HILARY LLOYD
Kunstmuseum, Basel

This publication represents the first monograph on the work of the Turner Prize nominated British artist. Designed to accompany her solo exhibition at the Kunstmuseum, Basel and the BALTIC Centre for Contemporary Art, Gateshead.

First published by Museum fur Gegenwartskunst, Basel, Switzerland, 2012; edited, and with a foreword by, Nikola Dietrich; texts by Kirsty Bell, Sabeth Buchmann and Pablo Lafuente; 260 x 200 mm; 216 pp; 138 color images; softcover with open binding, front flap incorporating a dual language booklet for texts (German and English).

After many discussions with the artist around how work such as hers may be adequately represented on the printed page, the opportunity arose to carry this out through the kind auspices of Nikola Dietrich at the Museum fur Gegenwartskunst, Basel.

The publication was to accompany the exhibition, but from the outset the motivation was to create a stand alone publication. Although any desire to provide an ‘equivalent’ to the work via the book would be clearly misguided, through the structuring and division of aesthetic content, distribution of the combination of differing papers, semi-wayward cropping of the images, concealing/intrusion of the captions, and finally the nearly-fragile collating, binding and finishing, the finished object might hopefully go some way to reflecting the spirit of the artist’s lightness of touch, conceptual rigour and approach to image making (or rather, lived experience and its representation through images).

Exhibition context (from the gallery press release): “The furtive eye of Lloyd’s camera records scenes of urban life, among other objects, illuminating the modern city as a site of voyeurism, fetishism, and sexual ambivalence. People engaged in everyday rituals and routine gestures of self-projection draw the artist’s interest, as do architecture, advertising, and the play of lighting effects on different surfaces. […]The selective gaze paints a picture of urban fascination permeated by a dynamic choreography of static and moving sequences. Such effects of perception fused in pictorial montages are most obviously achieved by virtue of mirror reflections, split screens, and rotation […]. In some instances, the viewer cannot infer the material reality of the surfaces. […] They are reduced to pure surface and materiality. Yet Lloyd’s practice is not limited to the filmed image; the installation, with monitors, flat screens, and projectors elegantly and meticulously set out in the room, also acquires a strong presence. The visitor is inevitably confronted not only with the pictures, but also with their manifestation”.

DUNCAN CAMPBELL
Film and Video Umbrella

Through the investigative and informed eye of it’s Director Stephen Bode, SecMoCo is privileged to have worked on many projects for Film and Video Umbrella, London, UK. FVU commission, curate and produces artists’ moving-image works and presents them in collaboration with galleries and other cultural partners. In 2014 Duncan Campbell won the Turner Prize, this publication was to accompany his first major solo exhibition in Scotland, the screening of the artist’s ‘Make It New John’ – the story of John Delorean and his famous car- at Tramway, Glasgow. This design was bought about in close collaboration with the artist, resulting in a publication that feels adequate to both his contemporary lightness of touch, and the ambition of the depth of historical research involved in the making of his films.

First published by Film and Video Umbrella, London, UK, and Tramway, Glasgow, UK. Edited, and with a text by, Stephen Bode; additional text by Martin Herbert, plus an ‘in-conversation’ between the artist and critic, Melissa Gronlund; 230 x 170 mm; 88pp; 45 color and 19 b&w images; paperback, flapped cover

Context, from the FVU introduction to the film ‘Make It New John’:
Following the huge box-office success of Back to the Future in 1985, John DeLorean wrote a letter to Bob Gale. According to the recipient, it read, in part, ‘Thank you for keeping my dream alive.’ Gale was the producer of that Hollywood film, a vehicle for Michael J Fox. Delorean was the creator of the iconic, gull-winged DMC12 sports car that was used as Emmett ‘Doc’ Brown’s time machine in the movie, but which by the mid-80s wasn’t really a vehicle for anybody.

