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.
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.
PhD Art, Goldsmiths, University of London (2016)
MFA Interdisciplinary Studies, Simon Fraser University, Vancouver (2007)
Interdisciplinary Studio Program, Toronto School of Art (2005)
BFA Visual Arts, York University, Toronto (2002)
PG Certificate Course in the Management of Teaching and Learning in Higher Education, Goldsmiths, University of London (2015)
Certificate Course in University Teaching and Learning, Simon Fraser University (2007)
Fellow, Higher Education Academy (2015)
Emily is Joint Programme Leader on the BA Fine Art and History of Art. She currently teaches on the second year core art history module Contemporaneities, and on digital and data public in the BA Curating. Previous lectureships have included art history, theory and studio teaching on a wide range of topics including modern and contemporary art, painting, materiality, affect theory and algorithmic culture.She writes and lectures occasionally on pedagogical issues – for instance, on cultivating metacognitive skills in teaching writing.
Selected Presentations - Invited Lectures and Talks
(upcoming) Are We All Addicts Now? Central St. Martins, London
(upcoming) Uncertain Identities, Haus Für Kunst Uri, Altdorf, Switzerland
(upcoming) Panel Presenter on Collaborative Practices, ASC Gallery, London
“Performing the Financial Gaze,” n.w.w.n.n.l.o., Brussels
“Platform Indeterminism,” Corporated Culture: Art and the Quasi-Commons, ICA, London
“Social Impact: Artists Working with Business in the Big Society,” Laurie Grove Baths, Goldsmiths
“Social Impact Bonds and Socially Engaged Art,” Beyond Price & Profit: Art, Finance & the Question of Value, The New Centre for Research and Practice
“The Impact of Reputation Metrics on Contemporary Art Practices,”
Bibliometrics, University of Westminster, London
“Reputation Power, MFA Art and Curating Monday Lecture Series, Goldsmiths
“On Transmission: Art, Information and the Digital,” guest lecture and seminar for BA Fine Art Extension Critical Studies, Goldsmiths
Finance and Society 2(2) London Launch, Goldsmiths
Finance and Society 2(2) Launch, P! Gallery, New York
“Financial Witness: Investing in Rehabilitation in the Actuarial Age, Financial Surveillance panel, Moneylab#3, Institute of Network Cultures, Amsterdam
“Politics of Prediction,” Guest lecture for Year 1 BA Fine Art Critical Studies, Goldsmiths
“Office/Surface/Tension,” Tensegrity Symposium, Tenderpixel, London
“Financialization and the Investee,” Fictitious Capital, no.w.here, London
“Portals & Escapism” Workshop, PEER, London
“First Person Finance,” Abstract Cities panel, Urban Commons and Spatial
Practices, Tenderpixel, London
“What Moves Us: Immersive Economies and Composite Bodies,” New
Materialisms Reading Group, Banner Repeater, London
It Sees (Notes Toward a Cultural History of Financial Vision)
Rosamond, Emily. 2017. It Sees (Notes Toward a Cultural History of Financial Vision). In: UNSPECIFIED, ed. Moneylab Reader. Amsterdam: Institute of Network Cultures.
Techniques of Aberrant Extraction: Transacting Surplus Acts in an Age of Speculation
Rosamond, Emily. 2017. Techniques of Aberrant Extraction: Transacting Surplus Acts in an Age of Speculation. In: Marsha Bradfield; Metod Blejec; Cinzia Cremona; Verina Gfader; Amy McDonnell and Eva Sajovic, eds. A Market of Values: Transacting. Bristol: Intellect Books.
Speculative Labour: On the Work of Charlotte Warne Thomas
Rosamond, Emily. 2015. Speculative Labour: On the Work of Charlotte Warne Thomas. In: Margarida Bröco Amorim; Alejandro J. Ball; Miriam La Rosa and Stefania Sorrentino, eds. In Transition: The Artistic and Curatorial Residency. London: CTC Press, pp. 24-33. ISBN 9780993358708
Factory-esque: Temporalities of Critique in Michael Landy's Breakdown
Rosamond, Emily. 2011. Factory-esque: Temporalities of Critique in Michael Landy's Breakdown. In: Ahlia Moussa and Simon Bentley, eds. Revisiting Ephemera. London, Ontario, Canada: MacIntosh Gallery/Blue Medium Press, pp. 37-52. ISBN 9780986750663 0986750662
Shared Stakes, Distributed Investment: Socially Engaged Art and the Financialization of Social Impact
Rosamond, Emily. 2016. Shared Stakes, Distributed Investment: Socially Engaged Art and the Financialization of Social Impact. Finance and Society, 2(2), pp. 111-126. ISSN 2059-5999
All Data is Credit Data: Reputation, Regulation and Character in the Entrepreneurial Imaginary
Rosamond, Emily. 2016. All Data is Credit Data: Reputation, Regulation and Character in the Entrepreneurial Imaginary. Paragrana, 25(2), pp. 112-124. ISSN 0938-0116
Ghosted Clients, Oriented Strands: Composites and Class in Ian Gonczarow's Painting
Rosamond, Emily. 2016. Ghosted Clients, Oriented Strands: Composites and Class in Ian Gonczarow's Painting. Ian Gonczarow, Mr. and Mrs. Andrews,
Technologies of Attribution: Characterizing the Citizen-Consumer in Surveillance Performance
Rosamond, Emily. 2015. Technologies of Attribution: Characterizing the Citizen-Consumer in Surveillance Performance. International Journal of Performance Arts and Digital Media, 11(2), pp. 148-164. ISSN 1479-4713
The Background Speaks: David Mabb's Announcer and the Emergence of Information
Rosamond, Emily. 2015. The Background Speaks: David Mabb's Announcer and the Emergence of Information. Message, 2(1), pp. 20-25.
Conference or Workshop Item
Removing the Cap: Institutional Affectivity and the Financialization of British Art Education
Rosamond, Emily. 2017. 'Removing the Cap: Institutional Affectivity and the Financialization of British Art Education'. In: Ninth Critical Finance Studies Conference. University of Leicester, United Kingdom.
Financial Witness: Investing in Rehabilitation in an Actuarial Age
Rosamond, Emily. 2016. 'Financial Witness: Investing in Rehabilitation in an Actuarial Age'. In: MoneyLab #3. Institute of Network Cultures, Amsterdam, Netherlands.
Futures of the Future: Agriculture Between Business and Culture
Rosamond, Emily. 2014. 'Futures of the Future: Agriculture Between Business and Culture'. In: Vertical Farming and the Future of Food Conference. Foundation for Art and Creative Technology, Liverpool, United Kingdom 10 October, 2014.
Economies of Character (or, Character in the Age of Big Data)
Rosamond, Emily. 2016. Economies of Character (or, Character in the Age of Big Data). Doctoral thesis, Goldsmiths, University of London