The publication Women Looking at Women Looking at Women: Reclaiming Histories of Women in the Arts and Proposing Models to Facilitate Future Friendships written by Annemarie Wadlow was solely designed by women, from cover to paper, from typeface to printing.
In what ways have women artists come together to investigate their own image? This publication delves into histories of feminist and queer collective practice, expanding on the various ways women claim agency of their identity, via collaborations that connect intergenerational and far-away friendships. Each chapter features artistic and theoretical case studies that discuss images produced by women artists, about women artists; proposing that to gaze upon someone represented with care and autonomy provides more affirmative ways to relate to ourselves. It discovers that to pay homage to overlooked knowledge of women artists builds a case for the artist as researcher. Only by engaging in both roles can we unveil what is not taught in the mainstream and inspire a more inclusive, generous future.
Each aspect of the book’s design is a collaborative endeavour, expanding the notion of individual authorship. It is with this sentiment that creating the publication became research in itself, via collaboration with both direct peers and an extended genealogy.
Annemarie Wadlow (1993, UK) is a research-led artist working between moving image, writing and photography. Her work explores the middle ground between image and imagination, questioning notions of inheritance, personal identity and belonging. Wadlow won the first #PageNotFoundThesisAward in 2020, making the publication of Women Looking at Women Looking at Women possible by Page Not Found, Den Haag.
Commissioned by:
Annemarie Wadlow
Writing:
Annemarie Wadlow
Design:
A collective effort by Marijn van der Leeuw, India Scrimgeour Esther Vane, Annemarie Wadlow and Hannah Williams
Writing supervision
Delphine Bedel
Copy-editing
Eline Benjaminsen and Lucy Cordes Engelman
Published by Page Not Found, Den Haag.
Printing & binding
Die Keure
Paper:
IBO one 60g/m2, developed by Irma Boom & Igepa
Used typefaces
Cover, abstract, contents & conclusion: Adobe Saslon Pro by Carol Twombly and DeiGratia by Pia Frauss
Introduction: Calyces by Charlotte Rohde & MalaTesta by Pia Frauss
Chapter 1: Chimera by Maria Doreuli
Chapter 2: Rosart by Katharina Köhler and Genesis by Theresa Scherrer
Chapter 3: Ovo by Nicole Fally