Angie Waller


In addition to art book publishing, my interdisciplinary work traverses video and interactive formats. 

Below is an archive of work completed from 2000-2015. 

title How to Look at Artist Networks
support 2015 commission of New Radio and Performing Arts, Inc. for its website made possible with funds from the Jerome Foundation.
DATA Google Knowledge Graph
This web project examines the decline of traditional art historical canons in the era of Google's algorithmic associations.

More than 60,280 artists' names and their connections were extracted from Google Knowledge Graph's "also searched" feature. Each artist node is categorized based on the number of steps it takes to connect to either Duchamp or Picasso.1

These connections often represent artists with similar styles and mediums, but they can also include the artist's social networks, collectors, romantic relationships, and even individuals with similar names (for example, a search for Leonardo da Vinci  suggests Leonardo diCaprio as a related figure). The resulting lists curate artists not solely based on their work, but on their online relevance.

1. The artist Chris Burden once said that all artists decide to be more like a Picasso or a Duchamp.

title You Don’t Need a Weatherman
Published 2013
source material Alex B. Long, The Freewheelin’ Judiciary: A Bob Dylan Anthology, 38 Fordham Urb. L.J. 1363 (2012)

In his paper "The Freewheelin' Judiciary: A Bob Dylan Anthology," Alex B. Long discusses how Bob Dylan's lyrics are cited in court hearings.

This chart specifically examines citations for Dylan's "Subterranean Homesick Blues," particularly the couplet: "You don't need a weatherman to know which way the wind blows." The diagram, titled "You Don’t Need a Weatherman," illustrates twenty cases that reference these lyrics and the context in which they were used. The lines and connections are designed in a weather forecast style to illustrate how art was used as legal precedent.

title Originality Volvelle
Dimensions9.75” diameter
purchaseplease inquire
sourcecopyright case law
see also
Twenty cases of copyright infringement were selected, covering various creative forms such as photography, sculpture, painting, and song lyrics. These cases were categorized based on the title of the work and the method used to create it, distinguishing between "made by hand" and "manufactured." The court's determination of whether the work was transformative or unoriginal was also noted.

By analyzing court decisions according to these specific elements, the cases were organized on a volvelle, which is a wheel chart similar to a color wheel. This volvelle enables fresh interpretations of intellectual property debates and reveals contradictions between similar cases. For example, in one case, a designer was found guilty of infringement for copying a dog mannequin, while in another case, copying a human mannequin was not considered a copyright violation. Through such examples, the volvelle highlights the ambiguities in defining originality.

title I’m Sorry
purchaseplease inquire
sourcetext from apologies for plagiarism
editionedition of 35
The book I'm Sorry explores the concept of originality within the context of appropriation and plagiarism. It features excerpts from public apologies made by journalists, authors, and politicians for instances of plagiarism. These fragments are combined to form a lengthy, meandering apology that spans twenty lines. The text is arranged using hand-set lead type, with each letter placed individually. The pages were printed on a Vandercook press at The Center for Book Arts in New York.

Each page represents a pass on the antique press, intentionally including errors that are inherent to the hand-set type process. These errors may include physically damaged type or type set upside-down and backwards. The progression of pages documents the gradual correction of printing errors. By emphasizing the physical properties of words created with lead type, the book challenges the copy-and-paste digital environment where plagiarism often occurs. The repeated text throughout the booklet pages serves as a tangible representation of the theme of exposure to others' ideas, and explores the fine line between influence, appropriation, and outright theft.