Critical Engagements with Economic Thought
Emily Rosamond

Emily Rosamond

Position
  • Artist, Writer, Lecturer in Visual Cultures, Goldsmiths, University of London
Emily Rosamond is an artist and writer. Her research stems from an interest in how historically situated performances of self are intertwined with developments in financial and informatics infrastructures. Her current work focuses on the implications of financialization and metrification for recent art practices that explore online identity and selfhood. She examines how the identification of users’ behaviours, habits, and tendencies in the age of big data – by audience measurement companies, fintech startups, credit scoring corporations, online reviewers, and investors – newly foregrounds character and reputation as speculative logics of networked personhood.

Contact

Email
emily.rosamond@gold.ac.uk
Social Media and Websites

Education

  • Ph.D., Art, Goldsmiths, University of London

Recent publications have focused on shifting logics of represented selfhood in the surveillance performances of SWAMP, Hasan Elahi and Erica Scourti (International Journal of Performance Arts and Digital Media, 2015); rethinking modernist legacies of abstraction in light of information politics (Message, 2015); reputation and character in the entrepreneurial imaginary (Paragrana, 2016); and the implications of social impact bonds – new financial products allowing investors to speculate on social outcomes – for socially engaged art practices (Finance and Society, 2016). 

Current work in progress includes essays on addressivity in online dating platforms; surveillance-capitalist aesthetics; and online crowds and the derivative cultural condition. Emily is also working on two longer-term projects: a monograph on character in the age of big data, and an upcoming collaborative research project that aims to formalize Critical Reputation Studies as a transdisiplinary subfield. 

Emily’s art practice spans performance, painting, sculpture, drawing, and video. It often involves experiments in inhabiting personas through intense engagements with materials. Her ongoing project, Weathervane, explores how experiences of personal decision-making are inflected by the emergence of an oracular mode of address in prediction-rich online environments.

Recent exhibitions include Plymouth Contemporary (Karst, 2017); Tenderflix, Horse Hospital, London (2016); Weathervane (Goldsmiths, 2016); Say What?, ASC Gallery, London (2016); and before breakfast we talked about the furthest visible point before it all disappeared, Tenderpixel, London (2014). Past exhibitions include solo shows at AceArt, Inc, Winnipeg (2010), and the Richmond Art Gallery, B.C., Canada (2008), as well as two-person exhibitions at the Art Gallery of Southwestern Manitoba and Truck Contemporary, Calgary (2011). She exhibits individually and with the collective School of the Event Horizon.