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  3. Stephanie Dinkins: On Love & Data

Stephanie Dinkins: On Love & Data

Srimoyee Mitra
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Stephanie Dinkins is renowned for her critical investigations into artificial intelligence and machine learning systems as they intersect race, gender, and our future histories. By using her training in documentary practices as a photo-based artist, she creates inclusive platforms for dialogue and action toward building technological ecosystems and datasets that are equitable, accessible, and transparent. Her immersive installations, community-based workshops, and public talks seek audience participation and engagement in a way that pushes the boundaries of new media and socially engaged art practices in the 21st century. 

Stephanie Dinkins: On Love & Data brings together nationally renowned curators and theorists who draw from methodologies of art criticism, social practice, new media theory, and critical studies to offer an in-depth analysis of key installations in Dinkins's survey exhibition. The book also includes an important essay by Stephanie Dinkins on her concept of Afro-now-ism in which she expands on her theoretical framework and positionality as a Black new media artist in the 21st century. Dinkins's artistic research transcends the boundaries of visual art to challenge and expose the bias and inequities of caste, race, and gender, which are encoded within digital systems on which governance, healthcare, and security infrastructures in the United States are based. 
  • Contents
  • Foreword. On Love & Data: A Foreword by Salome Asega
  • Framework. Afro-now-ism: The Unencumbered Black Mind is a Well Spring of Possibility, by Stephanie Dinkins
  • Essays
    • Radical Love & Data Justice: The Empowering Art of Stephanie Dinkins, by Srimoyee Mitra
    • The Data You Give, by Christiane Paul
    • Stephanie Dinkins’s Secret Garden, by Shari Frilot
    • “Who Are Your People?”: Stephanie Dinkins’s Afro-Now-ism as Algorithmic Abundance, by Lisa Nakamura
  • Works in the Exhibition
  • Artist’s Biography
  • Contributors’ Biographies
  • About Stamps Gallery
  • Acknowledgements
The publisher gratefully acknowledges the support of Andy Warhol Foundation for the Visual Arts and the Penny W. Stamps School of Art & Design for making this book possible.
Citable Link
Published: 2024
Publisher: University of Michigan Press
License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International license
ISBN(s)
  • 978-0-472-90399-3 (open access)
  • 978-0-472-03959-3 (paper)
Subject
  • Media Studies:New Media
  • American Studies
  • Class Studies
  • Michigan and the Great Lakes:Art and Culture

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Photo: Neon lights that say "Afro, Now, Ism" horizontally in white and "Now" in the center above and "Own" and "Now" below in yellow.

Stephanie Dinkins, Afro-now-ism, 2021

Stephanie Dinkins Afro-now-ism, 2021. Installation view, Stamps Gallery, 2021. Neon light. Photo by Eric Bronson, U-M Photography.

3-D rendered image: black background with medium-brown female with salt-and-pepper kinky hair. Renderer settings display in white text beneath.

Stephanie Dinkins, Not the Only One Avatar: Becoming, 2020

Stephanie Dinkins Not the Only One Avatar: Becoming, 2020. Digital image. © Stephanie Dinkins.

Detail still image of installation: Left center is the image of a woman with dark-brown skin. The figure comprises black-eyed peas. She has short white hair and wears a red outfit. She is laughing. Right center is a similar image of the same woman. She is screaming. Both women appear to be floating in outer space on a black background. Orbs with faces are circling around them.

Stephanie Dinkins, #SayItAloud, 2020-2021

Stephanie Dinkins #SayItAloud, 2020–21. Interactive WebXR experience

(https://sayitaloud.stephaniedinkins.com/). © Stephanie Dinkins.

Photo: Video projected on two blue walls in a corner of a dark room. The projection is multicolored and otherworldly. Projection reads "what do you need to release to move forward?" in green. In the center of the projection is a nonbinary Black person with dark-brown skin, short white hair, and a red outfit speaking to a visitor that stands in front of the projection interacting with it.

Stephanie Dinkins, #SayItAloud, 2020-2021, 2

Stephanie Dinkins #SayItAloud, 2021-ongoing. Stephanie Dinkins: On Love & Data. Queens Museum, 2023. Photo by Hai Zhang

Still photo: Close-up of a black glass sculpture in the shape of a teardrop or conch shell with a human face protruding from the front and right-hand side. The sculpture is sitting on a medium-brown wooden pedestal.

