• Package Holiday: New British Art in the Ophiuchus Collection, The Hydra Workshop, Hydra, 1997. Front cover: solid bright blue card with "PACKAGE HOLIDAY" in large black bold type lower left; 15 artist names in three rows of small white text below — Don Brown, Peter Doig, Tracey Emin, Angus Fairhurst, Damien Hirst, Gary Hume, Sarah Lucas, Paul Noble, Chris Ofili, Richard Patterson, Simon Patterson, Georgina Starr, Sam Taylor-Wood, Nicola Tyson, Gillian Wearing. Landscape format, 21 × 15 cm. Light handling cr
  • Package Holiday, Hydra Workshop, 1997. Interior spread: left, full-bleed colour photograph of Hydra harbour and hillside town — whitewashed cubic buildings descending to the water, blue sky and sea; right, white page with "PACKAGE HOLIDAY" heading in bold blue type, two paragraphs of exhibition text, and black silhouette of three stacked suitcases lower centre.
  • Package Holiday, Hydra Workshop, 1997. Interior spread: left, Simon Patterson — The Great Bear, 1992, colour reproduction of London Underground map with celebrity and historical names replacing station names, "Simon Patterson" in blue upper right, title and date in small type lower right; right, Damien Hirst — Pemoline, 1995, triangular arrangement of multicoloured spot painting on white ground, "Damien Hirst" in blue upper left, title and date lower left.
  • Package Holiday, Hydra Workshop, 1997. Interior spread: Sam Taylor-Wood — Five Revolutionary Seconds IX, 1997, panoramic colour photograph extending across the full gutter — warm-toned studio interior with shelving, ceramics, equipment and a standing female figure visible right; "Sam Taylor-Wood" in blue lower left, title and date in small type lower right.
  • Package Holiday, Hydra Workshop, 1997. Interior spread: left, Richard Patterson — Minotaur, 1995, colour photograph of a yellow figurative sculpture of a bull-headed figure standing in a wooden frame against a warm ochre ground; "Richard Patterson" in blue lower left, title and date in small type upper right; right, Georgina Starr — Oh! Daniel, 1997, colour comic-strip illustration on blue and orange ground with cartoon figures, speech bubbles, portrait photographs and bold red hand-lettered title "oh! Dani
  • Package Holiday, Hydra Workshop, 1997. Interior checklist spread: left, two-column artist checklist in small type listing all 15 artists with works, media, dimensions and photo credits — organised by Pauline Karpidas and Sadie Coles, acknowledgements column right; right, full-bleed colour photograph of Hydra harbour with whitewashed cubic buildings rising on the hillside under a clear blue sky.
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The Hydra Workshop

PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

PACKAGE HOLIDAY: New British Art in the Ophiuchus Collection. Hydra Workshop, 1997

£85.00 GBP
£85.00 GBP
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Hydra, Greece: The Hydra Workshop, 1997. Exhibition catalogue published for Package Holiday: New British Art in the Ophiuchus Collection, 26 July–30 September 1997, The Hydra Workshop, Hydra. Organised by Pauline Karpidas and Sadie Coles. Landscape softcover, staple-bound. Colour photographs and illustrations throughout. 21 × 15 cm.

Condition: Good. Pronounced vertical handling crease through the wrappers, with rubbing, scattered surface marks, small abrasions and wear to the edges and corners. Light handling internally; complete and firmly bound.

In 1997 Pauline Karpidas and Sadie Coles brought fifteen London-based artists to the Hydra Workshop, a former boat-repair space on the island’s harbour. Package Holiday was their first exhibition there together and established the model for the annual programme that followed: artists, curators and galleries temporarily relocated to Hydra, with a publication produced for each presentation.

The exhibition assembled Don Brown, Peter Doig, Tracey Emin, Angus Fairhurst, Damien Hirst, Gary Hume, Sarah Lucas, Paul Noble, Chris Ofili, Richard Patterson, Simon Patterson, Georgina Starr, Sam Taylor-Wood, Nicola Tyson and Gillian Wearing. Each artist was represented by a single work from the Ophiuchus Collection.

The catalogue borrows the visual language of a holiday brochure: uninterrupted blue covers, panoramic views of Hydra, a row of packed suitcases and bright blue headings. Simon Patterson’s The Great Bear faces Damien Hirst’s Pemoline; Sam Taylor-Wood’s Five Revolutionary Seconds IX extends across the gutter; works by Richard Patterson and Georgina Starr appear as another unlikely pair. A private collection, a London gallery network and a generation of British artists are condensed into one small travel document.

The cover wear now interrupts the continuous blue surface, leaving the catalogue with visible evidence of the movement its title proposed.

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