“The 100 Best Artworks of the 21st Century.” ARTNews.
“Postdigital Camp: Zach Blas’s ‘Too-Muchness.'” In ambivalent work*s queer perspectives and art history, edited by Daniel Berndt, Susanne Huber, and Christian Liclair. Diaphanes.
Secession Podcast / Artists. “Zach Blas in conversation with Christian Lübbert.”
“Zach Blas’s CULTUS: Conjuring the Dark Gods of Silicon Valley’s Technocracy.” Zach Blas: CULTUS. arebyte Gallery.
“From Frankenstein’s stitches to a Body Without Organs: The Ontology of the Monstrous in the Digital Age.” Moscow Art Magazine, Issue 131.
“Art and Emancipation in the Gaze of Political Eschatology.” e-flux Journal, Issue 158.
Performance Art: From Futurism to the Present, fourth edition. Thames & Hudson.
Alive: Synthetic Cells, Feral Robots, Rebellious AI, and the Design of Radical Life. Thames & Hudson.
AI & Conflicts 02, edited by Daniela Cotimbo, Francesco D’Abbraccio and Andrea Facchetti. Krisis Publishing.
Dysphoria Mundi: A Diary of Planetary Transition. Graywolf Press.
Technocolonialism: When Technology for Good is Harmful. Polity.
“Introduction: Queer AI.” In Queer Reflections on AI: Uncertain Intelligences, edited Michael Klipphahn-Karge, Ann-Kathrin Koster, and Sara Morais dos Santos Bruss. Routledge.
“Zach Blas: From Appalachia to Artificial Intelligence.” Works In Progress. UCLA School of the Arts and Architecture.
“Thinking the future otherwise: Queer futures and queer utopias.” Time & Society 33, no. 4 (November): 438–460.
“The Best PST Art-Science Shows Work Against Today’s Obsession with ‘Innovation.’” Art in America.
Making Information Matter: Understanding Surveillance and Making a Difference. Bristol University Press.
“Zach Blas: CULTUS.” CURA.
“’Pelle comune’: arte contemporanea e maschere di protesta.” Altre Modernità: Rivista di studi letterari e culturali 31: 276–292.
“Tanze den Atomtest! Gehorche dem KI-Gott! Zweimal Darkness in der Secession.” Falter.
Disobedient Aesthetics: Surveillance, Bodies, Control. University of Alabama Press.
“Technoreligiöse Beschwörung: Zach Blas in der Secession.” gallerytalk.net.
“A Synthetic Voice, Between Authority and Truth.” Gegenüber.
“May your rage inform your actions: Embodying the monster and trans nonbinary praxis in creative coding.” Media-N: Journal of the New Media Caucus 20, no. 1 (Spring): 67–84.
“In Singapore, Artists Lift the Lid on Hidden Technologies.” Ocula.
Digital Art. 4th edition. Thames & Hudson.
“ArtSchool Podcast with Zach Blas.” The Educational Web. Afterall ArtSchool.
“Breaking Out of the Known.” Art Journal 82: 77–80.
“Biometric Technologies, Gendered Subjectivities and Artistic Resistance.” In Rethinking Identities Across Boundaries: Genders/Genres/Genera, edited by Claudia Capancioni, Mariaconcetta Costantini, and Mara Mattoscio. Palgrave Macmillan.
“Nimrod Vardi and Claudel Goy – interview: ‘We want to explore what it means to rethink the history of digital arts in the UK and worldwide.'” Studio International.
“Towards Computational Body Horror: In Conversation with Zach Blas.” In Beyond Matter, within Space: Curatorial and Art Mediation Techniques on the Verge of Virtual Reality, edited by Lívia Nolasco-Rózsás and Marianne Schädler. Hatje Cantz.
“Zach Blas: ‘Cultus.’” TimeOut London.
Digital Design: A History. Princeton University Press.
“The Cinematic Universe of Zach Blas.” Millenium Film Journal 78 (Fall).
