Black Lies & Fake News

Wednesday, March 15, 2017
Conversation with Edgar Arceneaux and Mark Marino

8:00 - 9:30pm

Join artist Edgar Arceneaux and professor Mark C. Marino, director of the University of Southern California’s Humanities and Critical Code Studies Lab, for a discussion of new media’s role in the current transmission of fake news. Moderated by Allison Agsten, director of The Main Museum and former producer at CNN, the conversation will use the painted, crystalized, and manipulated holdings of Arceneaux’s Library of Black Lies as a platform to discuss the contemporary use of social media, fake news, and algorithms to manipulate the opinions of the masses. They will also discuss the installation in relation to racial formation (the matter of black lives) and to the libraries of print (lies inked in black). This is an open discussion; all opinions are welcomed.

RSVP here.

About Edgar Arceneaux
Edgar Arceneaux (b. 1972 in Los Angeles) lives and works in Los Angeles. Arceneaux was the director of the Watts House Project from 1999-2012. Solo exhibitions of his work have been mounted at Kunstverein Ulm, Germany; Susanne Vielmetter Los Angeles Projects; The Studio Museum of Harlem, New York; and the Project, New York, among others. He has been included in group shows at Galerie Thaddaeus Ropac, Paris; Mona Bismarck American Center, Paris; Whitney Museum of American Art, New York; Museum of Contemporary Art, Los Angeles; the Orange County Museum of Art; the San Francisco Museum of Modern Art; Kunstmuseum Basel; and the Museum Ludwig, Cologne, and many more.

About Mark Marino
Mark C. Marino is a writer and scholar of electronic literature living in Los Angeles. He teaches writing at the University of Southern California where he Directs the Humanities and Critical Code Studies Lab. Marino also serves as the Director of Communication of the Electronic Literature Organization and recently taught a 3-week course in Fake News for UnderAcademy.


In Library of Black Lies, Arceneaux challenges the narrative of American progress, and in particular, African American progress through the selection, placement, and modification of books in a library of his own invention. Via this timely work, made last year, when fake news became “real” news and the content of real news was interrogated, the artist presses for a closer look not only at what is patently true or false, but at the more complicated stories about our past that lead us to where we are now.