research platform

[katebrown2025]

some references for the Flat project: Michael Snow Cover to Cover Moyra Davey Speaker Receiver Mason Williams + Ed Ruscha Bus Edward Krasinksi his studio and his work see also Louise Lawler her work

[katebrown2025]

Hans-Rudolf Lutz Ich–Wir link

[katebrown2025]

“There are a couple of constants: one that I picked up early would be to pay special attention to what’s underfoot, and that followed on an intention, a plan, not a hope, but an intention, to be original. And as I looked for, you know, territories, or where you could scratch around and find some originality, I quickly went for the underfoot, but it may have suggested itself when I took things from around me. I encountered a ceiling that had a pattern, and that suggested that pattern could be anywhere. So I transplanted the pattern onto something else that was possibly underfoot…I saw some Formica. Pay attention, pay attention. Around the same time, I think it preceded that, would be when I did a crazy thing. Ok, I was gonna make art, ok, I’ll make a painting. And I had as an inspiration, a chest of drawers, and so I painted a chest of drawers on a chest of drawers; that is to say, I painted grain over grain.” Richard Artschwager Brooklyn Rail interview 2008

[katebrown2025]

Ger Van Elk The Flattening of the Brook's Surface 1972

"a well-traveled Dutch artist who has often worked on and at the intersections of object and (photographic) image, emerging, like his countrymen Jan Dibbets, Stanley Brouwn, and Bas Jan Ader, from a Conceptual art context. ...The Flattening of the Brooke’s Surface, a looped film from 1972 in which van Elk himself, folded into a tiny rubber dinghy, glides in and out of a static shot of a narrow canal... running a trowel over the ripples made by the boat’s movement." Artforum March 2000

[katebrown2025]

Richard Artschwager Diderot's Last Resort 1992

[katebrown2025]

See Stop Run Christopher Wool show 2024 website

"See Stop Run, a survey of Christopher Wool’s works of the past decade, opens in March 2024. The exhibition takes place on the entire 19th floor of an unoccupied space in the heart of the financial district. The artist has chosen an independent venue in order to escape the presumed neutrality of the “white cube” as an idealized context. The city permeates the exhibition through windows that wrap around the full 18,000 square foot installation.

Curated with Anne Pontégnie, the exhibition situates Wool’s work within a specific context, where the art and its environment interact. The exhibition emphasizes Wool’s complex image-making process and the interconnectivity between mediums: painting, sculpture, photography, and mosaic. This is the artist’s largest exhibition since 2014 and will run for a minimum of 4 months."

[katebrown2025]

Proust's proofs In April 1913, Proust described his “proof-reading” technique to a friend:

“My corrections up to now (I hope it won’t go on) are not corrections. Scarcely one line in 20 of the original text (replaced of course by another) remains. It’s crossed out and altered in all the white spaces I can find, and I stick additional bits of paper above and below, to the right and to the left, etc.”

A month later, he sent some proofs back to his publisher with this recommendation: “I advise you to draw your people’s attention to the fact that my proofs are very fragile; I’ve stuck bits of paper which could easily tear, and that would cause endless complications. There are galleys which may seem to be half-missing. This is because I have transferred a passage elsewhere.”

[katebrown2025]

'Easy reasonings' a Descartes quote (from Discourse on Method 1637) kicking off a pretty dense Artforum review of early Mel Bochner: Getting from A to B

[katebrown2025]

"CCA Singles are short printed one-offs that present one voice, one object, or one event. Ranging from raw source material to edited topical reflections, they propose intimate contact with ideas generated or collected at the CCA. The series is designed by NORM, it comes in three different sizes, and is distributed directly by us." link

[katebrown2025]

Parallel of Life and Art exhibition 1952 ICA London redux on the Walker website / From the catalogue for Graphic Design: Now in Production :

In 1953, Alison and Peter Smithson, along with Nigel Henderson, Eduardo Paolozzi, and Ronald Jenkins mounted the exhibition Parallel of Life and Art at the Institute of Contemporary Arts (ICA) in London... The installation was composed of 122 photographic panels...arranged in a dynamic display utilizing the wall, floor, and ceiling planes.

