Flowing into varied iterations site-specifically, score without a body is just as much about the entrapment of the body, as it is about letting go. Here, “score” is compositional, while suggesting too, a scratch on a surface—a cut, a burn, a severing that is being tallied. Something violent and uncanny simmers, yet there is longing in the colors that halo each photograph and in the subtle creation of line through objects that fall into one’s possession. Catch! One might see the two hand-like objects pictured on green linen as casts of the child’s hands in the photograph to the right, but they are in fact remnants of Haniwa—terracotta clay figures that were made for ritual use and buried as funerary objects during the Kōfun period (3rd to 6th centuries AD) in Japan. Infant arms are held by an elder; the cleansing of the body is contradicted by the placement of a scorched spoon-like showerhead. Fire meets water in a blend of extremes. What place does a shoe anvil have in all this? A German proverb might offer an answer.

Collective Study, curated by Meg Onli
Image Text M.F.A. Thesis ShowMicroscope Gallery
525 W 29th St. New YorkSeptember 2025

the bold parts is an on-going translation project that engages a Japanese-English dictionary and archival images of holding and being held.

apery as limitation and imitation as guarantee of decorum.
—Noémie LefebvreI read somewhere, I durate. And then? A small collapse. Someone asks you on the street corner if you speak Spanish. Before you can answer they say, yo hablo un poquito, but not pronounced phonetically. Someone continues talking—they say, you could be Indian! A small collapse and a larger one sometimes for the times that falling has to be reserved (for?). It would be so easy to slip in the snow piled up on the street corner. Waiting for the light to change.

04:28:00, loopedtemporary installation
Tjaden Gallery. Ithaca, NY. 2024

something on paper?Sour plums float in still water. Flesh parts drift away from bone—an emulsion lifts. Or puckered tongue prepared in sweet liquor. Pick your image. She sucks the pit to extract its sting, rolls it over her gums, piercing, almost, the soft parts of her cheek with the pinched part of the pit. She spits it out. Sour plum pit lands on her toe and rolls away with the aggressive slant of the bedroom floor. Dust mites swallow language. Or language trails, picking up dust.

mylar print in windowtemporary installation
Tjaden Gallery. Ithaca, NY. 2023

The physiological representation of the size of the blind spot, which exists in all our eyes, is “a small orange held at arm’s length.”This multi-channel video and installation of objects and photographs considers this inherent quality of the blind spot in relation to family narrative, and the absence thereof. How does one constitute oneself in relation to an archive (identification photographs of elders); a stone handed down from one generation to another; a visit to an orange farm where distant family still grow trees; past ones lingering in dreams? Does the stone resemble meat or the meat resemble stone?

04:24:00 looped multi-channel video installation
[WHAT IS THE BLINDSPOT], publication. edition of 16.
inkjet prints mounted on dibond, variable dimensions.exhibition
Kunsthalle am Hamburgerplatz, Berlin. 2023

vonsichaus is an on-going project on belonging & contradiction.

The project has been exhibited in part at:EVEN STILTE. EXPOOST, Hoorn, NL, March–April 2023.BEGEGNUNG. European Month of Photography (EMOP) Berlin, March–April 2023.vonisichaus, solo show at Lindenstr. 90 (Kang Contemporary Gallery), January 2023.YETYET Abschlussaustellung Kunsthochschule Weißensee at Kühlhaus Berlin. July 2022.Inner Landscapes, a duo exhibition with Anna Swagerman at Hotel Maria Kapel in Hoorn, NL. May 2022. Read more about the exhibition here.

What I'm looking for is the inconsistency of memory, its tracks stumbling slightly among objects, a gesture, or just an intention that persists then comes undone in the material.
—Nathalie Léger, Exposition

g\d: a collective activation called upon material to re-organize the otherwise rigid and linear space between galerie gauche and droite in the hall of entry to Palais des Etudes of Beaux-Arts Paris. The activations, informed in part by Lisa Nelson’s image scores and Richards Serra’s verb list were performed in four 10-minute sessions with 3-5 movers, culminating in a 40-minute activation of the space with all movers, 11 in total, participating in the last session. At the beginning of the activation, each mover (participant) was asked to choose and tear a word from the object-list to the right. This association word was to be used as an internal reference point for one’s movement with and throughout the space. Each session was structured with the external calls of “begin”, “share” (to share the association word), and “end”. The material itself, Staubschutznetz (dust protection net), was fixed on one column of the left gallery and drawn across public space into the right, to invite a state of being under construction: as much we ourselves (as movers, individuals, and collectives) are constantly constructing and re-constructing our bodies, identities, and relationships to space and time.

