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Writing editing research
Extinct: A Compendium of Obsolete Objects
Published by Reaktion Books, 2021. Two essays: one on moon towers the other on acoustic location devices.
A Line Which Forms A Volume #5
An essay titled 'Reading: somewhere between standing and falling' in response to the journal themes of care and leaning.
Scratching the Surface #195
An interview with Jarrett Fuller, host of the StS, for his podcast about design, theory and creative practice.
As part of the ALWFAV #5 symposium, held in December 2021 at the Swiss Church in London, I presented an expanded and illustrated version of this text.
Dirty Furniture #5
A brief essay on koumounophobia (fear of buttons) for the anecdotes section of the phone issue.
Bricks from the Kiln #4
Co-edited with Natalie Ferris, Matthew Stuart and Andrew Walsh-Lister, BFTK #4: On Translation, Transmission and Transposition initially existed as a series of presentations, live events and texts in circulation across 2019–2020, before being transcribed and supplemented as a printed issue. The issue includes my essay titled 'Tunnelling and Aggregating for Design Research' (with visual works by Peter Nencini).
One and Many Mirrors: On Graphic Design Education Today
Published by Occasional Papers, 2021. Co-authored a chapter titled 'A Refractive (Re)view' with Paul Bailey, Tony Credland, Katie Evans, Ricardo Goncalves, Gabriela Matusyck, Carlos Romo-Melgar, Naomi Strinati, Jia Xiao and Roxy Zeiher.
A recording of a talk about the making of BFTK #4, given with Natalie Ferris as part of the Alumni Talks Series hosted by MA Writing at the Royal College of Art in February 2021.
A symposium held at London College of Communication in June 2019 to initiate BFTK #4 and built around the themes of the journal—translation, transmission and transposition, between text and non-text, by humans and/or machines.
Rare bird economics
An essay on the sighting of a White-throated Needletail in Harris in 2015, commissioned by James Langdon for a book/seminar at HfG Karlsruhe titled Rare bird economics.
Bricks from the Kiln #3
An essay on the oblique/forward slash titled 'A Chronicle of Stops and Starts'.
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Women in Print Study Day: Mary Neurath and Her Contemporaries
A presentation on Marion Richardson titled 'Writing as Pattern', held at the House of Illustration and part of London Design Festival 2019.
Failed States #1–4
Appearing across the first four issues of Failed States, an essay on Micronesian stick charts, another on the Cutteslowe 'poor' walls in Oxford and two etymologies, one for 'refuge', the other for 'south' (latest issue).
Decriminalising Ornament — 9th Illustration Research Symposium
A paper on Marion Richardson's pioneering use of pattern as pre-literate writing method, presented at the Anglia Ruskin University, Cambridge.
As part of A Map to Fall Through, a one-day programme at Arcade East curated by Failed States, I presented 'The Spaces In-between': a series of texts on naming and places and place names, read between screenings, readings, talks and sound works.
Bevels, Bypasses
Produced for the Fungus Press residency at Turf Projects, Croydon, London, 2017. A series of typographic installations across sites in Croydon, London, produced in collaboration with Peter Nencini.
Photo by Tim Bowditch.
With a Shift, Simultaneous Realities Collide
Keynote presentation titled 'Meaning Shifting: Metaphor & Design' for a Graphic Design Educators Network conference held at London College of Communication in March, 2017.
Hidden Women in Design
A visual essay titled 'Exquisite Punctuation', performed for Hidden Women in Design in Peckham, London.
Albertopolis Companion
Published by the Royal College of Art, 2015. An etymology of the term ‘Albertopolis’ — the area of South Kensington built with the proceeds of the Great Exhibition in 1851.
Oblique
This project is a collection of essays and talks devoted to obliquity. Subjects were chosen for their conceptual, logical, textural and metaphorical potential, and the nature of oblique as both a subject and a method allows for tangential associations between ideas, theory and images. This was my final major research project produced in 2015 for MA Critical Writing in Art & Design at the Royal College of Art and was awarded the CWAD annual writing prize. (Oblique glyphs by Peter Nencini.)
About
ABOUT
Bryony Quinn is a writer, editor and teacher based in Somerset, UK. She writes in the intersection of visual culture and literature, with a focus on obliquity—things that lean, diagonals, digressions—writing patterns, women in design education and cultural etymologies. She is co-editor of BFTK #4: On Translation, Transmission and Transposition and co-founded the design journal A Line Which Forms A Volume.
Quinn is an Associate Lecturer teaching on MA Graphic Media Design, London College of Communication, BA and MA Illustration, Camberwell College of Arts, and Visiting Lecturer in the School of Communication at the Royal College of Art. Until late 2021, she was a Senior Lecturer and Module Leader of Contextual Studies in Art & Design at the University of East London.
She holds a MA in Critical Writing in Art & Design from the Royal College of Art, where she was recipient of the annual Critical Writing Prize, editor of Arc, and co-organiser of a conference on the life and work of John Berger. Quinn studied BA Illustration at Camberwell College of Arts.
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