“I hear a new world: AI’s pop figments.” Artlink 43, no. 2.
artPost21. Season 2, episode 5, “Zach Blas.”
“Surveillance and Counter-Surveillance.” An Introduction to Visual Culture. 3rd edition. Routledge.
Digitale Desökonomie: Unproduktivität, Trägheit und Exzess im digitalen Milieu. transcript Verlag.
Poetics of Encryption: Art and the Technocene. Hatje Cantz.
“Toward a Rhetorical Theory of the Face: Algorithmic Inequalities and Biometric Masks as Material Protest,” Rhetoric Review 42, no. 2: 92–110.
“Challenging the ‘Data Body’ in New Media Art, 1990s–Present.” Afterimage 50, no. 2 (2023): 93–111.
“Refigured.” e-flux Criticism.
“Art’s Intelligence: AI and Human Systems.” The Brooklyn Rail.
“Digital Beings.” Shifted Realities. Galerie Rudolfinum.
“Down the Rabbit Hole of the Alt-Right Complex: Artists Exploring Far-Right Culture.” In Dada Data: Contemporary Art Practice in the Era of Post-Truth Politics, edited by Sarah Hegenbart and Mara-Johanna Kölmel. Bloomsbury.
“What Can Digital Art Teach Us About Identity in a Hyper-Technologized World? A New Group Show at the Whitney Weighs In.” artnet.
“Caged by Data: Exposing the Politics of Facial Recognition Through Zach Blas’ Face Cages.” In Situating Data: Inquiries in Algorithmic Culture, edited by Karin van Es and Nanna Verhoeff. Amsterdam University Press.
“L’arte contro il determinismo dei corpi.” cheFare.
“Zach Blas’ Tales from a Stony Troll and the Shady Mystics of Silicon Valley.” In Data Relations, edited by Elyse Goldfinch. Australian Centre for Contemporary Art.
“Rendering queer bodies against the automated gaze.” CLOT.
“Feeding the Algorithm? Strategies of Technosensation in Artist Projects Based on Bio-Parametrisation’s Techniques.” Przegląd Kulturoznawczy 3, no. 53: 382–403.
“Artists disrupt facial recognition technologies.” boing boing.
“Digital Bodies.” Kunstforum International 284.
“Zach Blas.” Art Monthly 459 (September).
“The Transparent World.” Los Angeles Review of Books.
“Chapter 7: Society with Sexual Characteristics.” A Guerrilla Guide to Refusal. University of Minnesota Press.
“Zach Blas’s ‘Unknown Ideals.'” e-flux Criticism.
Technics Improvised: Activating Touch in Global Media Art. University of Minnesota Press.
“Interview with Zach Blas.” The White Review 32 (February).
“Entangled Realities. How Artificial Intelligence is Shaping our World.” In The Meaning of Creativity in the Age of AI, edited by Raivo Kelomees, Varvara Guljajeva, and Oliver Laas. Estonian Academy of Arts.
“Queere Ästhetiken des Algorithmischen in Zach Blas’ Contra-Internet: Jubilee 2033.” Cultural Inquiry 22: 149–76.
“Kan Künstliche Intelligenz Vorurteile haben?” Kunstforum International 278.
Contemporary Art Decoded. Tate Publishing.
Dismantling the Patriarchy, Bit by Bit: Art, Feminism, and Digital Technology. Bloomsbury.
“Dazzle camouflage as queer counter conduct.” European Journal of Cultural Studies 24, no. 5: 1107–1124.
“Human Objecthood in the Datasphere: The Body as Resistant Material in Twenty-First-Century Media.” Theatre Journal 73, no. 3 (September) 319–337.
“Zach Blas: Silicon Traces Trilogy.” New Mystics.
“‘Capturing’ a Face: Zach Blas interview by Julia Kaganskiy.” In Mirror with a Memory, edited by Dan Leers, Taylor Fisch, and David B. Olsen. Carnegie Museum of Art.
“Alumni Profiles Series: Zach Blas.” The Graduate School, Duke University.
