Marie Cuttoli Exhibition
Exhibition identity, Exhibition graphics, printA painting by Picasso passes through the hands of master weavers at the historic workshops of Aubusson, France, and emerges as something else entirely, same image, different matter, different time. This act of translation was Marie Cuttoli's medium. Marie Cuttoli: The Modern Thread from Miró to Man Ray was the first major exhibition dedicated to this largely overlooked entrepreneur, who lived between Algeria and Paris and spent decades persuading the most celebrated artists of her time, Picasso, Miró, Le Corbusier, Man Ray, Léger, to design for the loom. Curated by Cindy Kang and organized by the Barnes Foundation, the exhibition traced Cuttoli's arc from her couture house Myrbor to her revival of French tapestry, revealing modernism's largely unacknowledged dialogue with the decorative arts. The connection to the Barnes was direct: Dr. Barnes was among Cuttoli's most vocal advocates, and three tapestries from his collection formed the exhibition's core.
Beatrice by Sharp Type anchors the identity, chosen for its textural thick and thins, reminiscent of spinning thread. Those threads extend outward — spooling across walls, creating connections between sections of the exhibition, the typographic system enacting the same logic as the work itself. The typeface holds its editorial weight against the richness of the source material without competing with it.
+ Type: Beatrice by Sharp Type
+ Art Direction and Graphic Design: Olivia Verdugo and Pauline Nyren
Marie Cuttoli Exhibition
Exhibition identity, Exhibition graphics, printA painting by Picasso passes through the hands of master weavers at the historic workshops of Aubusson, France, and emerges as something else entirely — same image, different matter, different time. This act of translation was Marie Cuttoli's medium. Marie Cuttoli: The Modern Thread from Miró to Man Ray was the first major exhibition dedicated to this largely overlooked entrepreneur, who lived between Algeria and Paris and spent decades persuading the most celebrated artists of her time — Picasso, Miró, Le Corbusier, Man Ray, Léger — to design for the loom. Curated by Cindy Kang and organized by the Barnes Foundation, the exhibition traced Cuttoli's arc from her couture house Myrbor to her revival of French tapestry, revealing modernism's largely unacknowledged dialogue with the decorative arts. The connection to the Barnes was direct: Dr. Barnes was among Cuttoli's most vocal advocates, and three tapestries from his collection formed the exhibition's core.
Beatrice by Sharp Type anchors the identity, chosen for its textural thick and thins, reminiscent of spinning thread. Those threads extend outward — spooling across walls, creating connections between sections of the exhibition, the typographic system enacting the same logic as the work itself. The typeface holds its editorial weight against the richness of the source material without competing with it.
+ Type: Beatrice by Sharp Type
+ Art Direction & Graphic Design: Olivia Verdugo and Pauline Nyren
© 2026 Olivia S Verdugo