Stephanie Dinkins, Not the Only One (N'TOO), 2018 - ongoing

Stephanie Dinkins Not the Only One (N’TOO), 2018–. Deep learning AI, computer, arduino, sensors, electronics, cast glass, sculpture. 22" W x 22" D x 24" H; pedestal 22" H x 36" D x 22" W. © Paula Virta / EMMA – Espoo Museum of Modern Art.

Photo: A male student with dark-brown skin wearing a turquoise baseball hat and black sweatshirt is positioning his ear toward V2 of Not the Only One, a sculpture made of gold plastic with sparkles. The sculpture is on a white pedestal in a white room.

Stephanie Dinkins, Not the Only One (N'TOO), V2 Gold, 2018 - ongoing

Stephanie Dinkins Not the Only One (N’TOO), V2 Gold, 2018–. Deep learning AI, computer, arduino, sensors, electronics, cast glass, sculpture. 22" W x 22" D x 24" H; pedestal 22" H x 36" D x 22" W. © Stephanie Dinkins.

Screenshot: Computer-generated dialogue in an average serif typeface, green text on a black background similar to a terminal. It depicts a dialogue from an unnamed questioner and Not the Only One.

Stephanie Dinkins, Untitled (N'TOO Residue), 2021,

Stephanie Dinkins Untitled (N’TOO Residue), 2021. Screenshot. © Stephanie Dinkins.

Photo: A light-skinned Black woman with gray hair pulled back wearing a pink-and-white striped dress standing looking out at a lush green garden with leaves and flowers. Woman is holding a rake and standing outside. In the background are a street, car, and corner shop. The sun is shining on her face.

Snapshot of Nana (Bernice Curry) in her garden. From the Dinkins Family photo archive.

Snapshot of Nana (Bernice Curry) in her garden. From the Dinkins Family photo archive. Reprinted with permission of Stephanie Dinkins.

Photo: A large digital installation. There are three walls with videos being projected onto them that give the visual effect of layers. The background layer is a contrast of black with large white petals from a cotton plant. In the foreground are purple-and-yellow poppies and yellow roses. In the middle, there are four Black women of different ages, each wearing a different garment to represent the time period she represents. In front of the video projections are two viewers interacting with the artwork.

Stephanie Dinkins, Secret Garden, 2021 - ongoing, Immersive installation, dimensions variable

Stephanie Dinkins Secret Garden, 2021. Immersive installation, dimensions variable. Photo by Emmanual Boquiren.

Photo: A large digital installation. There is one wall with a video being projected on it that gives the visual effect of layers. The background layer is a contrast of black with large white petals from a cotton plant. In the foreground are purple-and-yellow poppies and yellow roses. In the middle, there are three Black women of different ages, each wearing a different garment to represent the time period she represents. In front of the video projection is a viewer looking at the artwork.

Stephanie Dinkins, Secret Garden, 2021 - ongoing, Immersive installation, dimensions variable, 2

Stephanie Dinkins Secret Garden, 2021. Immersive installation, dimensions variable. Photo by Emmanual Boquiren.

Screenshot: Running from left to right is WebXR view of an illustrated forest of enlarged green okra plants, cotton, and purple poppies. Right of center is a Black woman with a short Afro hairstyle. She is wearing a black tank top and black bottoms. There is white subtitle text in the center bottom that reads "A growing a protopian collective." There is a black background.

Stephanie Dinkins, Untitled (Secret Garden Screen Grab with subtitles), 2020, Interactive WebXR

Stephanie Dinkins Untitled (Secret Garden screen grab with subtitles) 2020. Interactive WebXR. © Stephanie Dinkins.

Photo: On the left is Bina48, a female robot with dark-brown rubber skin with shoulder-length, light-brown hair wearing a white T-shirt and colorful scarf. On the right is artist Stephanie Dinkins, a dark-brown woman with shoulder-length locs, wearing a white T-shirt and colorful scarf. There is a light-gray background.

Stephanie Dinkins, Conversations with Bina48 Fragments 7, 6, 5, 2, 2018, Constructed digital image, Dimensions variable.

