Michelle Cotton Books

Tate St Ives,2011International Project SpaceBournville,2011 The Design Research Unit was an initiative allowing artists and designers of various disciplines to work together on schemes of design that would affect society as a whole. It was the first integrated design practice in Britain, combining architecture, graphic design, industrial and engineering design and is the oldest industrial design office in Europe. This publication detailing the research and a programme of talks by artists, designers and critics will bring contemporary perspectives to this history. The project refers to a broader discourse on the subject of design within current art practice, addressing the relevance of the Unit! s legacy to practitioners and audiences today.

This is a monographic publication about British artist Anthea Hamilton's work. Hamilton's energetic collages explore the surreal and seductive nature of images. Her sculptures, installations and videos make reference to the history of the art, cinema and performance, playfully inserting the viewer into a three-dimensional composition

In 1980, Peter Halley created his first “prisons,” transforming geometric abstraction to comment on physical and bureaucratic environments. He deconstructed abstraction, portraying it not as a utopian escape but as a dystopian representation of regulated social and physical spaces. Halley noted in 1990 that he aimed to highlight a world defined by efficiency and bureaucratic control across various institutions. During the rise of personal computers and the Internet, he developed a structured system of geometric forms termed “prisons,” “conduits,” and “cells.” Utilizing unconventional materials like Roll-A-Tex for texture and Day-Glo fluorescent colors, he illustrated the mechanization of human interaction and technology in a postmodern context. This catalogue examines Halley’s unique pictorial language within the vibrant art scene of the 1980s, where he emerged as a key figure in the Neo-Geo movement. After studying at Yale and in New Orleans, Halley gained recognition for his geometric abstractions and critical writings influenced by post-structuralist theory, linking the digital revolution with visual arts. He also served as the publisher of index magazine from 1996 to 2005, a significant platform for indie culture during that time.