Baunetze, rubber. ca. 0,5 x 150 x 5000 cmDo/don’t do do do don’t do it,
Atelier Huynh, Beaux-Arts Paris. 2022

draft for: a collective activation was performed in collaboration with dancers from the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP) with Atelier Huynh of Beaux Arts-Paris. The collective Project Composition invited material-based works to be activated with physcial interventions, in particular, the movement of dancers. The project functioned, in part, as a draft for the collective activation of g\d (see previous work), as well as an opportunity to engage a larger interior space with a predesignated function and circulation. The activation, which included 18 movers, consisted of four 10-minute sessions of 6 movers, culminating in a 40-minute activation of the space with all movers participating in the last session.

Baunetze, rubber. ca. 0,5 x 150 x 5000 cmFoyer of CNSMDP. 2022

mm ii is the second edition of a film created in 2019 for a multi-disciplinary on-going project on muscle memory.Completed again in one take to a sound work by a colleague’s label, Fritschs, this second edition is a an improvisational playback of the memory of the first, which marked the first time I performed since a misdiagnosed injury ended the possibility of a dance career in 2014. This second installation focuses on the retraining and relearning of the body.

improvisational performance
Palais des Etudes, Beaux-Arts Paris. 2022.

Some people feel crazy when they try to deal with two contradictory thoughts at the same time, as if they fear they have done something wrong and need to purge the intruding thought before it muddies the water. The point of thinking is that it will always muddy the water. So how do we live with our free thoughts and the mud.
—Deborah Levy, Real Estate: A Living Autobiography

Free Thoughts & The Mud grapples with the often-contradictory thoughts of identity and belonging. In this exhibition of self-portraits and photographs made primarily in my childhood home in California, I relate to a quotation from Real Estate, the most recent book in the trilogy of living autobiographies, by Deborah Levy. Her works serve as both starting point and closure to difficult questions about what happens between belonging neither here nor there.In the opposite image (lower left), I wear an inverted otafuku mask, which traditionally represents a lovely, always smiling woman who brings happiness and good fortune to the man she marries. Her inverted expression, blank and unwilling, reveals the reality behind societal pressures and expectations.

Inkjet & silver gelatin prints mounted on multiplex birch
Variable dimensionsexhibition
Marienburger Straße 31, Berlin. August 2021

In this exercise of self-portraits with useless found form, I engage once more with my own precarious history in dance and the impressions, perspectives, and/or inclinations that have remained although I am no longer connected to or active in a dance community. I bring together the urge to move with the acknowledgement that my experiences in dance, specifically classical ballet, have been closer to striking a pose and corresponding to preconceived gestures—which can be seen as graphical—rather than fluid movement."In this [she] is unconsciously echoing the definition of form as ‘the diagram between the inner urge of a body and the resistance of the (physical) medium"In this, I attempt to visualise how living with a dancer's body, or rather its echo, creates an unusual relationship to objects that are not characteristically useful or furniture, and by being so create a longing to relate.

Arles, FR. 2021

Insole, Vol. I. Septemer 2025

Insole is a new publication of critical writing and imagery based in New York, focusing on conceptual art practices, performance, and theory. This first issue centers on the art, histories, and discursive hangovers of the 1970s and early-1980s through a series of present-day encounters. Amber Jamilla Musser writes on a recent reinterpretation of Blondell Cummings’s dance “Chicken Soup” in an East Village church, reflecting on the work’s enduring resonance with Afrodiasporic rituals. Regan Bowering journeys into New York and Chicago archives in search of saxophonist Anthony Braxton’s authentic voice, while Eilidh Duffy examines how the wide adoption of army surplus clothing blurred perceptions and allegiances during the fiercest decade of The Troubles in Northern Ireland.To mark the republication of the catalog of his groundbreaking 1993 exhibition “The Theater of Refusal,” Charles Gaines is in conversation with the critic Zoë Hopkins, discussing randomized numbers, empty figuration, and the possibility of a black linguistics. Alongside photographs and artwork reproductions, Insole features specially commissioned drawings by Maddy Bremner, offering a pictorial commentary within the texts.