Stephanie Dinkins Conversations with Bina48 Fragments 7, 6, 5, 2 2018. Constructed digital image, dimensions variable. © Stephanie Dinkins.

Photo: a person with headphones on views a video installation featuring four screens showing very similar images of Stephanie Dinkins, a Black woman with shoulder-length locs, wearing a white T-shirt and colorful scarf mimicking the actions of and talking to Bina48, a Black female robot with shoulder-length, light-brown hair wearing a white T-shirt and colorful scarf.

Stephanie Dinkins, Conversations with Bina48 Fragments 7, 6, 5, 2, 2018, Digital video on 4 screens on extending arm screen mounts, Dimensions variable

Stephanie Dinkins Conversations with Bina48 Fragments 7, 6, 5, 2, 2018. Digital video on four screens on extending armscreen mounts, dimensions variable. Photo by John Halpern, 2018 for ICP.

Photo: A Black woman with dark-chestnut skin sits in a wicker chair beside a robotic bust of a Black woman with dark-taupe rubber skin. The robot, which is physically a head and shoulders on a pedestal, sits on a wrought-iron table with a glass top. They are situated in a screened-in sunporch made of light-brown wood. Green foliage is visible in the background.

Stephanie Dinkins (left) with Bina48 (right) at Terasem Movement Foundation, Bristol, VT

Stephanie Dinkins (left) with Bina48 (right) at Terasem Movement Foundation, Bristol, VT. Photo by Condé Nast.

Digital image: Square print made up of textured dark blue, light blue, and red stripes in an abstract form.

Stephanie Dinkins, Untitled 1 (N'TOO Residue: Auntie), 2021, Digital print on linen, 36" x 36"

Stephanie Dinkins Untitled 1 (N’TOO Residue: Auntie), 2021. Digital print on linen, 36" x 36". © Stephanie Dinkins.

Digital image: Square print made up of textured blue and brown stripes with glimpses of a Black person's face.

Stephanie Dinkins, Untitled 3 (N'TOO Residue: Sade), 2021, Digital print on linen, 36" x 36"

Stephanie Dinkins _Untitled 3 (N’TOO Residue: Sade)_2021. Digital print on linen, 36" x 36". © Stephanie Dinkins.

Digital image: Square abstract print made up of textured blue and white stripes with glimpses of a Black person's face.

Stephanie Dinkins, Untitled 2 (N'TOO Residue: Stephanie), 2021, Digital print on linen, 36" x 36"

Stephanie Dinkins Untitled 2 (N’TOO Residue: Stephanie), 2021 Digital print on linen, 36” _ 36” © Stephanie Dinkins

Photo: Two Black women talk while at a kitchen table in a sun-drenched room. A woman with gray hair and white blouse sits on the left. A woman with dark hair and laptop sits on the right, facing away from the viewer. They are in a kitchen with a white fridge on the left, a curtained window on the right, and a table in the near center.

Stephanie Dinkins, Untitled (N'TOO Conversation), 2020,

Stephanie Dinkins Untitled (N’TOO Conversation), 2020. Photograph. © Stephanie Dinkins.

Screenshots: Three rectangle smartphones facing screen up. On the left is a smartphone screen with white text on a black background with a pixelated photo of a Black woman in a colorful dress. In the center is a smartphone screen with one sentence of black text on a green background with two red dots on the bottom. On the right is a smartphone screen with white text on a black background.

Stephanie Dinkins, Binary Calculations Are Inadequate to Assess Us Mobile App, 2021, Screen grabs, Dimensions variable

Stephanie Dinkins Binary Calculations Are Inadequate to Assess Us, 2021. Mobile app, screen grabs, dimensions variable. © Stephanie Dinkins.

Screenshot: website with salmon pink background titled "Binary Calculations" with pop-ups in purple, blue, or pink on the sides. On the right lower corner is an image of a brown-skinned woman with an Afro sitting by a window and reading a book.

Stephanie Dinkins, Binary Calculations Are Inadequate to Assess Us, 2021, Screen Grab

Stephanie Dinkins Binary Calculations Are Inadequate to Assess Us, 2021. Screen grab. © Stephanie Dinkins. The reading woman image is a photo by Thought Catalog on Unsplash. This is a FREE stock image from Unsplash. See Unsplash License.

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