Dubbing themselves “editors” rather than curators of the exhibition, the group explains in a press release: “In this exhibition an encyclopaedic range of material from past and present is brought together through the medium of the camera which is used as recorder, reporter, and scientific investigator. As recorder of nature objects, works of art, architecture and technics; as reporter of human events the images of which sometimes come to have a power of expression and plastic organisation analogous to the symbol in art; and as scientific investigator extending the visual scale and range, by use of enlargements, X rays, wide angle lens, high speed aerial photography. The editors of this exhibition … have selected more than a hundred images of significance for them. These have been ranged in categories suggested by the materials, which underline a common visual denominator independent of the field from which the image is taken. There is no single simple aim in this procedure. No watertight scientific or philosophical system is demonstrated. In short it forms a poetic-lyrical order where images create a series of cross-relationships.” —AB

[katebrown2025]

The Shape of Shape Amy Sillman Artist's Choice show at MoMA 'In The Shape of Shape, Amy Sillman—an artist who has helped redefine contemporary painting, pushing the medium into drawing, installations, video, and zines—has created a revelatory Artist’s Choice installation drawn from the Museum’s collection. “Even though shape is everywhere,” she reflected, “we don’t talk about it much; it’s not a hot topic in art, like color or systems. So I decided to look for works in MoMA’s collection in which shape does prevail over other considerations…. Often eccentric, poetic, or intimate, these works are like bodies that speak, operating at the hub of language and matter, signs and sensations.” The Shape of Shape features works that span vastly different time periods, places, and mediums, many rarely seen. Here, Sillman presents a highly personal exploration of shape—the ever-shifting boundaries that define what and how we see—in modern art.' video

[katebrown2025]

Kiki Kogelnik "Hangings"

"Claes" 1970 Artforum (Simone Subal show) "The piece, Hanging, by Kiki Kogelnik was made in 1970 as part of a series of cutouts traced from human forms and executed in silky, slick resins. A transplant to New York from Austria, Kogelnik settled downtown in 1962, where she befriended Claes Oldenburg, Roy Lichtenstein, and Carolee Schneemann, among others. (Claes, not on view here but made the same year as Hanging, takes the soft sculptor’s body as its template.) Her early art informel–style paintings quickly yielded to work that indexed the city’s emergent Pop aesthetic, grafting its concerns with high-tech materials, synthetic color, and transfer techniques such as silk-screening and stenciling onto her commitment to militant feminism. ...Scissors emerge as Kogelnik’s tool of choice, which she conceived of as both a surgical implement and a feminist weapon, in the manner of Valerie Solanas or Hannah Höch." Tate: "With a humorous and feminist take on a male-dominated art scene, she explored the human body and the construction of the self within the booming technological environment of post-war consumer society. Experimenting with found objects, assemblage, plastic and vinyl, while also spraying and printing on paper, Kogelnik developed a new visual language, increasingly characterised by weightlessness and the flattening of the human figures. This can be seen in her signature Hanging works and cut-out silhouettes of her friends, developed from the early 1960s."

[katebrown2025]

about Moyra Davey's Speaker Receiver "Moyra Davey’s practice encompasses photography, film, and video, as well as reading and writing. She conceives of the latter two activities as inseparable and equally significant techniques of working... By suggesting an affinity, or even a reciprocal mode of influence, between the acts of reading and writing, Davey locates the point at which the desire for non-differentiated production-consumption makes the two usually opposed sides of the process of communication meet and cross; that is to say, in Davey’s work, writing is reading.

The monograph Speaker Receiver brings the diverse aspects of Davey’s work together. It features “Index Cards”, a new piece of writing by Davey, in which she reflects on subjects such as a recent illness, her personal mapping of Paris and her habit of reading newspapers. Rather than formulating a systematic argument, the essay unfolds in a series of short “takes” or fragments.

Photographs distributed in order of their appearance within the texts interrupt the various writers’ contributions. Furthermore, for Davey’s own essay, and for the interview, the artist chose to reproduce her photographic “Mailers”, a unique series and format of work that Davey likes to refer to simply as “mail art”.

Speaker Receiver was published on the occasion of the same-titled exhibition at Kunsthalle Basel, June 17 – August 29, 2010."

