Adriana Varejão: Interiors

Published in 2017 on the occasion of the exhibitions "Adriana Varejão: Interiors" at Gagosian Beverly Hills and "Adriana Varejão: Azulejão" at Gagosian Rome

Preface by Louise Neri, texts by Luiz Camillo Osorio and Adriano Pedrosa

10 × 12 1/2 inches (25.4 × 31.8 cm); 64 pages; Fully illustrated

Anish Kapoor

Published in 2017 on the occasion of the exhibition "Anish Kapoor" at Gagosian Hong Kong in 2016

Conversation with Feng Boyi and Anish Kapoor

9 1/2 × 11 1/4 inches (24.1 × 28.6 cm); 40 pages; Fully illustrated; Bilingual (English/Chinese)

Mark Grotjahn

Untitled (Captain America) 

Published in 2016 on the occasion of the exhibition "Mark Grotjahn: Untitled (Captain America)" at Gagosian Gallery Madison Avenue, New York

Text by David Anfam

8 × 11 inches (20.3 × 27.9 cm); 12-panel accordion and 12-page booklet in hard cover case; Fully illustrated

Francis Bacon

Late Paintings, the historic Francis Bacon exhibition at Gagosian Gallery New York, is the first to focus on Bacon’s late work from 1978 to 1992, the year of his death. His choice of experimental mediums and use of bright colors during this period are reflected in the catalogue by Goto Design. Spray paint-splattered bits of paper, details of sand, dust, and paint-smudged photographs from his studio are used as design elements creating an edginess that contrasts with the lavender endpapers and use of pink to open the Plates section in this hardcover edition. Gatefolds are used reproduce his triptychs to maximum effect and Bacon’s transition from autobiographical to classical references is illustrated with reproductions of torn, crumpled photographs and clippings used as references linked to their corresponding portraits, landscapes, and abstractions.

Nam June Paik

For the exhibition at Gagosian Hong Kong, Goto Design presents the hardcover catalogue Nam June Paik—The Late Style by curator and Paik scholar John G. Hanhardt. Through its fresh, contemporary design this monument to his last period of work vibrantly places the “father of video art” in the context of today’s art scene, underlining his continuing relevancy. Metallic foil stamping on the cover references the flickering colors of a television screen in a font that expresses both purity of form and warmth over an image that elegantly combines the different elements in his work—including a small robot in the foreground appearing to approach the viewer. Many works are seen for the first time, including a facsimile of Notebook from 1984—printed on thin, uncoated stock in contrast with the rest of the book—featuring small works that foreshadow his final decade when the movement of this hands-on artist was limited. The tone, however, is electric and very much alive.