Andrew Norman Wilson (artist)

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Andrew Norman Wilson
Nationality American
Education Syracuse University, School of the Art Institute of Chicago
Notable work "Virtual Assistance", "Workers Leaving the Googleplex", "ScanOps", "Global Countdown and Webinars", "Movement Materials and What We Can Do", "SONE"

Andrew Norman Wilson (born 1983) is an artist and curator living in New York City.


Wilson went to Medfield High School in Medfield, Massachusetts. He received a BS in Television, Radio, and Film from the New House School of Communications at Syracuse University in 2006. Wilson then received an MFA in Sculpture from the School of the Art Institute of Chicago in 2011.[1]


Virtual Assistance[edit]

Wilson's video work Virtual Assistance (2009–11) was made while he was an MFA candidate at the School of the Art Institute of Chicago. In this piece Wilson documents his use of a personal assistant outsourcing service located in India called GetFriday. The work presents Wilson’s relationship with Akhil, his 25-year-old personal assistant. Instead of asking Akhil to complete the tasks he's used to doing for other clients - such as email, finances, and calendar management - Wilson reversed this by asking Akhil to assign him tasks and to come up with ideas for collaborative projects.[2]

Why is the No Video Signal Blue?[edit]

This 2011 video, essay, and audio file was originally created for the online publication Pool. It was later adapted into an installation for Wilson and Sayre Gomez’s Windows & Mirrors show at the gallery New Capital in Chicago, IL.[3] The piece consists of digital images that include the color blue and a voice-over of Wilson asking Sony’s customer service as to why the color blue is projected when no signal is connected to Sony’s digital projectors.

Workers Leaving the Googleplex[edit]

Andrew Norman Wilson's Viral Video Piece Workers Leaving the Googleplex piece contains footage of two Google locations in Mountain View, California with a voice-over narrative spoken by Wilson.[4] The content for this video came out of Wilson’s experience of working at Google in 2007.[5] The piece presents the class structure of Google shown through Wilson’s encounter with the yellow-badge workers, a top-secret group of workers that scan books for Google Book Search.[6][7] The artist’s attempts to film and interview the yellow-badge workers were stopped quickly by Google security and resulted in the termination of his employment at Google.[8] The video alludes to Workers Leaving the Lumière Factory by Auguste and Louis Lumière and it went viral when it circulated on the Internet in 2011.[9]


This project is a photographic series made of Google Books images in which errors in the scanning process are visible.[10] The yellow-badge workers that are the subject of Workers Leaving the Googleplex is the same group of workers responsible for the scanning of books for Google Books images.[11]

Global Countdown and Webinars[edit]

These two works are created from free, watermarked stock media that is available from Pond5, showing stock media’s “pervasiveness in our visual language but the absurdity of their absolute abstraction”.[12]

Movement Materials and What We Can Do[edit]

Throughout Movement Materials and What We Can Do Wilson presents an overview of Workers Leaving the Googleplex and ScanOps while imbuing his analysis with considerations of medium and art, film, and literature histories. In this performance the materiality of analog and digital media, and their labor processes, are addressed.


SONE (formerly known as Stock Fantasy Ventures) consists of proposals to investors to fund the creation of commercial image concepts that will then be distributed on both the art market and stock media marketplaces such as Getty Images. The images are meant to supply the global market of advertising, business, art, and journalism with imagery represents widespread feelings of financial uncertainty and discontent.[13] Public Investor Meetings have been held at Tank Magazine Headquarters, Palazzo Peckham for the 55th Venice Biennale, Impakt Headquarters in the Netherlands, and the I Never Read Art Book Fair in Basel, Switzerland. The project had its solo gallery debut at Project Native Informant in London in June of 2014.

Uncertainty Seminars[edit]

"Uncertainty Seminars" is both a single channel video and a multi-channel video installation that was first shown at Fluxia in Milan in the spring of 2014. The architecture and objects were made in collaboration with artist Nick Bastis.[14]

Image Employment[edit]

Image Employment is a curatorial project produced with collaborator Aily Nash that debuted at MoMA PS1 in September 2013. It presents recent moving image works that investigate various modes of contemporary production. The selected works illustrate differing approaches to the subject, from observational films that avoid participation in capitalistic image creation, to videos that engage corporate omnipotence by employing its processes, as well as works that complicate these two tendencies.[15]

Artists included in the exhibition: Michael Bell-Smith, Neil Beloufa, Guy Ben-Ner, Ben Thorp Brown, DIS, Harm van den Dorpel, Dan Eisenberg, Kevin Jerome Everson, Harun Farocki, Zachary Formwalt, Mark Leckey, Sharon Lockhart, Auguste and Louis Lumière, Lucy Raven, Ben Rivers, Hito Steyerl, Superflex, Pilvi Takala, Ryan Trecartin, Andrew Norman Wilson

Dream Factory[edit]

