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Aria Dean
A companion to Aria Dean's Abattoir, U.S.A.! Aria Dean's moving image work Abattoir, U.S.A.!, presented in the eponymous exhibition at the Renaissance Society between February and April 2023, surveys the interior of an empty slaughterhouse. This slaughterhouse was built and animated using Unreal Engine, a 3D computer graphics tool for creating virtual environments. The viewer follows a linear path through an impossible architecture--a seamless combination of nineteenth, twentieth, and twenty-first-century design elements and non-Euclidean spaces. Dean was initially inspired by philosophers Georges Bataille and Frank Wilderson, each of whom address the slaughterhouse in their writings -whethe...
Black Mass
Essays by critic, artist, and curator Aria Dean that articulate her theory of “blaccelerationism.” Black Mass brings together a group of previously uncollected essays by critic, artist, and curator Aria Dean. Written over the past five years, these timely, wide-ranging texts deftly consider material culture’s intersections with race, technology, and politics. Spanning themes that range from trauma and necropolitics to memes and selfies, these essays offer frank, original assessments of the production and circulation of images in our accelerated media landscape. Dean draws from Frankfurt School philosophy, Black studies, and contemporary art to articulate her theory of “blaccelerationism,” which places the Black subject at the center of the coming end of the world—as both the agent of its demise and its inheritor. With one eye on the recent past and another anticipating the near future, Black Mass offers a glance in the rear view mirror from a vehicle moving toward a new reality at breakneck speed.
Bad Infinity
The most significant critical, theoretical, and art historical texts by the artist, writer, and filmmaker Aria Dean. Compiled here for the first time, the selected writings of Aria Dean (b. 1993, Los Angeles) mount a trenchant critique of representational systems. A visual artist and filmmaker, Dean has also emerged as one of the leading critical voices of her generation through a body of writing that maps the forces of aesthetic theory, image regimes, and visibility onto questions of race and power. Dean’s work across media has long been defined by what she calls a “fixation on the subject and its borders,” and the texts collected here filter that inquiry through digital networks, art...
The 13: We All Start As Strangers
Rockfield High University is one of Seoul's most prestigious educational institutes, where people of different ethnicities enroll to make their dreams come true. But since June 1, 2015, women in their twenties have started going missing. Seoul's streets are no longer safe, and walking late at night is prohibited. Aria Heart is nineteen, half-American, and carefree. She's cute, friendly, and mostly careless of her surroundings and belongings. She misplaces her diary somewhere, and even though Aria isn't worried, her best friend plans a break-in at the university just to get it back. They never could have forseen the effects of their actions. Detective Oh Yejun is a criminal-catching prodigy. He begins his time at Rockfield High University by studying the cases of the missing girls but soon progresses to another case that leaves him completely baffled. How are the missing women related? What does Aria Heart have to do with it, and can Yejun make sense of the seeming chaos before it's too late?
The Art Happens Here
Net Art Anthology aims to represent net art as an expansive, hybrid set of artistic practices that overlap with many media and disciplines. To accommodate this diversity of practice, Rhizome has defined "net art" as "art that acts on the network, or is acted on by it." Rhizome prefers the term "net art" because it has been used more widely by artists than "internet art," which is more commonly used by institutions, or "net.art," which usually evokes a specific mid-90s movement. The informality of the term "net art" is also appropriate not only to the critical use of the web as an artistic medium, but also informal practices such as selfies and Twitter poems.
Post Memes
Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation - memes are the inner currency of the internet's circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike, and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. POST MEMES: SEIZING THE MEMES OF PRODUCTION takes advantage of the meme's subversive adaptability and ripeness...
Unrealism
Figurative painting of the past five years, represented here by an exciting young generation of artists and vital practitioners, addresses the challenge of contemporary representation through expressionistic compositions and new techniques reflecting digital fluency. Figuration is one of the oldest art forms, but it continually evolves, along with our changing understanding of human identity. The artists featured here often source imagery from the Internet, and draw on aesthetics developed in Internet-first channels. Digital techniques and affordances are incorporated into rendering processes with traditional media: brushstrokes are more precise, lines are sharper, and color is more highly keyed. In these works, expressionism is located more in the composition than in the paint handling. This richly illustrated collection of figurative works is accompanied by texts that connect the present moment in painting to the early 1980s, when the emergence of artists such as Jean-Michel Basquiat, Francesco Clemente, David Salle, and Julian Schnabel revitalized the art dialogue after the extended dissolution of Minimalism, and to its roots in the practice of painters like Picabia.
The Channeled Image
A fascinating look at artistic experiments with televisual forms. Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image, groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television’s mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televis...
The Networked Image in Post-Digital Culture
This collection examines how the networked image establishes new social practices for the user and presents new challenges for cultural practitioners engaged in making, curating, teaching, exhibiting, archiving and preserving born-digital objects. The mode of vision and imaging, established through photography over the previous two centuries, has and continues to be radically reconfigured by a hybrid of algorithms, computing, programmed capture and display devices, and an array of online platforms. The image under these new conditions is filtered, fluid, fleeting, permeable, mobile and distributed and is changing our ways of seeing. The chapters in this volume are the outcome of research con...
The Sculptural in the (Post-)Digital Age
Digital technologies have profoundly impacted the arts and expanded the field of sculpture since the 1950s. Art history, however, continues to pay little attention to sculptural works that are conceived and ‘materialized’ using digital technologies. How can we rethink the artistic medium in relation to our technological present and its historical precursors? A number of theoretical approaches discuss the implications of the so-called ‘Aesthetics of the Digital’, referring, above all, to screen-based phenomena. For the first time, this publication brings together international and trans-historical research perspectives to explore how digital technologies re-configure the understanding of sculpture and the sculptural leading into the (post-)digital age. Up-to-date research on digital technologies’ expansion of the concept of sculpture Linking historical sculptural debates with discourse on the new media and (post-)digital culture