Three years earlier, the DeLorean (as it is widely known, being the only vehicle produced by the short-live DeLorean Motor Company), has ceased production after just 9,000 cars had rolled off the assembly line at the DMC factory in Dunmurry, Northern Ireland. The car is a vexed and paradoxical symbol, at once desirable – mostly, as its architect acknowledged, thanks to a teen comedy made when the DeLorean was unavailable – and an index of failure.

[…] This association of vehicle and film is one that virtually everybody makes first, but there’s also a panoramic back-story to consider. This is confirmed – to the extent that such a slippery endeavour can be said to confirm anything – by Duncan Campbell’s Make it new John (2009), a film that traces the rise and fall of DeLorean, man and car.

Its fifty minutes of archive material and self shot footage refract the messy, paradoxical, couldn’t-make-it-up tale of a Shakespearean character who lived an outsize life, the Detroit-born son of a Romanian immigrant who became a wunderkind engineer at General Motors and who, through projects like the Pontiac GTO, reshaped American idealism (the pioneer spirit, mobility as birthright) as it is incarnated in cars. It is also, to some degree, a partial window on an American Icarus who was also a Lazarus – a maverick who believed his own myth, fell to Earth and was born again at Universal Studios.

 

BRITISH PAVILLION Mike Nelson
British Council

Mike Nelson represented Britain at the 54th Venice Biennale in 2011, this edition was published to accompany his installation in the British Pavillion that year. Commissioned by the percipient Richard Riley, SecMoCo were asked to work with the artist for the second time (see Triple Bluff Canyon, Modern Art Oxford) on devising a publication appropriate to his work.

First published, in an edition of 1,500 copies, by The British Council, London, UK, June 1, 2011; commissioning editor: Richard Riley; coordinating editors: Gemma Latty, Emma Williams; texts: Dan Cameron, with an interview between the artist, Rachael Withers and guests.

135 x 205mm; 146pp; 92 images, including 18pp colour plate section with 74 b&w images in uncoated section; casebound with 1-colour embossed cover (no dust jacket); grey endpapers; 4 colour printed ‘inner covers’; thread sewn; printed by CPI, UK.

Context from the British Council website:
Throughout his career, Nelson has constantly returned to and re-examined territories within his own practice. […] For the British Pavilion in 2011, Nelson elected to take as his starting point another of his own key works from the past decade, Magazin: Büyük Valide Han, originally built for the 8th International Istanbul Biennial in 2003. […] Nelson has referred to the work for Istanbul as being a parasitical installation that had lodged itself into a 17th century building. Based on the photographic memory of the earlier work, with I, Impostor, Nelson not only rebuilt the original darkroom but sections of the caravanserai itself, so that now a building, from another time and place, exists inside the late 19th century British Pavilion in Venice.

The British Council published a fully illustrated book to commemorate Mike Nelson’s exhibition, which includes newly commissioned texts by Dan Cameron and Rachel Withers, and colour plates of the new work in progress.

BOMBYX MORI
Simon Periton, First Site

A monograph designed to accompany the solo exhibition of Simon Periton’s work in, and the landscaping of, the grounds of Firstsite, Colchester.

Such are the intricacies of the artist’s work- in which he often employs a stylish cutting, folding, doubling and general complexification of the visual image- that it seemed fitting that any printed representation of it should reflect these themes. After a thoroughly enjoyable process of detailed conversation and close work with the artist, we produced an object both full of historical context and also visually rich, including elegant documentation of the artworks situated in the gallery grounds. The resulting multi-layering design principle- of both images and actual paper folds/trimming- also called for a high level of binding and finishing skills from the printer.

First edition published, by Firstsite, Colchester, UK, 2012; edited by Asana Greenstreet; texts: Katherine Wood, with an interview between the artist and firstsite Associate Curator Jes Fernie; 235mm x 175mm; 24 pp; 35 colour and 9 b&w images; softback plus slipcase.

