An essay about how, as digital technologies enable increasingly accurate reproductions of artworks, museums—as well as artists and lawyers—are grappling with the complex aesthetic, legal, and political implications of copying.
A review of the Eleventh Gwangju Biennale in the online magazine 4Columns.
A project having to do with audiophile culture and the pursuit of realism in the reproduction of sound, published in Accessions, the online journal of Bard’s Center for Curatorial Studies.
A conversation devoted to the challenges posed to legal conceptions of images, objects, and data by emerging technologies.
In the March 2016 issue of Frieze, I published “The Last Platform,” an essay about “what it’s like to stand on the precipice of virtual reality.”
I am currently at work on a book tentatively titled Arbitrary Units: Culture in the Age of Quantification, for which I recently received an Arts Writers Grant from Creative Capital | Andy Warhol Foundation. Arbitrary Units will examine the tools and objects that shape our world and, increasingly, shape the ways in which we create and understand art. Our […]
In October 2015 I published “Chronicle of a Traveling Theory” in Mass Effect: Art and the Internet in the Twenty-First Century (MIT Press), edited by Lauren Cornell and Ed Halter. The essay discusses on how International Art English became a byword for the devolution of the language of criticism in the globalized, Internet-addled art world. On December 21, 2015, the […]