Publications

Encyclopedia of New Media Art

Bloomsbury Publishing, London, with Dr. Chris Meigh-Andrews and Dr. Vince Dziekan; publication November.

The Bloomsbury Encyclopedia of New Media Art is a three-volume reference work covering the history and theory, artists and practices, and curation and cultural contexts of new media art. It brings together international scholarship on a field that spans digital art, interactive media, virtual and augmented reality, networked practices, and related technologies. Rachel Clarke is one of its three Editors-in-Chief, representing the Americas.

“Post-Photographic Simulation”

Co-authored with Claudia Hart; chapter for Encyclopedia of New Media Art, Bloomsbury Publishing, London; publication November.

This chapter traces Real-Fake.org—an internet archive, exhibition series, and manifesto—and its development of “post-photographic simulation,” a new hybrid medium. Clarke and Hart situate the project within both an avant-garde trajectory and the history of representation and examine how its critical strategies evolved alongside rapidly changing simulation technologies, internet culture, broadcast media, and US politics.

“Merging Spaces: Augmented Reality, Temporary Public Art, and the Reinvention of Site”

Chapter for Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium, edited by Vladimir Geroimenko, Springer; ISBN 978-3030968632.

This chapter examines how augmented reality transforms temporary and site-specific public art by separating physical permanence from the meaning of place. It considers how mobile devices, networked technologies, and AR enable public artworks to respond dynamically to social, environmental, and cultural concerns, focusing on Broadway Augmented, an early AR public art project in Sacramento. The chapter also traces the development of public art before AR and considers how contemporary projects expand public engagement.

The New Romantics

Co-authored with Claudia Hart and Nicholas O’Brien, Metaverse Creativity, Intellect Books; ISSN 2397-9704.

This publication examines the relationship between nineteenth-century Romanticism and contemporary digital art, focusing on how artists use technology to resist scientific and technical rationalization. It presents digital and virtual-world artists as contemporary versions of the flâneur and dandy, and considers CGI, 3D printing, and virtual simulation as poetic spaces for self-expression and subversion. The text was developed in connection with the multi-artist exhibition co-curated by the authors.

“3D Printing Panel and Roundtable Discussion”

Co-authored with Tom Burtonwood, published in Media-N, Journal of the New Media Caucus; ISSN 1942-017X.

This publication examines 3D printing as an emerging artistic and educational medium, considering how digital fabrication changes the relationship between virtual design, physical making, and the circulation of objects. Co-authored with Tom Burtonwood, it considers the development of experimental pedagogies for incorporating 3D modeling and fabrication into art education. The text grew out of the 2014 3D Printing Panel and Roundtable Discussion at the College Art Association conference in Chicago, which Clarke and Burtonwood co-organized and co-chaired with artists working in the field.

“Pixelated Drift @ Johannsen Projects”

Review for SquareCylinder.com, March.

“Developing a Model for 3D CG Education”

In Under Fire: 3D Animation Pedagogy, published in Media-N, Journal of the New Media Caucus; ISSN 1942-017X.

This contribution to the Media-N special issue Under Fire: 3D Animation Pedagogy, organized by Clarke and Hart, originated from a panel they co-organized on the teaching of 3D computer graphics. It argues that 3D should be taught as a studio-art medium rather than primarily as vocational training for the animation and games industries. Drawing on Clarke’s curriculum development and Hart’s Experimental 3D pedagogy, it proposes concept-driven assignments, learner-centered technical instruction, and broader engagement with contemporary artists and art history. Clarke shows how this approach can move students beyond imitation and industry models toward experimentation, critical thinking, and individual creative voices.

“BAN 6 @ YBCA”

Review for SquareCylinder.com, September.

Real-Fake.org

A collaborative online publication with Claudia Hart, including “Virtual Worlds,” “Digital Bodies,” “Impossible Objects,” “Post-Photographic Simulation,” “Asynchronous Time,” and “Digital Abstraction.”

Real-Fake.org began as a 2011 exhibition curated by Rachel Clarke and Claudia Hart, exploring art made with 3D software, virtual cameras, synthetic spaces, and digitally constructed objects. The project questioned the boundary between the real and the artificial, showing how computer-generated images can appear photographic and believable while being entirely fabricated. In 2016, Real-Fake.org.2.0 expanded into an online archive and exhibition featuring more than fifty post-digital artists, including work involving printed sculpture, augmented reality, and virtual reality.

Clarke and Hart’s six collaborative writings—“Virtual Worlds,” “Digital Bodies,” “Impossible Objects,” “Post-Photographic Simulation,” “Asynchronous Time,” and “Digital Abstraction”—develop a critical vocabulary for understanding this field. Together, they examine digitally constructed bodies, objects, spaces, and temporalities, while positioning 3D computer graphics as a post-photographic medium connected to photography, cinema, sculpture, animation, and avant-garde art practices.