Bryce Wilner
wilner.bs@gmail.com
Commissioned Work
Barbara Forever, 2019. Website. Designed with Matt Wolff.
Every Ocean Hughes and Barbara Hammer, Barbara Forever (London: Camden Arts Centre, 2019).
Enough: the Architecture of Degrowth pamphlet series for the Oslo Architecture Triennale, 2019. PDFs.
Library Stack, Enough: the Architecture of Degrowth pamphlet series (New York: Library Stack, 2019).
Every Ocean Hughes, 2019. Website. Designed with Matt Wolff.
Gradient Puzzle, 2014. Offset print; 18 × 24 in.
Bryce Wilner, Gradient Puzzle (Brooklyn: Areaware, 2014).
Help the Dead textile patterns, 2019. Digital print on cotton canvas and cotton; dimensions variable. Designed with Every Ocean Hughes.
Every Ocean Hughes, Help the Dead (2019).
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).
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).
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, Matt 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.
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.
Shuffle, 2017. Website.
“Translating Permutation”, 2017. Writing.
Bryce Wilner, “Translating Permutation” (New York: Are.na, 2017).
“Typography and Writing”, 2019. Writing/syllabus.
Bryce Wilner, “Typography and Writing” (Norfolk, CT: Yale Norfolk School of Art, 2019).
Open-source Fonts
Counter, 2017.
Evening, 2017.
Fontlab Font, 2013.
Half, 2016.
Section, 2017.
Standard, 2017–19.
TCA, 2015.
Last update: 2019-10-25