[katebrown2025]

I shared the Flat postcards in Newly Formed. One of our teachers, Christopher Sleboda pointed me to Nick Massarelli's CenterFold project: "Three by four inch crops, centered around the staple holes between disassembled pages from a saddle-stitched magazine." link screenshots of two publication spreads:

[katebrown2025]

X, Y, and Z Graphic Design in Space James Goggin's RISD class archived link references

"Course Description How might contemporary graphic designers operate at multiple scales with greater awareness of the discipline’s latent anthropometric [anthropometry:  the study of human body measurements especially on a comparative basis—Merriam-Webster], spatial, dimensional, and relational capacities? In turn, how might graphic designers more effectively recognise, and experiment with, our role in translating and reproducing such experiences or phenomena (including art, architecture, fashion, writing) into widely-accessible media at different scales and in multiple formats?

This course will involve a range of collaborative exercises, inquiries, experiments, lectures, readings, screenings, site visits, and projects, exploring graphic design as an inherently multidimensional and spatial discipline. 3D, not 2D. Graphic design as object, as projection, as display, as gauge, as structure, as installation, as sound, as architecture. Not just the X and Y, but also the Z axis.

The course’s subtitle is “Graphic Design in Space,” a literal example being Carl Sagan’s “Pioneer Plaque,” the sum of humankind and space travel etched in pictographic form onto a pair of 9 × 6 inch aluminium plaques attached to NASA’s Pioneer 10 probe on its 1972 mission to planet Jupiter. We will also investigate more terrestrial, yet equally literal, types of space and how they relate to the human body: letters, words, paragraphs, pages, screens, rooms, buildings, and cities.

My aim for students in this class is that, with greater interdisciplinary, contextual, and proprioceptive [of, relating to, or being stimuli arising within the organism—Merriam-Webster] awareness, you will work towards developing what feminist theorist and architectural historian Jane Rendell has termed a “critical spatial practice” as graphic designers. Ultimately, we’ll consider graphic design as an anthropometric system that is not only orthogonal (operating in multiple dimensions), but also orthographic (interpreting and communicating these dimensions through signs and symbols)."

[katebrown2025]

Cover to Cover Michael Snow "For years an out-of-print rarity, Michael Snow’s classic artist book Cover to Cover is available once again, in a facsimile edition from Light Industry and Primary Information. Never bound by discipline, Snow has remarked that his sculptures were made by a musician, his films by a painter. Flipping through Cover to Cover, which is composed entirely of photographs in narrative sequence, one might describe it as a book made by a filmmaker. Snow himself has called the piece “a quasi-movie,” structured around a precise recto-verso montage.

Each page features a distinct moment, seen from one perspective on the front, and from a diametrically opposed angle on the back, occasionally pivoting, for instance, between interior and exterior spaces. This organizing principle is complicated by the fact that a given image might be a depiction of the physical environment surrounding the camera or, at other times, a photograph of a photograph. Midway through, the scene is inverted such that the volume must be turned upside-down to be looked at right-side up. The result is an elegant, disorienting study in simultaneity that allows the viewer to enter the work from either end." Primary Information / Light Industry

[katebrown2025]

Lygia Clark — The abandonment of art talk — MoMA Glenn Lowry: Clark called these works "Bichos," or "critters."

Connie Butler: The implication being that these are small beasts or animals or in some way animated and living forms. If you look closely, you'll notice that the Bichos are actually made from hinged metal pieces – some geometric, some circular, and some actually sculpted as if by hand. The Bichos are hinged in order to get movement within the sculptures.

Luis Perez-Oramas: The Bichos are fundamentally unstable structures. They question the physical certainty of the user, as they are at all moments at the brink of collapsing. They don't have an ideal shape. They don't have front and back. They are fully manipulable. And they unfold as potential multiplicities, structurally as well as organically.

Glenn Lowry: Composed of different planes, these sculptures are like moving versions of Clark's paintings. At several points in the exhibition, you'll find replicas that you can touch.

Connie Butler: Clark intended for a viewer to manipulate the sculpture in the space in and among paintings and other works. And it's here that we see this idea of a kind of collaboration with the audience introduced very directly into her work for the first time.