A cover version
The catalog consisted of the same 150 pages as shown on the wall, but now bound as a paperback book.
We thought this would raise some interesting questions. Since the work on the wall consists of the same 150 sheets contained in the book, is the catalog still just a representation of the work on the wall, or is it now equal to the work? What is the original, and what is the copy? Can a reproduction possess an 'aura' as well? All questions that keep us occupied constantly.
Shown below the front- and backside of the book. The book is A4-sized, counts 150 pages, and was published in an edition of 250.
The cover was a white sheet, printed with black and silver. (As a matter of fact, extra copies of the cover were printed and left unfolded, so that they could function as A3-sized posters).
We also designed a very basic invitation. It was for this invitation that we turned the title 'Kelly 1:1' almost in a logo. We didn't want to give away the subject of the exhibition (Ellsworth Kelly) immediately, and we thought that, by turning the title into a more pictorial image, we would disguise the actual meaning of the word 'Kelly'. That's why it looked like a logo.
Shown below the invitation (front- and backside), basically a piece of cardboard, 240 x 100 mm, printed with black and silver:
Source
The concept behind the ticket invitation is interesting
to me for this specific project. To create something
really visual that generates interest without giving
anything away in relation to the exhibition within
would work really well for our project because it is quite
a long concept to communicate, there would be too
much information given in such a short space of time.
The use of type and layout is interesting. A basic yet
strict grid grid system has been adhered to here, along with
simplistic use of type, this is a cleat and concise design
that generates interest without overwhelming and/ or
alienating the audience.
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