I designed Every Object Label I Designed at the Museum of Contemporary Art Chicago 2014–2016, a book of to-scale reproductions of every object label that I typeset over the course of ten exhibitions at the Museum of Contemporary Art Chicago. Every Object Label is available at lulu.com.
I designed a lapel pin that reads “plop” and “blob”.
Fake Music Reanticipations is a record label dedicated to acknowledging illegitimacy in music. I wrote the press release for their eleventh non-reissue: the song “i” from the film Proof (2005). You can read the press release here.
Image: In Our Time (BBC Radio 4)
I designed a low-contrast advertisement for Mystery Library.
I designed the exhibition graphics, promotional materials, and a saddle-stitched catalogue for the artist Anna Orlikowska’s solo exhibition Czy mnie słyszysz?/Can you hear me? at the Centre for Contemporary Art Ujazdowski Castle in Warsaw, Poland.
Image: jpeg of the 700 × 1000 mm exhibition posters
I presented Author as Designer—a lecture about graphic design’s use as a generative device in literature and poetry—at LVL3 Gallery.
Photo: Emmet Williams’s IBM projected to the left of Adi Goodrich’s Sleep
With Dylan Fracareta, I designed the exhibition graphics for The Freedom Principle: Experiments in Art and Music, 1965 to Now at the Museum of Contemporary Art Chicago. The Freedom Principle surveys the output of the Chicago-based jazz organization the Association for the Advancement of Creative Musicians (AACM) and follows its influence on contemporary art from the mid-1960s to 2015. The exhibition was curated by Naomi Beckwith and Dieter Roelstraete with Grace Deveney and Karsten Lund.
Photo: detail of an exhibition vitrine showcasing flyers for Lester Lashley and Friends and Kim On Wong and the Joseph Jarman Co.
I designed library cards for Mystery Library, my online catalogue of fictional books within works of fiction.
I designed Perfume Area, a book of thirty-six prose poetry fragrance reviews by the artists Sydney Shen and Laurel Schwulst. Perfume Area is the inaugural release from New York City-based publishing company Ambient Works.
I designed Acknowledgements, a book of aphorisms by Brandon Wilner and Willy Smart. Each aphorism was originally written around the letters of a loved one’s name placed diagonally within a grid, a writing constraint about which Brandon learned by sorting through 1990s François Caradec poems during a 2013 research stint in the Oulipo Archive of La Bibliothèque de l’Arsenal in Paris. Acknowledgements is published by Publication Studio.
I designed and published This is the ENDD, an essay by Tracy Jeanne Rosenthal that was originally presented as a lecture at Rhizome’s This is the ENDD: The E-Cigarette in Context symposium. This is the ENDD traces the history of cigarette marketing executives appealing to female consumers—featuring a cast of characters ranging from Sigmund Freud to Buckminster Fuller to Stephen Dorff—and offers revised strategies for doing so in a new economic environment.
I designed a Gradient Puzzle for Areaware in two color variations: red–yellow and green–blue. Each puzzle is 500 pieces, 18 × 24", and printed in two inks.
Photo: Stella Berkofsky
I gave Laurel Schwulst a poem machine based on a word bank we keep together.
Mollie Edgar and I conducted a typography workshop for the Teen Creative Agency at the Museum of Contemporary Art Chicago. Quoting Bruno Munari’s ABC con Fantasia, we gave each of the seven participants a limited set of modular shapes (culled from the MCA’s distinct northern staircase), basic dimensions, and loose instructions to create randomly assigned glyphs. By the end of the two-hour workshop, Eli Adams, Baylee Champion, Diedre Corrigan, Ben Medina, Richard Medina, Amaya Mensinger, and Christopher Molina completed a set of letters and numbers as well as some punctuation. We photographed each character and used these photographs to create a font.
Photo: Baylee Champion, Diedre Corrigan, Ben Medina, Richard Medina, and Christopher Molina with inspirational question marks projection
I designed a clear bumper sticker for Trunk Show, a mobile exhibition space often located near Chicago’s Eckhart Park. At the show’s opening, I gave a short talk about Nothing in art, literature, music, and philosophy.
Photo: Trunk Show cocurator Jesse Malmed with friend
I designed a window display for Medium Cool art book fair.
As a participant in Asterisk Summer School in Tallinn, Estonia, I worked with David Benski, Émilie Ferrat, Sonya Isupova, Sanne Kat, Victoria Langmann, Olga Makaronskaja, Aaron McLaughlin, Federica Romani, Lena Rossbach, Kaspar Sellin, Juuso Siltanen, Tsukasa Tanimoto, Iida Kaisa Urm, Bohye Woo, and Åbäke on a piece of fiction and nonfiction that took the form of a seventeen minute audiobook. Listen here.
Image: Winona Forever workshop cover image by Åbäke
I designed How to Listen to and Understand Fake Music, a book of lectures written by Willy Smart and published by Publication Studio.
I designed a catalogue of photographs and writing by the artists Fatima Haider, Nazafarin Lotfi, and Sean Ward for Andrew Rafacz Gallery.
I produced a type specimen booklet on the occasion of the Comfort Station’s Good Cheap Fast publishing workshop, an event hosted by Christopher Roeleveld on October 13, 2013.
Photo: specimen booklets and poster featuring Geometric typeface
I published Signature Capture, a zine of thirty-one ink drawings that passed through Mac OS X Lion’s signature vectorizing feature. High-resolution versions of each drawing are available on Flickr.
Photo: center spread detailing process drawings in Signature Capture
I contributed a poster (pictured here, at center) to Erik Brandt’s ongoing Ficciones Typografika project.
Photo: Ficciones Typografika contributions from James Dolence (left poster) and Zach Collins (right poster)
I pressed my hands into a blue stamp pad and assembled twenty perfect-bound zines to create Book of Fingerprints.
I designed and published La Martona’s Yogurt, a “semi-scientific, semi-commercial pamphlet about yogurt” by Jorge Luis Borges and Adolfo Bioy Casares. Brandon Wilner translated the 1935 text into English, and we worked together to present the English version alongside its original Spanish.
Photo: title page of La Martona's Yogurt, including the original logo-mark of La Martona, Adolfo Bioy Casares's uncle's dairy company