Mirror with a Memory. Episode one, “Biometrics.” Hillman Photography Initiative, Carnegie Museum of Art.
“Art Matters Now — 12 Writers on 20 Years of Art: Paddy Johnson on How Digital Art from 2016 Foreshadowed Our Current Crisis.” Los Angeles Review of Books.
Religion and the Digital Arts. Brill.
“The Uncanny Valley: Episode II. The Firewall Next Time: Belief, Power, and AI.” Flash Art.
“In ‘Uncanny Valley,’ Art and Tech Collide.” SF Weekly.
“Faceless, Nameless: Zach Blas.” Rethinking Art and Visual Culture: The Poetics of Opacity. Palgrave Macmillan.
Artist Statement. “Queer Psychedelic Age.” AQNB.
“Facing Others: Ray Johnson’s Portrait of a Curator as a Network.” Archives of American Art Journal 59, no. 2 (Fall): 24–45.
“A Biometric Logic of Revelation: Zach Blas’s SANCTUM.” M/C Journal 23, no. 4.
“The Glitch of Biometrics and the Error as Evasion: The Subversive Potential of Self-Effacement.” Diacritics 48, no. 4: 28–51.
“A.I. Fantasies and Beliefs with Zach Blas.” McEvoy Foundation for the Arts.
“It Looks Like Art: Institutions, Academia, and Publicly Funded Art under Late Capitalism.” Mousse Magazine.
“Biometric Aesthetics: Towards a Critical Theory of the Biometric Body.” Public 30, no. 60 (March): 108–125.
“Look closer at this notorious pro-Trump Twitter bot.” Now Toronto.
“Artists Explore the Many Uncanny Valleys of Tech Work.” Wired.
“Other Geometries.” In The Eternal Network: The Ends and Becomings of Network Culture, edited by Kristoffer Gansing and Inga Luchs. Institute of Network Cultures and transmediale.
“The 100 Works of Art That Defined the Decade, Ranked: Part 2.” artnet.
“Faces in Excess: Zach Blas, Facial Weaponization Suite.” Portraits of Automated Facial Recognition: On Machinic Ways of Seeing the Face. Bielefeld University Press.
“Zach Blas: Unkenntlichkeit und Autonomie.” Kunstforum International 265.
“How a Small German City Became a Leading Home for New Media Art.” Apollo Magazine.
The Digital Human. Series 18, “Faceless.” BBC Radio 4.
“Den Algorithmus unterwandern.” Anthropology & Materialism 4.
“2010s: Against The Post-Internet.” Tiny Mix Tapes.
“Media Ontology and Transcendental Instrumentality.” Theory, Culture & Society 36, no. 6: 95–124.
“Zach Blas, Edith-Russ-Haus, Oldenburg.” artline>Kunstmagazin.
“Produktiver Rausch.” taz.
“Schattenseiten des Internets / Ausstellung: Video-Installationen von Zach Blas im Edith-Russ-Haus.” Nordwest-Zeitung 247.
“Zach Blas: An Interview.” Video Data Bank.
Understanding Social Media. SAGE Publications.
“Why protests are becoming increasingly faceless.” CNN.
“The human side of AI.” The Art Newspaper.
“Five exhibitions to see in Basel.” ArtReview.
Queer!? Visual Arts in Europe. Simon & Shuster.
“Nadja Millner-Larsen in Conversation with Zach Blas.” Critical Correspondence.
New Ways of Seeing. Episode 3,”Digital Justice.” BBC Radio 4.
“A giant glowing crystal ball and elf await Walker Art Center visitors.” The Minnesota Star Tribune.
“Flattening the Body: Biometrics and the Reduction of Identity.” In Walls Turned Sideways: Artists Confront the Justice System, edited by Risa Puleo. Contemporary Arts Museum Houston.
“Machines of Subjection: Notes on a Tactical Approach to Artificial Intelligence.” APRJA 8, no. 1: 48–57.
