Lauren Cornell

Ed Halter

"Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium--with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies. Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as "postinternet." Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, and others." -- Publisher's description

Art and the Internet in the Twenty-first Century

Mass Effect

Dan Nadel

Takeshi Murata (born 1975) first became known as an early innovator of datamoshing, a form of glitch art that requires compressing two videos together until their respective pixels merge into one mashed-up picture. Since then, inspired by Giorgio de Chirico and traditional 17th-century Dutch and Flemish painting, Murata's work has ventured into the realm of hyper-realism in a series of uncanny prints and videos that explore our inner and exterior lives via everything from B-grade horror film imagery to relics of a 1980s childhood. Part monograph and part artist's book, Takeshi Murata includes an essay by New Museum curator Lauren Cornell, an interview with the artist conducted by Alex Gartenfeld, Curator at the Institute of Contemporary Art, Miami, and an essay by Dan Nadel.

Takeshi Murata

Omar Kholeif

Julia Bryan-Wilson

The first complete monograph on an artist whose work investigates surveillance and government secrecy in the digital age Trevor Paglen's art gives visual geography to hidden forces, relentlessly pursuing what he calls the 'unseeable and undocumentable' in contemporary society. Blending photography, installation, investigative journalism, and science, Paglen explores the clandestine activity of government and intelligence agencies, using high-grade equipment to document their movements and reveal their hidden inner workings. This book presents over three decades of Paglen's groundbreaking work, making visible the structures and technologies that impact our lives.

Trevor Paglen

Kevin McGarry

Linda Norden

“What [Trecartin] has unleashed is larger than himself, which is why both his sudden appearance and continuing evolution are such cause for hope.”—Roberta Smith, New York Times “The most consequential artist to have emerged since the nineteen-eighties, he is being hailed as the magus of the Internet century.” –Peter Schjeldahl, The New Yorker Since the debut of his first feature-length video, the 2004 A Family Finds Entertainment, Ryan Trecartin (b. 1981) has been hailed as one of the most exciting artists of his generation. His movies layer the visual and the aural in virtuosic combinations of color, form, drama, and montage to produce a sublime, stream-of-consciousness effect that feels bewilderingly true to life. This volume, the first monograph on Trecartin, includes extended illustrated sections on his seven-part epic Any Ever, 2009–10, as well as I-Be Area, 2007, and A Family Finds Entertainment. A trio of essays by curators Lauren Cornell, Kevin McGarry, and Linda Norden focus on Trecartin’s repurposing of language, his open-source approach to personality and gender, and his extended amplifications of consumer culture. An interview with Trecartin by artist Cindy Sherman provides a revealing glimpse into his collaborative process.

Lauren Cornell

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