A publication accompanying celebrated sculptor Antony Gormley’s first major museum survey of work in the United States, held at the Nasher Sculpture Center, Dallas. Spanning the full breadth of his career from the early 1980s until the present day, the book explores his experimentation of the experience of the body in space and the space of the body, taking in his process of sketching and model-making, and how he plays with scale and multiplicity.

A coarse, hardwearing, heavily textured cloth cover – reminiscent of workshop manuals – creates a feeling of permanence. An outline of a figure from the ‘Domain’ series is screenprinted onto the front and overlaid with a white foil title to create a physical impression. The endpapers are a tactile laid pink material to counter the smooth warm white, uncoated material used throughout the book.

The book starts is split into six sections: exhibition, works, models, workbooks, permanent work and bibliography. The first four relate directly to the show at the Nasher and start with a full bleed image of new work created for this exhibition, ‘Domain’, sculptures that have been positioned across the Dallas skyline looking down towards the gallery. A zoomed out view shows their context in relation to the gallery, followed by a close-up shot of the work itself overleaf.

The exhibition photography is presented as being full bleed to bring out as much detail of the show as possible, leading you through the exhibition. Imagery is laid out to create a sense of rhythm and repetition as you move through studio photography and details in the ‘Works’, section, which is then disrupted for the ‘Models’ section, where placement shifts to draw attention to parallel ideas and themes. ‘Workbooks’, echo this with individual or group placements.

Commissioned texts sit between the works, models, and workbooks sections, featuring an interview with Gormley and Nasher Sculpture Center chief curator Jed Morse, an essay examining Gormley’s process by philosopher Thomas Nail, and another exploring his works interaction with public space by art-historian Amanda Gluibizzi.

An extensive backmatter closes out the book, including an illustrated listing of ‘Permanent Works’ and an extensive bibliography that showcases the creation of publications being a crucial aspect of the studio’s output.