“Toying with the Future: AI, Fantasy, and Zach Blas’s Icosahedron.” Walker Reader.
“Toward a Queer Digital Humanities.” In Bodies in Information: Intersectional Feminism and Digital Humanities, edited by Elizabeth Losh and Jacqueline Wernimont. University of Minnesota Press.
“Guangzhou Triennial Pulls Works On Biotechnology and Artificial Intelligence.” Artforum.
“Their Art Raised Questions About Technology. Chinese Censors Had Their Own Answer.” The New York Times.
“Artes da Esquiva – Jogar às Escondidas na Época da Vigilância Ubíqua.” Convocarte 7: 138–161.
“The New Breed of Artist Exploring Society’s Digital Consciousness.” Frieze.
“Get Off the Internet!: Zach Blas’s Contra-Internet Inversion Practice #1.” Rhizome.
“Unmasking Biometrics’ Biases: Facing Gender, Race, Class and Ability in Biometric Data Collection.” TMG Journal for Media History 21, no. 2: 89–105.
“Creating Killing Machines: On the Relationship between Art and Predation in Surveillance Capitalism.” Eventual Aesthetics 7, no. 2: 6–31.
The Artists Who Will Change the World. Thames & Hudson.
“Inhabiting the Profile: Zach Blas’ Facial Weaponization Suite.” Intermediality: History and Theory of the Arts, Literature and Technologies 32 (Fall).
“Mediated Cages: Interview with Zach Blas.” Digicult 81 (3rd Quarter).
“New Establishment: Zach Blas.” Elephant Magazine 36.
“The Queen’s English.” Transverse: a comparative studies journal 17: 54–72.
“The Internet Is Not a Possibility: An Interview with Zach Blas.” OnCurating 40.
“The Face as Technology.” New Formations 93 (Summer): 122–137.
“Phantom-Bilder: Das Phänomen der Klandestinität und das Recht auf Opazität.” In Facetten gegenwärtiger Bildtheorie: Interkulturelle und interdisziplinäre Perspektiven, edited by Sergej Seitz, Anke Graneß, and Georg Stenger. Springer VS.
“Thinking Beyond Biometrics: A Playful Dance.” APRJA 7, no. 1: 36–49.
“Becoming NULL: Queer relations in the excluded middle.” Women & Performance: a journal of feminist theory 28, no. 2: 143–158.
“The Objectivist Drug Party \\\ Genomic Intimacy.” Institute of Network Cultures.
“Critical Unmaking: Toward a Queer Computation.” In The Routledge Companion to Media Studies and Digital Humanities, edited by Jentery Sayers. Routledge.
“Zach Blas: Contra-Internet. Zach Blas in conversation with Ana Teixeira Pinto.” Mousse Magazine 63.
“Rogue Pixels: Indexicality and Algorithmic Camouflage.” Signs and Society 6, no. 2 (Spring): 412–434.
Goodbye, World! Looking at Art in the Digital Age. Sternberg Press.
“Escape from the Internet Swamp: ZACH BLAS with Iván Zgaib.” The Brooklyn Rail.
“Zach Blas on the Concept of Contra-Internet.” Berlin Art Link.
“Contra-Internet’ e la fine della rete secondo Zach Blas.” Motherboard Italia.
“Critics’ Picks: Zach Blas.” Artforum.
“What to See in New York Art Galleries This Week.” The New York Times.
Cheap Funk. Number 17, “CHEAP Internet.”
“Contra-Internet with Zach Blas and Laurel Ptak.” e-flux Podcasts.
“The Ectoplasmic Resistance of Queer: Metric Mysticism, Libidinal Art, and How to Think Beyond The Internet.” ASAP Journal.
“At Art in General, a Video Work Foreshadows How the Internet Will Destroy Us.” Observer.
“Zach Blas at Gasworks.” Art in America.
“We hide our faces so that we can be seen.” DUST 12.
“Best of 2017: Our Top 20 Exhibitions Around the World.” Hyperallergic.