Insole is edited, designed, and produced by Ravi Ghosh and Marié Nobematsu-Le Gassic.The publication launched at Printed Matter's NYABF at MoMA PS1 and will be featured in Storefront for Art & Architecture's Book Bash 2025.Copies are available for purchase via our website.

Louise Lawler. The Princess, Now the Queen, 2005.

Installation view.

Edward Meneeley. Illustrations for Tender Buttons, 1965.

Kenji Nakahashi. Avenging mind, 1980.

Kiki Smith. Untitled (girl), 1997.

For the Pleasure of LookingIf Gertrude Stein's book of poetry Tender Buttons (1914) was revolutionary for its challenge of literary conventions, then Edward Meneeley's Illustrations for Tender Buttons (1965) can be considered similarly inventive as one of the first portfolios to legitimize the electrostatic printing process now commonly referred to as Xerox as an art form. Following what the scholar and poet Juliana Spahr calls a "definitional desire" in the afterword to the corrected centennial version of Tender Buttons (2014), the sequence of photographs by displayed in the Richard Sukenik '59 Teaching Gallery responds to Meneeley's abstractions of the original text with a riddling that honors Stein's sensual observations of objects such as the seltzer bottle, the chair, what Stein dubbed "the method of" the cloak. Here is both a challenge and an offering to the viewer: Photographs, like these texts, do not necessarily impart a singular meaning. Look, for the pleasure of looking, until you see something.• • •For nearly a decade, Edward Meneeley worked as a professional artist without the ability to make prints, despite having technical skills in photography and other paper-based mediums. It was not until 1964, when he was invited to the office of a friend working at IBM, that he discovered the Xerox copier as a tool for both composition and replication—yet to be used in a fine art context. "I looked into the glass plate surface and recognized a camera lens," he recalled of his initial encounter with the machine, immediately recognizing the potential for generative misuse of the still novel copy-making process.As his first formal project of xerographs, Illustrations for Tender Buttons consists of ten text fragments from Gertrude Stein's 1914 Tender Buttons paired with varying assemblages of buttons composed on the glass plate of the Xerox machine, both duplicated directly onto legal-size cotton rag paper. The signed and numbered edition of fifty was published together with gallerist Wayne Adams under the imprint Teuscher Editions in 1965. The relationship of each image to its corresponding text fragment in Illustrations remains elusive to the exclusion of Stein's original captions and is oddly representational despite Tender Buttons not being explicitly about buttons as objects, but rather the rupture of sense-making in language through the amplification of its divergence. What does it mean for a color to be careless? Perhaps Meneeley's work is divergent in its own way as a response to artworld prejudice against print media, not unlike the tired refrain that painting is superior to photography, or that logic takes primacy over the things that delight in its absence.

For the Pleasure of Looking
July–October 2025Herbert F. Johnson Museum of Art
Cornell UniversityList of works in order of appearance:Edward Meneeley. Illustrations for Tender Buttons, 1965. (case)
Sheila Pinkel. Digital scan of Lerebours daguerreotype lens, 1848, ca. 2011–18.
Linda Connor. From untitled triptych in the Second Apeiron Portfolio, 1978.
Arnold Newman. Buffie St. Marie, 1966 (negative); printed later.
Judy Chicago. Goddess with Flares, 1972 (negative); 2012 (print).
Abelardo Morell. Flashlight and salt: photogram on film, 2006.
Louise Lawler. The Princess, Now the Queen, 2005.
Kenji Nakahashi. Avenging mind, 1980.
Kiki Smith. Untitled (girl), 1997.Curation and text by
Marié Nobematsu-Le GassicArtwork images courtesy Herbert F. Johnson Museum of ArtSpecial thanks to Jakub Koguciuk and Annie Abernathy for their support in making this project possible.

