Maddy Bruster is a graphic designer and writer living in Brooklyn, New York. She graduated with a BFA in Graphic Design from the Pratt Institute in May 2020.

She's interested in mundane daily experiences, default graphical user interfaces, and obsolete corporate logos. These include the 


icons that are part of standard software loaded onto our personal computers and the large,


art collections owned by major banks around the world.

She's aways extremely interested in collaboration (formal and informal). Please feel free to contact her via her email, which she answers quite regularly, or @maddybruster online.

Some Work

, Writing,

⤤ Website for writer and reporter Susannah Jacob.

"Hillside Letters and Football Field Endzone Stencils," with Jacqui Johnsson.
A short photo essay on the relationship between hillside letters and football field endzone lettering.
16 pages, 8.5x11. Available as a digital publication.
A History of the Standard Oil Company, Continued, 4.5x6 inches, 165 pages.
You can now access the full text within the Internet Archive here.
A History of the Standard Oil Company, Continued is an ongoing publishing and research project which aims to continue the trajectory of Ida M. Tarbell’s treatise The History of the Standard Oil Company. Small edition currently in production.

A History… Continued traces, in the form of a short essay, the many oil company logos which are embedded with imagery derived from classical Greek mythology and medieval heraldry. These mythological and historic references are sometimes oblique or buried, but often overt paeans to the power of mythological gods or feudal lords. The essay is accompanied by archival imagery, as well as an index of the many logos of oil and gas companies derived from Rockefeller’s original company, Standard Oil.

These companies are now re-conglomerating back into just a few enormous corporations, one of which, ExxonMobil, emerges as the focus of the essay. However, all oil and gas companies can be understood, essentially, not just as the inheritors of Standard Oil but as Standard Oil itself.

All Possible Copies, produced in collaboration with Carter Gekiere.
After the exhibition catalogue “All Possible Futures” went missing from the Pratt library, a copy from Connecticut was shipped to Brooklyn for temporary use. To ensure students continue to have access to the text, a facsimile was created using scans and after hours printing. The book also exists as a digital PDF. These circumstances beg the question: How can students create an environment where meaningful and relevant design texts are easily accessible?

“All Possible Copies” was sold at the 2019 SF MoMA Art Book Fair at Jon Sueda’s Stripe SF table. This project has prompted an ongoing collaboration with Carter Gekiere considering the possibilities of distributing texts physically and digitally and investigating the boundaries of intellectual property and copyright law.

Photographs of the bicycle lane road icon taken from the front of a moving bicycle (ongoing project).
Optimized Desert 1, screensaver, 2018.
An investigation into the possible role of the default desktop images that come loaded onto every Apple computer. An observation that there were an inordinate amount of ‘desert’ images within these presets led to a series of images that blend the 7 default deserts into a panoply of new desert desktop screensavers. These images were displayed at Today Art Museum in Beijing as part of the exhibition "Here There", curated by Adrian Shaughnessy, in November, 2019.
A still from a short video: How to turn your iPhone into a kite, April 2019.
Pair of two rebus fan t-shirts, Irma Boom and Rem Koolhaas. December 2019.
Prompt for an ongoing photo series, “#45. I want to make a book of photographs of billboards taken from a 90-degree angle (so you just see the sliver of the side of the billboard).”
The Sun In Pieces, a drawing collaboratively made by 15 people wielding a paintbrush the length of one (1) classroom. Approx. 4’x6’, 2018.