“A Californian Ideology: Zach Blas talks exorcising Silicon Valley’s tech determinist demons with the queer mysticism of Contra-Internet in London.” AQNB.
“The Queer Deep Web of Zach Blas.” Hyperallergic.
“Zach Blas: Contra-Internet.” ArtReview.
“Zach Blas: Contra-Internet.” Art Monthly 411.
“Liberation day: the artists fighting the power of the market – and the internet.” The Guardian.
“Digital Darkness.” View: Theories and Practices of Visual Culture 16.
“Transcoding Sexuality: Computational Performativity and Queer Code Practices.” QED: A Journal in GLBTQ Worldmaking 4, no. 2 (Summer): 1–25.
“Software and Spatial Practice: The Social (Co)Production of Software or Software for Social (Co)Production?” In The Social (Re)Production of Architecture: Politics, Values and Actions in Contemporary Practice, edited by Doina Petrescu and Kim Trogal. Routledge.
Son[i]a. Episode 238, “Zach Blas Deleted Scenes.” Ràdio Web MACBA.
“Dazzles, Decoys, and Deities: The Janus Face of Anti-Facial Recognition Masks.” Platform: Journal of Media and Communication 8, no. 1: 72–86.
Son[i]a. Episode 238, “Zach Blas.” Ràdio Web MACBA.
“Artist Profile: Zach Blas.” Rhizome.
“What Can’t Be Seen.” Frieze 184.
“Black Data.” In No Tea, No Shade: New Writings in Black Queer Studies, edited by E. Patrick Johnson. Duke University Press.
“On the Grid.” In Electronic Superhighway: From Experiments in Art and Technology to Art After the Internet, edited by Emily Butler, Omar Kholeif, and Seamus McCormack. Whitechapel Gallery.
Discipline and Desire: Surveillance Technologies in Performance. University of Michigan Press.
“‘Making Faces Our Weapons’: Biometrics, Identity, and the Potential of the Visage.” Espace 114 (Fall): 46–55.
“How an Art Exhibit on Surveillance Says Too Little by Showing Too Much.” The Intercept.
“Comment devenir ‘Cyber invisible.’” Tracks ARTE.
“Quantified Faces: On Surveillance Technologies, Identification and Statistics in Three Contemporary Art Projects.” Digital Culture and Society 2, no. 1: 169–176.
“Zach Blas on why we need to stand together.” POSTmatter.
“Photography’s Shifting Identity in an Insta-World.” The New York Times.
“‘Why Can’t Women Time Travel?’ A Dictionary for Ordinary Pictures in the Age of the Internet.” Walker Reader.
“Electronic Superhighway (2016-1966).” Art in America.
“Razstavi Črni Kabinet V Galeriji Škuc.” Radiotelevizija Slovenija.
“Code is Political.” Vice.
“Electronic Superhighway: Exploring what technology has done for art.” Evening Standard.
“Facial Weaponization Suite.” RadaЯ 1.
“Network Ambivalence.” Contemporaneity: Historical Presence in Visual Culture 4, no. 1: 108–118.
“Performance and Disidentification: Towards a Theory of Queer Modalities and Networked Communication.” Journal of Global Literacies, Technologies, and Emerging Pedagogies 3, no. 1 (July): 290–301.
“Contra-Internet GIFs.” Rhizome.
“Afterthoughts on Queer Opacity.” Invisible Culture: A Journal for Visual Culture 22: 11–15.
“Has the Internet Become a Human or a Thing, or Have We Become the Internet?” Mousse Magazine 47.
“An Artist’s Pioneering Masks Shield Us from Future Surveillance.” GOOD Magazine.
“Nieprzejrzystość dla każdego: Rozmowa z Zachem Blasem.” Dwutygodnik 151.
“Kunstenaar Zach Blas laat zien dat surveillance meer op het spel zet dan alleen onze privacy.” de Correspondent.
“In the fight to preserve privacy, anti-drone burqas could become the new normal.” Fusion Live.
