Wheatpasted posters advertising the exhibition, "Calder: Nonspace", shown at Los Angeles' Hauser & Wirth gallery.
A finalist of the 2021 CommArts Typography competition, this hypothetical redesign imagines a new visual identity for an exhibition of monochromatic sculptures. The exhibition graphics draw inspiration from the bodies of Alexander Calder’s famous mobiles, elevating typography as a central design element to a sculptural form. The original exhibition, held at Hauser & Wirth in 2018, takes its name from a passage by the novelist James Jones:
[Calder] is willing to believe equally in a nonspace as well as in space […] He has taken a given space and, by molding beautiful elements of steel around it, caused it to become nonspace.
In the visual identity for Calder: Nonspace, typesetting and negative space amplify the concept of new spatial perceptions. The expressive Love is utilized to allude to Calder’s work, its curved strokes and wide counters reminiscent of the frameworks found in his mobiles, all the while portraying the juxtaposition of volume and void on a two-dimensional plane.
Details of the chosen primary typeface, Love, are reminiscent of forms found in Calder’s sculptures.
General admission tickets, front and back.
Mockup of outdoor graphics on the museum walls, advertising for the exhibition.
Book cover design for the Calder: Nonspace print publication, featuring essays from its curators.
