This site documents Mark Dean’s exhibited art work. Dean began looping appropriated film in the 1970’s while studying photography and painting, and in the 1980’s extended this technique into music. These practices were eventually combined in the methodology for which Dean became recognised as a video & sound artist from the 1990’s onwards, in early solo shows at City RacingIkon, and Laurent Delaye, and international survey exhibitions including Black Box Recorder, Museum Ludwig; Planet B, Palais Thurn & Taxis; Video Vibe, Gallery of the British School at Rome. In 2009 Dean received a Paul Hamlyn Award for Artists; subsequent exhibitions include The Beginning of the End, Beaconsfield; Christian Disco, Museum Boijmans van Beuningen; Nothing Compares 2 U, SIC Helsinki. Dean’s work has been commissioned by institutions including Barbican, ICA, and Imperial War Museum, is held in collections including Arts Council EnglandMudam Luxembourg, and the Saastamoinen Foundation, and reviewed in journals including Artforum, Art Monthly, and Frieze.

As a youth Dean played in bands supporting the Clash, the Slits, and the Smiths, and music has remained an integral part of Dean’s art practice, with looped and layered sound samples often providing the structural basis for video works, as opposed to being an overlay or backing track. This treatment of music as material is paralleled by a consistent use of film as objet trouvé, and Dean’s work has been curated alongside that of other ‘appropriation artists’ such as Andy WarholJonathan Monk, and Richard Prince; however, Dean’s use of appropriation differs, at least from some of the more reductive interpretations of such work, in that it is based not on a theory of the emptiness of images, but rather on a theology of kenosis, or self-emptying.

Following art teaching posts at the Ruskin and Goldsmiths College, in 2010 Dean was ordained in the Church of England, and since this time has continued to work as an artist and priest, serving as chaplain to University of the Arts London, coordinating Arts Chaplaincy Projects, and developing liturgical art events including Stations of the Cross, with 14 videos projected onto an altar by Henry Moore during an all night Easter vigil, and Pastiche Mass, where 6 video & sound works replaced the choral parts in a Eucharist. In 2017 Dean began a collaboration with choreographer Lizzi Kew Ross, producing work for cathedrals in Stations of the Resurrection and Stations of the Crossing, and the theatre with Where We Are and Here We Are. Recent gallery exhibitions include Radical Reel: 40 Years of Moving Image and The Visitors.


Video & sound on this site is for demonstration and review purposes only, to document art works exhibited elsewhere. Further exhibition is not permitted without express permission from the artist or owners of editioned works. Appropriated source material is acknowledged in accordance with Copyright and Rights in Performances (Quotation and Parody) Regulations 2014. All other material is  Mark Dean