Bryce Wilner
Initiative Work
An Image Going to Work, 2018. Laser prints, wood, metal screws, wallpaper paste, and single-channel video; dimensions variable. Exhibition furniture designed and produced with Christine Zavesky.
Nilas Andersen, Nate Pyper, Yo-E Ryou, Hrefna Sigurðardóttir, Bryce Wilner, Matthew Wolff, and Christine Zavesky, An Image Going to Work (New Haven: Yale School of Art, 2018).
“The Describer”, 2019. Writing.
Ayham Ghraowi and Hrefna Sigurðardóttir (eds.), Yale School of Art MFA 2019 (New Haven: Yale School of Art, 2019).
Dvorak Echo, 2018. Website (desktop only).
Echo, 2017. Website (desktop only).
“i” press release, 2015. Writing.
Bryce Wilner, “i” press release (Chicago/Los Angeles/New York: Fake Music Re-Anticipations, 2015).
It’s Easy to Tell, 2017. Website.
Mirror Test, 2017. Single-channel video; 2 minutes, 20 seconds.
Never too much/Never enough, 2018. Website.
New Legibility, 2018. Laser print on paper; 7.25 × 9 in.
Bryce Wilner, New Legibility (New Haven, 2018).
NZ, 2018. Website.
Object Labels 2014–18, 2018. Laser print; 8.5 × 11 in.
Bryce Wilner, Object Labels 2014–18 (Brooklyn, 2018).
“Open Font License”, 2018. Writing.
Bryce Wilner, “Open Font License” (New York: Library Stack, 2018).
Plotter’s Tour (Keyboard), 2017. Plotter-lead Sharpie on paper; 19.5 × 39 in.
Resolution Labyrinth, 2017. Website.
The Robyna Neilson Ketchum Collection of Bells, Inverted, 2016. Laser print; 5.5 × 8.5 in.
Bryce Wilner, The Robyna Neilson Ketchum Collection of Bells, Inverted (New Haven, 2016).
Shuffle, 2017. Website.
Sight Rhymes, 2016. Website (desktop only).
“Translating Permutation”, 2017. Writing.
Bryce Wilner, “Translating Permutation” (New York:, 2017).
Commissioned Work
Every Ocean Hughes, 2019. Website. Designed with Matthew Wolff.
Gradient Puzzle, 2014. Offset print; 18 × 24 in.
Bryce Wilner, Gradient Puzzle (Brooklyn: Areaware, 2014).
Machine Eden, 2018. PDF.
Mark von Schlegell, Machine Eden (New York: Library Stack, 2018).
Library Stack identity materials, 2017–18. Laser prints, inkjet prints, Riso prints, and vinyl; dimensions variable.
PDF-OBJECTS, 2016. Laser print; 8.5 × 11 in.
Jason Lazarus and Sean Ward (eds.), PDF-OBJECTS (Tampa and New York, 2016).
Plaid Unit (for Lampo), 2016. Patch; 1.5 × 1.5 in.
Perfume Area, 2015. Laser print; 4 × 7 in.
Laurel Schwulst and Sydney Shen, Perfume Area (New York: Ambient Works, 2015).
The Propeller Group, 2016. Interior: offset print; cover: screen print on vinyl; 8 × 10 in. Designed with Dylan Fracareta.
Naomi Beckwith, The Propeller Group (Chicago: Museum of Contemporary Art Chicago, 2016).
Queens International 2018: Volumes, 2018. Interior: web offset print on paper; cover: offset print on paper 7.5 × 10.25 in.
Sophia Marisa Lucas, Baseera Khan, and Larissa Harris (eds.), Queens International 2018: Volumes (Queens: Queens Museum, 2018).
RDBNPNG 26–29, 2018. Web offset print on newsprint; 8.25 × 11.5 in. Designed with Matthew Wolff.
Antonia Ayres Brown, Claire Halderman, Emma Keyes, Peter Nekrasov, Stefanie Fernández (eds.), RDBNPNG 26–29 (New Haven: WYBC Yale Radio, 2016–18).
Retrospecta 40, 2017. Offset print; 9 × 12.75 in. Designed with Youngeun Sohn.
Brian Cash, Alejandro Durán, Erin Hyelin Kim, Melissa Russell (eds.), Retrospecta 40 (New Haven: Yale School of Architecture, 2017).
Sermon of the Nonresponse, 2018. Laser print; 5 × 8.25 in.
Fred Moten, Sermon of the Nonresponse (New Haven: Yale School of Art Publications, 2018).
Open-source Fonts
Counter, 2017.
Evening, 2017.
Fontlab Font, 2013.
Half, 2016.
Section, 2017.
Standard, 2017–19.
TCA, 2015.
Last update: 2019-04-23