As detailed by the printer (Calverts of London): ‘The brochure has a gatefolded 8pp cover, printed in one pantone colour on 300gsm Arcoprint Extra White, with all the type and white-out elements cylinder embossed. The texts and images are on a lighter weight Arcoprint and 150gsm Hello Silk, collated as long 8pp spreads and then hand gatefolded to close, with brass wire stitches in the spine’.

Exhibition context: The artist researched the eighteenth-century design of firstsite’s garden to develop a new installation there taking the form of three lanterns and a lampost. There is a long-established mulberry tree on the grounds, and the worms of the silkmoths that appear in his artworks were essential to domestic silk production in nineteenth-century Colchester.

PETER LANYON
TATE: exhibition, publication

This book was published to accompany a major retrospective exhibition of work by one of the most important artists to emerge in post-war Britain. In addition SecMoCo produced a chronology of the major points in the life and work of the artist, displayed in the spectacular curved sea-facing galleries at Tate St Ives. (Here is a link for a digital re-interpretation of the timeline produced for the exhibition: http://www.tate.org.uk/download/file/fid/8209)

Publication: First published by Tate, London, UK, 2010; edited, and with a text by, Chris Stephens; additional texts: Margaret Garlake, Tacita Dean, WS Graham; 250 x 190 mm; 144 pp; 85 4-color and 62 b&w images; flapped softcover

Exhibition context (from TATE website): ‘Despite his early death at the age of forty-six Lanyon achieved a body of work that is amongst the most original and important reappraisals of modernism in painting to be found anywhere. Combining abstract values with radical ideas about landscape and the figure, Lanyon navigated a course from Constructivism through Abstract Expressionism to a style close to Pop. Accompanying the first major survey show of Lanyon’s work for 30 years, this book will introduce him to a new generation.

 

GAVIN TURK COLLECTED WORKS
White Cube

‘Gavin Turk Collected Works 1989-1993’ was the first monograph on this celebrated British artist’s work, designed to accompany his first solo exhibition at Jay Jopling/White Cube, London.

Published in an edition of 1500 copies by Jay Jopling/White Cube, UK, 1993. Edited by Gavin Turk; texts by Andrew Wilson and Simon Bill; 280 x 200mm; 64pp; 4-colour images throughout; casebound, with cloth quarter-binding, embossed (no dustjacket).

 

CHRIS OFILLI
Serpentine Gallery

This first monograph on the British artist’s work was published in the year he won the Turner Prize, and to accompany his first solo exhibition in the UK at the Serpentine Gallery, London, Southampton City Art Gallery, and Whitworth Gallery, Manchester.

First edition published in an edition of 1,500 copies, by the Serpentine Gallery, London and the Southampton City Art Gallery, UK, 1998.

Edited, and with texts by, Lisa Corrin and Godfrey Worsdale; additional text by Kobena Mercer; 270x 210mm; 96pp, thread sewn; 4-colour images throughout; softcover with phosphorescent printing. Printed with Jim Pennington at Lithosphere, London, UK.

 

UNHOLY LIBEL
Jake & Dinos Chapman

For their first major U.S. exhibition (‘Six Feet Under’ Gagosian Gallery, New York, USA, September 13-October 11, 1997) Jake and Dinos Chapman asked SecMoCo to design the accompanying publication. More than a catalogue, it was seen as a stand alone edition developing the themes and concerns of the work, as such the design took a blasphemous turn, adopting the form of the helpful reading material you could once find in the drawer of any hotel room bedside cabinet.

First published by Gagosian Gallery, US, 1997; edited, and with a text by Jake and Dinos Chapman; 215x164mm; 152pp; thread sewn; 48 color illustrations; gilt edges; brown faux-leather covers in plastic jacket, gold embossing. Print: Jim Pennington for Lithosphere, London

Context from Amazon:
Best Sellers Rank: #4,107,057 in Books (See Top 100 in Books)
Most Helpful Customer Reviews
By Antonio A. Urdiales on December 30, 2005
‘Once again Jake and Dinos Chapman take us on a trip through the absurd. This book has a very thin narrative running through it. If you’re looking for fiction by two of the most vile of Britain’s artworld, you’ve come to the wrong place, LEAVE NOW!

