Archive
The Erik Brunetti Foundation for the Arts maintains an archive documenting more than three decades of Brunetti’s artistic, cultural, and design practice.
The archive includes artworks, prototypes, process materials, correspondence, photographs, printed matter, and cultural ephemera that together trace the development of Brunetti’s visual and conceptual language.
The Archive functions as a primary resource for research, documentation, and institutional collaboration. Materials are preserved in accordance with professional standards and are made accessible to qualified scholars, curators, and researchers by appointment.
Areas of archival stewardship include:
• artistic works and process materials
• cultural artifacts and ephemera of relevance to Brunetti’s practice
• legal and documentary holdings related to expressive precedent
• selected publications, editions, and research materials
• materials designated for institutional loan or scholarly consultation
Access, loans, and reproduction follow the Foundation’s policies on Collections Access, Institutional Loans, and Conservation & Care.
For inquiries regarding research, institutional partnership, or loan eligibility:
archive@erikbrunettifoundation.org
Oval Parody—Milan, Italy, 2022
Installation view, Oval Parody, Spazio Maiocchi, Milan, Italy, 2022. Twelve acrylic paintings on canvas with accompanying billboard installation.
Oval Parody is a body of work by Erik Brunetti that examines the transformation of graphic language under conditions of mass circulation, brand authority, and cultural memory. The project centers on a systematic reworking of FUCT’s iconic oval mark—a gesture that reframes a widely recognized symbol of countercultural authorship through repetition, scale, and institutional context.
The series was first presented in Milan in 2022 at Spazio Maiocchi in a solo exhibition curated by KALEIDOSCOPE. The presentation consisted of twelve acrylic paintings on canvas, accompanied by a limited-edition publication and a large-scale billboard installation. Together, these elements positioned the work within a hybrid framework that intersected exhibition-making, editorial practice, and public visual culture.
Rather than functioning as isolated images, the paintings operate as a set: each iteration maintaining formal consistency while registering subtle shifts in surface, proportion, and spatial authority. The repetition foregrounds the mechanics of recognition itself—how meaning is stabilized, circulated, and eventually absorbed into dominant visual systems.
Oval Parody revisits a foundational gesture in Brunetti’s practice and recontextualizes it within a contemporary institutional setting. The work engages questions of authorship, legacy, and commodification, treating the logo not as a static emblem but as an active site of cultural negotiation.
Ten of the twelve paintings from the Milan presentation are held within the Erik Brunetti Foundation for the Arts. The remaining works are held in private collections. Works retained by the Foundation are preserved as part of the archival record and are available for institutional loan, research access, and curatorial consideration subject to Foundation policy.
Marfa Field Record
Marfa Field Record (2011–2016) documents a working period in Far West Texas during which Brunetti produced material-based works using raw cowhide and custom-fabricated branding irons. Marks were applied directly to the hide through heat and pressure, producing large-format surfaces defined by scorched symbols, reversals, and residual trace.
This material was produced outside of commercial commission and prior to formal archival designation. The record reflects methods and conditions employed during the period rather than a comprehensive inventory of output.
The Marfa Field Record is held by the Erik Brunetti Foundation for the Arts as non-commercial cultural material. It is preserved for historical documentation, academic research, and institutional access. Public exhibition and loan are subject to curatorial discretion.
Non-commercial. Held in permanent cultural trust.
Institutional access by request only.