TREVOR PAGLEN’S BORDER ABSTRACTIONS IN THE AGE OF MACHINE VISION

Abstract

Over the past two decades, machine vision and artificial intelligence (AI) have become integrated into many aspects of daily life, and with machines generating images for other machines, humans are no longer at the centre of the image world. To explore the implications of the age of machine vision, this article focuses on a selection of work by American artist Trevor Paglen made between 2008 and 2018. It examines the significance of the US-Mexico border region as a site of his investigations and the role of abstraction in repositioning machine vision within the human-centred visual language of art. The article shows how Paglen’s body of work turns toward the nonhuman to consider what it means to make images when representation is no longer primarily a site for the construction of meaning by humans but is also a field of data for analysis by machines. It explores how Paglen conveys the interplay between different models of vision with an aesthetic sensibility that develops from the history of photography but signals the breakdown of representational photography. His work highlights the contested space of the US-Mexico border region as a key site in a surveillance infrastructure that depends on a new regime of vision and offers a space to reflect on what it means to live in a world where most images are now made by and for machines.