The books is a series of vingettes detailing gruesome monstrosities in the style of J.G. Ballard. I’m sure there was a plot in there somewhere, but the chapters were so short (think two to three a page) and fragmented that I lost it. Mostly it just read like details from an apocalyptic surgical guide. Which isn’t for everybody. But if you enjoy exploding brains and monstrous genitalia, LA TEE DA! The written word was fun if not tiring. But the real beauty of the book is in the plates of the boys sculptures. The sculptural work of the Chapman brothers is grotesque divinity, detailing mutated children from a land in which all normal notions of beauty have been subverted. And the colored plates dispersed throughout the writings were excellent examples of their sculptural works and just truly a joy to look at. The book is also gilt edged with a beautifully embossed cover, it’s also a very tiny book which makes one desire to carry it around as a horrifying talisman of the new age. This book is a VERY rare artbook as well, created by the Gagosian Gallery in New York. An edition of this book costs about $100 to thousands for signed copies. I would highly recommend picking up an edition up if you’re a collector of YBA artworks or the Chapman brothers, I wouldn’t doubt that the price will skyrocket in coming years.’

http://www.amazon.com/Unholy-Libel-Six-Feet-Under/dp/1880154145

TRIPLE BLUFF CANYON
Mike Nelson

Commissioned by the elegantly exacting Suzanne Cotter, this book was published to accompany the exhibition by 2004 Turner Prize nominee Mike Nelson at Modern Art Oxford.

The front cover utilised an Arts Magazine cover from May 1978 depicting a seminal work by Robert Smithson that the artist had recreated in the gallery at MAO. As such, the title and cover information was transferred to the reverse, adopting the typographic style of the gallery ads of that period.

First published, in an edition of 1000 copies, by Museum of Modern Art, Oxford, UK, 01 January 1999; edited by Suzanne Cotter; texts: Jeremy Millar and Brian Aldiss; 210x170mm; 72pp; 58 images, including 8pp colour plate section, 50 b&w image in uncoated section; paperback with 4-colour cover thread sewn; printed by Art Quarters, UK.

Context, from Andrew Mead at the Architect’s Journal website:
‘Entering a Mike Nelson installation is like stumbling into a minicab office in the early hours of the morning in the wrong part of a town you don’t know – and then things get worse’

3 SERIES: Modern Art Oxford/
Camden Arts Centre/Arnolfini

The then curator at Modern Art Oxford, Suzanne Cotter, kindly invited SecMoCo to devise a series design for the publications to accompany three artists’ commissions jointly organised by Modern Art Oxford; Camden Arts Centre, London; and Arnolfini, Bristol under the collective title of the 3 Series. In this initiative the work of the three artists (Mircea Cantor, Johanna Billing and Kerry Tribe) toured three galleries in the UK over a period of three years.

An understated design was called for, to foreground each artists work and also to allow for maximum flexibility over the course of the three year development of the project. This was achieved formaly rather than stylisticly, with the format and layout of the casebound books remaining constant, the font and colour scheme changing across the series for each publication.

Each book first published, in an edition of 1000 copies, by Modern Art Oxford / Camden Arts Centre / Arnolfini, Bristol, in 2008, 2009, and 2010 respectively; 196mm x 262mm; 64pp; images– variable; 4-colour printed paper case cover (no dust jacket), thread sewn.

Book 1: The Need For Uncertainty Mircea Cantor: Edited, and with an introduction by Bruce Haines; book 2: I’m Lost Without Your Rhythm Johanna Billing: Edited, and with an introduction by Bruce Haines; book 3: Dead Star Light Kerry Tribe: Edited, and with an introduction by Nav Haq; texts by Juli Carson, Anne Ellegood, Herbert Martin