens)
–
You can read in-depth explorations of each project, and more, on our website. Select the ‘Visual Index’ button on the bottom left of the project list to view image thumbnails. Link in bio.
–
#artbook #bookdesign #typography #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

distinguish the limit from the edge
Theresa Hak Kyung Cha and Jimmy Robert
@bookworksuk
@jimmyvaleryrobert
–
Exploring the intergenerational dialogue between artists Theresa Hak Kyung Cha and Jimmy Robert. Their encounter takes shape through the meeting of text and image – selected works from Cha’s canon and Robert’s practice converging around a shared formal language: the fold, both in method and metaphor.

Robert treats the page as a sculptural material – shaped by hand, marked by touch. In Cha’s work, the fold surfaces through visual poetry, where language gathers, fractures, and reforms. ‘L’Image Concrete feuille L’Objet Abstrait’ (1976) and ‘Untitled (après tu parti)’ (1976), presented here for the first time.

Two distinct book blocks, one for each artist, are bound from either side of a central backing board, inviting the reader to interweave, overlay, and encounter each practice uniquely.
–
Edited by Jacob Korczynski
Design by @wolfehall.studio
Published by Book Works @bookworksuk in association with Participant Inc. @participantafterdark
Type: Focal by @commercialtype
–
#jimmyrobert #theresahakkyungcha #bookworks #artbook #wolfehall

Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.

This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.

The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.

Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme

#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall

Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.

This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.

The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.

Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme

#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall

Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.

This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.

The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.

Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme

#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall

Marco Bosco × Alter Disco
Metalmadeira II
@marcobosco @soundwayrecords
–
‘Metalmadeira II’ reimagines percussionist Marco Bosco’s groundbreaking 1983 album, a work that fused Brazilian percussion traditions with the emerging language of electronic music.

This record, created through a collaboration with Alter Disco, a pioneering independent music collective from Curitiba known for their deep connection to Brazil’s underground scene and their innovative approach to reviving forgotten musical treasures, works directly from Bosco’s original recordings to craft bold reinterpretations, weaving vocoders, percussion, and atmospheric synth into the original’s framework.

The artwork of the original record celebrates the meeting of metal and wood, a theme we’ve stuck to with the remixed version. Collaborating with printmaker Alan Cameron, the record imagery is created by piecing together varying-sized slices of inked wood, intersected by several ornately framed text blocks with metallic-silver printed backgrounds.

Text is set in the monospace weight of Mercure, a serif typeface referencing ancient and classical inscriptions engraved in stone or metal.
–
Alter Disco: @barbara_boeing, Phil Mill, De Sena
Artwork: @a_cam_studio
Soundway: @hugotmendez
Type: Mercure by @fonderieabyme

#soundway #soundwayrecords #musicdesign #vinylcommunity #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
‘Dirty Looks’ explores how dirt and decay have been used to defy beauty standards, and why it’s going through a resurgence in young designers’ work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

A 112 page gallery guide accompanies the show containing floorplans and extended caption information. The book is printed with numerous cover variations, layering dirt over the text to echo the hand-rendered title treatment within the exhibition design. The uncoated white board will get stained and marked as its handled, adding to these layers of grime.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Planetary Realism: Art Against Apocalypse
@bad_honey_monster
@sternbergpress_official
–
Josephine Berry’s latest title explores the devastation left in the wake of modernity and how globalisation is revealing a fragile and unfamiliar planet. Surveying a body of planet-facing art, communal practices and activism, this book investigates art’s power to break with capitalist realism and petroleum landscapes, finding new ways to reimagine life on Earth.

The typographic language of the book references both vintage petrol advertising and the language of protest by styling monumental, heavy-weight, condensed lettering for chapter title pages and headers.

The main text is set to feel like a road. Each justified paragraph weaves from left to right, meandering across the page, disrupted by contextual imagery, bold footnote numbering, and a bright pink thread ties the sections together.

The cover design takes an untitled collage by Paul Nash for a 1960s Shell motor guide of Dorset, but introducing a lurid, vibrant colour scheme inspired by oil spills, overlayed with semi-transparent text to reveal the course halftone screen below.
–
Editor: Leah Whitman-Salkin
Design: @wolfehall.studio
Type: KMR Waldenburg by @kimeracorp
–
#artbook #bookdesign #sternbergpress #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall

Dirty Looks: Desire and Decay in Fashion
@barbicancentre
25 September 2025 – 25 January 2026
–
'Dirty Looks' explores how dirt and decay have been used to defy beauty standards, and why it's going through a resurgence in young designers' work. As a counterpoint to glossy digital perfection, these varied practices point us to a new way of thinking about a sustainable fashion future.

The scenography of the show depicts a slowly decaying exhibition hall, where the plaster of the gallery cracks, splits, and falls apart, revealing the Barbican's exterior tile-work, that in turn breaks and peels away from the walls. The lower galleries are hung with raw canvas, separating the emerging designer installations from the iconic, historic pieces upstairs. A rail system runs between each of the bays, holding the garments and number 'tags'.

Large-scale graphic titles also show signs of distress with splattered and scuffed lettering forming a contrast to the clean aluminium-edges of the introduction panel and the enlarged captioning placed along the base of the plinths.

Section panels are printed onto a recycled, laid packaging paper with a slight coated sheen, overlayed onto a raw-looking honeycomb board to give depth.

Exaggerated numbering – referencing early catwalk coding – is printed on board made from paper-pulp and recycled wool, positioned at the feet of the mannequins or on the railing above.
–
Curator: @karen_vangodtsenhoven
Assistant Curator: @jonastbury
Scenography: @studiodennisvanderbroeck
Graphic Design: @wolfehall.studio
Type: Executive by @optimofoundry
Photography: @thomasadank
–
#dirtylooks #barbican #fashion #exhibition #exhibitiondesign #galleryguide #wolfehall