Andrew Chee
andrewchee.com collectiveassembly.com newcomplexity.com
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Black & white conceptual visual identity developed by onlab for Galerie C, a new contemporary art gallery in Neuchâtel, Switzerland. Fonts used are Simplon BP and Simplon BP Mono.
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Pinned onto Forms from swisstypefaces.com
MIT Media Lab generative identity system by E Roon Kang and Richard The
Pinned onto Identity / B from eroonkang.com
Cinq cercles concentriques, noir, F.V., Musee d’Art Moderne de la ville de Paris, France, Coll. F. et J.P. Billarant by Felice Varini (1993)
1 repin
Pinned onto Rotations from newcomplexity.com
Cinq cercles concentriques, noir, F.V., Musee d’Art Moderne de la ville de Paris, France, Coll. F. et J.P. Billarant by Felice Varini (1993)
Pinned onto Rotations from newcomplexity.com
Six cercles pour six colonnes rouge, Palais des Congrès, Lille, France, Coll. 1% Palais des Congrès, Felice Varini (1994)
Pinned onto Rotations from newcomplexity.com
Six cercles pour six colonnes rouge, Palais des Congrès, Lille, France, Coll. 1% Palais des Congrès, Felice Varini (1994)
1 like 1 repin
Pinned onto Rotations from newcomplexity.com
Six cercles pour six colonnes rouge, Palais des Congrès, Lille, France, Coll. 1% Palais des Congrès, Felice Varini (1994)
1 repin
Pinned onto Rotations from newcomplexity.com
Sept Couronnes Excentriques, Abbaye Saint-Jean d’Orbestier, Le Château d’Olonne, France by Felice Varini (2006)
1 repin
Pinned onto Rotations from newcomplexity.com
Sept Couronnes Excentriques, Abbaye Saint-Jean d’Orbestier, Le Château d’Olonne, France by Felice Varini (2006)
Pinned onto Rotations from newcomplexity.com
Sept Couronnes Excentriques, Abbaye Saint-Jean d’Orbestier, Le Château d’Olonne, France by Felice Varini (2006)
Pinned onto Rotations from newcomplexity.com
Baskerville to Bodoni from Arkitypo by johnson banks + Ravensbourne, 2012
1 like
Pinned onto Forms from newcomplexity.com
Esther Stocker, O.T., 2006, installation, wooden boards, wooden panels, color, 13 x 12 x 3,8 m, Galerie im Taxispalais, Innsbruck, Photo: Rainer Iglar
1 like 2 repins
Pinned onto Forms from newcomplexity.com
Christiane Feser, Konstrukt 18, 2011, C-Print, 60 x 42 cm
1 like 1 repin
Pinned onto Forms from newcomplexity.com
Fred Sandback, Untitled (Sculptural Study, Five Part Construction), 1987/2009. Via David Zwirner Gallery.
1 like 1 repin
Pinned onto Forms from newcomplexity.com
Erasable, Programmable, Read-Only Memory, Alberto Tadiello (2008)
1 like
Pinned onto Forms from newcomplexity.com
Black watercolor painting, 152.4 x 101.6 cm, Joachim Bandau (2004)
1 repin
Pinned onto Forms from newcomplexity.com
Black watercolor painting, 152.4 x 101.6 cm, Joachim Bandau (2004)
1 repin
Pinned onto Forms from newcomplexity.com
The sound two empty spaces make when they meet, 26 x 30 cm (unframed size) by Ariel Schlesinger (2009)
1 like
Pinned onto Forms from newcomplexity.com
Typographic Process, Nr 5. Typography as (Painting) by Wolfgang Weingart, 34 1/2 x 24 1/4” (1971)
1 like 1 repin
Pinned onto Forms from newcomplexity.com
Typographic Process, Nr 4. Typographic Signs by Wolfgang Weingart, 34 1/2 x 24 1/4” (1971)
Pinned onto Forms from newcomplexity.com
Typographic Process, Nr 2. From Simple to Complex by Wolfgang Weingart, 34 1/2 x 24 1/4” (1971)
Pinned onto Forms from newcomplexity.com
Typographic Process, Nr 1. Organized Text Structures by Wolfgang Weingart, 34 1/2 x 24 1/4” (1971)
1 like
Pinned onto Forms from newcomplexity.com
013 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
1 repin
Pinned onto Patterns from newcomplexity.com
016 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
003 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
019 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
025 by Gerco de Ruijter, 44” x 44”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
022 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
1 repin
Pinned onto Patterns from newcomplexity.com
011 by Gerco de Ruijter, 32” x 32”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
006 by Gerco de Ruijter, 44” x 44”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
027 by Gerco de Ruijter, 44” x 44”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
023 by Gerco de Ruijter, 44” x 44”, from Baumschule (2008-2010)
Pinned onto Patterns from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
Aircraft: The Jet as Art, 50” x 50”, by Jeffrey Milstein (2005)
Pinned onto Identity / A from newcomplexity.com
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