The Last Man, Mary Wollstonecraft Shelley

Nearly two centuries after its publication, The Last Man remains hauntingly prescient. In a world ravaged by plague and loss, Mary Wollstonecraft Shelley offers not a spectacle but a lament—an elegy for intimacy, memory, and futures undone. This edition of Shelley's important ecological disaster novel pairs the original text with contemporary artistic interventions that echo today's crises: environmental, existential, and emotional. Fourteen artists disrupt, illuminate, and reimagine the novel's fractured world, inviting readers into a multi-dimensional dialogue across time. Designed by ELLA, this book is not just a reissue. It is an invitation to witness beauty within collapse and to question what, in the end, we choose to carry forward.

Concept & Curation by
Meg OnliEdited by
Maddy Bremner & Marié Nobematsu-Le GassicPublished by
Image Text Ithaca Press
iTi Press is an initiative of the Image Text MFA at Cornell AAPISBN: 978-1-7334971-7-6Printing & binding by
Grafiche VenezianeAvailable through
ARTBOOK | D.A.P.
75 Broad Street, Suite 360
New York, NY 10004www.artbook.com

Issue #5—Drift, printed at Cornell University, 2025

Issue #4—Multiple, printed at Cornell University, 2024

Issue #3—On Translation, printed at Max's Garage Berkeley, 2024

Issue #2—Exchange, printed at Impresos Mexico, 2024

Issue #1—Rest, printed at KHB Berlin, 2023

allapart is a print publication that merges visual art, writing, design, and publishing through a collaborative editorial process. Created by the inaugural cohort of the Image Text MFA program at Cornell University, the publication has been produced internationally and has traveled to book fairs such as Polycopies Paris, the Boston Art Book Fair, Press Play at Pioneer Works, and Printed Matter's New York & LA Art Book Fairs.ISSUES
#1—Rest, 2023
#2—Exchange, 2024
#3—On Translation, 2024
#4—Multiple, 2025
#5—Drift, 2025
#6—Water, 2025

Rotating Editors
Maddy Bremner
Catherine Gans
Danielle Garcia Tubo
Crystal Lamar
Sara Minsky
Marié Nobematsu-Le Gassic
Monica Regan
David Richards
Genevieve Sachs
Yonatan Schechner
Kamaria Shepherd
Chris StieglerDesigners
Maddy Bremner & Catherine GansEditorial Direction + Production
Marié Nobematsu-Le GassicGrant Management
Danielle Garcia Tuboallapart is funded in part by Cornell Council for the Artsfollow the project: @allapartallapartCopies of allapart can be found at the locations below:Casa Bosques, Mexico City
After 8 Books, ParisOr by request to allapartallapart[at]gmail.com

IMAGE TEXT MUSIC is a durational listening practice organized by Maddy Bremner with works of Arthur Russell in conversation with Listening Questions by Pauline Oliveros. Visitors are invited into the space to engage in a restful deep listening experience.

Sound + Program Design
Maddy BremnerLighting + Spatial Design
Marié Nobematsu-Le GassicPhotographs by Smith Galtney

Blue as a word. Its situations, connotations, historicizations.Word as in observation. tête-à-tête, dispatch.Blue Would Like a Word is about how "blue" expresses what words cannot say and the trouble, the bruising or doing so with words.The joys, too.

The book was originally produced as a theoretical thesis project in October 2022.To request a digital version, contact me via the about page.

In this temporary work, a Staubschutznetz (dust protection net) was released from the highest point of Lobe Block, a brutalist architectural monument in Berlin, to cascade against its façade and fall with the wind. The viewers were invited to read an editioned text in the presence of the material. The net was hoisted up and released again with a new edition of the text. The texts present poetic reconstructions of fiction as well as personal writings and definitions of involuntary bodily reactions that occur through the mouth and throat. The reactions written about include: the sigh, the swallow, the gasp, the sneeze, and the yawn.

Staubschutznetz, zip ties, thread
ca. 0,3 x 600 x 3000 cm.installation
Lobe Block, June–July 2020

"I was thinking about the phrase ‘out of the blue.' It was so thrilling to think about the blue that things come out came out of. There was a blue, it was big and mysterious, it was like a mist or gas and it was like a planet but it was also a human head which is shaped like a planet."Out of the blue someone asked me where I was from.

The work was published in out of the blue, a text about disruptive beginnings by Dr. Prof. Knut Ebeling, in Zukunft, gefaltet, 2021. nocturne.Top photograph by Liangjie Jianperformance + installation
Lobe Block, 2020-21