Tate Gallery

Two exhibition catalogues I designed for the Tate Gallery, Liverpool: Bruce Nauman and performance art.

Simon Groom

“What Piccia touches turns to gold”

Simon Groom
Director, Scottish National Gallery of Modern Art
(formerly Head of Exhibitions, Tate Liverpool)

A few copies of the Bruce Nauman catalogue for Tate Liverpool in a pile, showing the cover on top, with the name "Bruce Nauman" in bold red letters at the top.

Detail of the cover of the catalogue for the Bruce Nauman Exhibition Make Me Think Me at Tate Liverpool. Curated by Laurence Sillars.

Opening spread for the essay "Bruce Nauman: Keeping Busy" by Laurence Sillars.

Spine of the Bruce Nauman catalogue with focus on the artist's name in bold red capital letters.

A pile of Bruce Nauman catalogues showing the cover on the left, with a page showing the layout inside on the right. The typeface used is Avenir.

Credits page of the Bruce Nauman Catalogue "Make Me Think Me", with focus on the "Designed by Piccia Neri" credit

Contents page of the catalogue for the Bruce Nauman Exhibition Make Me Think Me at Tate Liverpool. Curated by Laurence Sillars.

A spread of the Bruce Nauman catalogue, with the neon work "Run from Fear, Fun from Rear" shown on the right of the spread.

Covers of the Arts, Lies and Videotapes exhibition catalogue. The covers are black with the title in red.

Content spread of the Arts Lies and Videotape catalogue: red and white typeface against black background, with a film strip at the bottom

Detail of the cover of the Art, Lies and Videotapes catalogue, on the artist Yves Klein jumping out of a window in a performance piece.

Focus on the title on the cover of the Arts, Lies and Videotapes catalogue, in red type against black

Opening spread of the essay "The delicate art of documenting performance" by Alice Maude-Roxby, for the Art, Lies and Videotapes catalogue. The title is in a bold humanist grotesque typeface, all in small caps, in white against dark grey background

Credits page of the Arts, Lies and Videotapes catalogue, with focus on the "Designed by Piccia Neri" credit

Opening spread of the essay "The unconscious performance" by Aaron Williamson, for the Art, Lies and Videotapes catalogue. The title is in a bold humanist grotesque typeface, all in small caps, in white against dark blue background.

Opening spread of the essay "Fact or fiction?" by Jean-Paul Martinon, for the Art, Lies and Videotapes catalogue. The title is in a bold humanist grotesque typeface, all in small caps, in white against bright red background.

Title spread of the essay "Fact or fiction?" by Jean-Paul Martinon. The title is in large small caps bold type on the right, white against a solid red background; on the left is a Franko B's piece "I Miss You", a series of medium format photos with blood splatter on them.

Opening spread of the essay "Hidden from history: performance art and the imagination" by Roselee Goldberg, for the Art, Lies and Videotapes catalogue. The title is in a bold humanist grotesque typeface, all in small caps, in white against purple background.

Title spread of the essay "Lost histories" by Roselee Goldberg. The title is in large small caps bold type on the right, white against a solid purple background; on the left is the work by René Clair "interval", 1924: a film still photograph of Francis Picabia. The black and white photo depicts a bearded man with glasses wearing a woman's dress with a corset.

Detail on the top left of a spread of the Art Lies and Videotapes catalogue

Spread of the Arts, Lies and Videotapes catalogue. Artwork by Franko B: a close-up on a man's eyes wearing red lenses, with whitened skin and blood scratches on the forehead. Franko B is a performance artist playing with the notion of pain and blood.