Dream Factory is a curatorial project produced with collaborator Aily Nash that has shown at Import Projects in Berlin, the Intern VIP Lounge at Art Dubai in Dubai, ETCAMA in Amsterdam, To Look is to Labor at CCS Bard/Basilica Hudson in Hudson, NY, and Image Employment at MoMA PS1 in Queens, NY. It presents artists' moving image and media work that recapitulate corporate imagery and language as both a critique and recognition of the omnipotence of these systems through considering the various modes of examining new forms of labor, consumption-as-production, and the aesthetics and visual language of globalized "lifestyles". From videos that present the agency of objects in relation to consumers, to the consideration of the space of labor through interventions into sites of emergent industries and globalized consumption, performative and farcical rhetoric, exaggerated uses of prosumer editing and motion graphics tools, and reverent appropriations of advertising imagery—these makers explicitly engage dream factory capitalism.


Andrew Norman Wilson has screened work at the New York Film Festival, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, MuseumsQuartier Wien in Vienna, The Hammer Museum in Los Angeles Images Festival in Toronto, the San Francisco Cinematheque, the Kassel Documentary Film and Video Festival, the San Francisco International Film Festival, UCLA, and the Museum of Contemporary Photography in Chicago. Solo exhibitions include Fluxia in Milan, Project Native Informant in London, Document in Chicago, threewalls in Chicago, Reed College in Portland, Oregon, extra extra in Philadelphia, and Art Metropole in Toronto. He has participated in group exhibitions in Yvon Lambert in Paris, Palazzo Peckham at the 55th Venice Biennale, Betonsalon in Paris, and Carroll / Fletcher in London, the De Young Museum in San Francisco, The Museum of Contemporary Art, Chicago, The Eastern Bloc Centre in Montreal, Givon Gallery in Tel Aviv, the Young Artist Biennial in Bucharest, Yaffo 23 in Jerusalem, CCS Bard/Basilica Hudson in Hudson, NY, and MoMA PS1 in Queens, NY. He has performed and lectured at Oxford University, Harvard University, Berlin University of the Arts, California Institute of the Arts, threewalls Gallery in Chicago, Hyperallergic Headquarters in New York, the Academy of Fine Arts, Finland, the School of the Art Institute of Chicago, Verbindingen/Jonctions 13 in Brussels, the ZERO1 Biennial, and the Banff Centre. He is a 2011 recipient of the Dedalus Foundation MFA fellowship and the Edward Ryerson Fellowship, and a 2012 recipient of an Illinois Arts Council Artist Project grant. He was a 2013 artist in residence at Impakt Festival in Utrecht and a 2012 resident at the Headlands Center for the Arts. His work has been featured in Aperture, Artforum, Art in America, DIS Magazine, frieze (magazine), The New Yorker, Tank Magazine, Rhizome, Wired (magazine) and more.

External links[edit]


  1. ^ "Sayre Gomez, Andrew Norman Wilson". Art Slant. November 2011. Retrieved 2013-07-12. 
  2. ^ Robert Fallon (January 2011). ""Virtual Assistance" Humanizes Outsourcing". Philadelphia Weekly. Retrieved 2013-07-13. 
  3. ^ Courtney R. Thompson (November 2011). "The Economies of Transparency". Art Slant. Retrieved 2013-07-13. 
  4. ^ "Andrew Norman Wilson". ArtForum. July 2012. Retrieved 2013-07-13. 
  5. ^ Brian Barrett (April 2011). "Google's Secret Class System". Gizmodo. Retrieved 2013-07-13. 
  6. ^ Louis Doulas (May 2012). "Art from Outside the Googlplex: An Interview with Andrew Norman Wilson". Rhizome. Retrieved 2013-07-13. 
  7. ^ James H. Miller (October 2011). "Notes from the indie underground: the ATA Film Festival". San Francisco Bay Guardian. Retrieved 2013-07-13. 
  8. ^ Pascal-Emmanuel Gobry (April 2011). "At Google, Talking To Coworkers Can Get You Fired". Business Insider. Retrieved 2013-07-13. 
  9. ^ Reyhan Harmanci (May 2012). "The Hidden Hands Scanning The Worlds Knowledge for Google". Buzz Feed. Retrieved 2013-07-13. 
  10. ^ Martin Bryant (March 2012). "Google Books scanning errors turned into works of art". The Next Web. Retrieved 2013-07-13. 
  11. ^ Laurel Ptak (March 2012). "Andrew Norman Wilson with Laurel Ptak: ScanOps". Aperture. Retrieved 2013-07-13. 
  12. ^ "Networking with Andrew Norman Wilson". Bad At Sports. July 2011. Retrieved 2013-07-13. 
  13. ^ "Stock Fantasy Ventures at Palazzo Peckham". DIS Magazine. May 2013. Retrieved 2013-07-13. 
  14. ^
  15. ^ MoMA PS1 (September 2013). "Image Employment". MoMA PS1. Retrieved 2013-09-115.  Check date values in: |access-date= (help)