Rewritten article based on the original text from UNBAG issue 2:
The concept of “Black Gooey Universe” by American Artist challenges the conventional dynamics of whiteness and blackness in digital interfaces. In this framework, blackness is not merely an aesthetic choice but a foundational element that subverts the values of the traditional “white screen.” Described as a slow, complex, and even broken platform, the “black gooey” embodies resistance to the streamlined, efficient, and clean attributes often associated with white interfaces. It represents refusal, introspection, critique, and, at the same time, loudness and transparency—qualities that stand in stark contrast to the hegemonic ideals of contemporary digital spaces.
But where does this “black screen” exist, especially when it denies a fixed form or structure? By rejecting canonical hardware or standardized interfaces, the concept of black gooey invites reflection on how brokenness can serve as a space for critical analysis of anti-blackness. Building upon the work of Frank Wilderson, the notion of remaining “in the hold” within a slow and complex interface offers a way to confront the pervasive anti-blackness embedded in technology. Similarly, Fred Moten’s vision of “fantasy in the hold” opens the door to explore how a malfunctioning or broken screen—one that cannot be repaired or aligned with whiteness—might function as a powerful tool for inquiry and disruption.
When critics argue that “black gooey is unusable and unknowable,” those who embrace its brokenness will challenge this with a critical question: “For whom is it unusable?”
American Artist’s work reflects this radical exploration of blackness within digital and cultural spaces. As an interdisciplinary artist born in Altadena, CA, in 1989, their practice engages with themes rooted in Black radicalism and labor, weaving them into the context of contemporary digital life. Utilizing mediums such as video, installation, new media, and writing, American Artist exposes the historical power structures embedded in modern culture and technology.
One of the key elements of their practice is a legal name change to “American Artist.” This act represents both a declaration and an erasure. By asserting blackness through the title “American Artist,” they challenge the erasure of Black identity in a predominantly white art world. Simultaneously, the name becomes anonymous in the digital realm, where it defies traditional search algorithms and cannot be easily identified or validated.
American Artist has been widely recognized for their work, having studied at the Whitney Independent Study Program and currently being a resident at Eyebeam. Their exhibitions include prominent venues like The Kitchen in New York and the Studio Museum of Harlem. Their writings have been featured in The New Inquiry and New Criticals, with artwork covered by AQNB and the Huffington Post. Additionally, they co-founded UNBAG, a publication exploring the intersection of art and politics.
Their solo exhibition, hosted by HOUSING, encapsulates the profound dialectics at the core of their work, using “Black Gooey Universe” as a powerful lens to critique and redefine digital spaces through the radical reimagining of blackness.