“Critics’ Picks: Teoría del color.” Artforum.
“The Moving Museum Profiles: Rafaël Rozendaal and Zach Blas.” The Guide Istanbul.
“Как Скрыться От Тотальной Слежки: 8 Стратегий От Художников И Дизайнеров.” Apparat.
“The rise of the anti-facial recognition movement.” The Kernel.
“Spiami, se ci riesci.” Corriere Della Sera.
“Karşıt-cinsel post-internet ve tekno-gerilla.” Art Unlimited 28.
“When a heartbeat is being monitored.” Kopenhagen Magasin.
“Zach Blas: Meet the Artist.” The Moving Museum Istanbul.
“Biometrics are coming for you,” Al Jazeera America
“Future Greats 2014: Zach Blas.” ArtReview.
“Fight surveillance by making it visible.” Al Jazeera America.
“Weaponizing Our Faces: An Interview with Zach Blas.” Vice.
“Le nouvel âge du camouflage.” Libération.
“Picturing the Self in the Age Of Data.” Art Papers 38, no. 4 (July/August).
“De l’art ‘post-Internet.’” Zéro Deux 70 (Summer).
“De-Commodification of Artworks: Networked Fantasy of the Open.” In The Emergence of Video Processing Tools: Television Becoming Unglued, edited by Kathy High, Sherry Miller Hocking, and Mona Jimenez. Intellect.
“We are living in a terrifying sci-fi universe, say new museum exhibit.” Kill Screen.
“Biometric Surveillance Means Someone Is Always Watching.” Newsweek.
“Locating Technology: Against Recognition.” Art Practical.
“New Death: Spotlight on Zach Blas.” FACT.
“From Anti-drone Burqas to Face Cages: What Artists Are Showing Us about Surveillance and the Law.” The Life of the Law.
“This Is What a Facial-Detection Algorithm Looks Like in 3D.” The Atlantic.
“Blending in and Standing Out – Camouflage and Masking as Queer Tactics of Negotiating Visibility.” View: Theories and Practices of Visual Culture 5.
“‘Fag Face’ Mask Protests Sex Discrimination in Facial-Scanning Tech.” Mashable.
“How to hide from Big Brother.” Dazed.
“A Cute Idea.” The New Inquiry.
“Facial Weaponization Suite.” POSTmatter.
“Is Facial Recognition Technology Racist?” Vice.
“Queer OS.” Cinema Journal 53, No. 2 (Winter): 152–57.
“Beginnings + Ends.” Frieze 159 (November-December).
“Beginnings + Ends.” video.frieze.com.
“Wer schön sein will, hat schon verloren.” Der Standard.
“Faceless Part 2 at Museumsquarter Wien.” Inhale Mag.
“Zeige nichts von dir.” Zeit Online.
“The Premediation of Identity Management in Art and Design: New Model Cyborgs-Organic & Digital.” Leonardo Electronic Almanac 19. no. 4: 236–253.
“Exploring the ONE National Gay & Lesbian Archives.” PBS SoCal.
“The Facelessness of Tomorrow Begins Today.” Hyperallergic.
“Can Digital Humanities Mean Transformative Critique?” e-Media Studies 3, no. 1.
“Gay Bombs & Penis Plants: 3 Subversive Queer Artists That’ll Eff Your World.” gay.net.
“Best of Rhizome 2012.” Rhizome.
“Invisibility, or you can’t disappear in America.” Mousse Magazine 35.
“Of Sex, Cylons, and Worms: A Critical Code Study of Heternormativity.” Leonardo Electronic Almanac 17, no. 2: 184–201.
“Design Fiction: ‘Speculative’ exhibition, Los Angeles Contemporary Exhibitions.” Wired.
“The ‘Speculative’ Exhibition: May Fiction Redefine Reality?” Digimag 68.
“Interview with Zach Blas.” Rhizome.
“Patriotic Penetration: Gay Bombs, Queer Times, and Homonationalist Assemblages.” Canon Magazine (Spring).