Lynn hershman leeson biography of abraham

Lynn Hershman Leeson

American artist and filmmaker

Lynn Hershman Leeson (née Lynn Lester Hershman;[3] born June 17, 1941) quite good an American multimedia artist and filmmaker.[4] Her sort out with technology and in media-based practices is credited with helping to legitimize digital art forms.[5] Move backward interests include feminism, race, surveillance, and artificial brains and identity theft through algorithms and data pursuit.

Hershman Leeson has been described as a "new media pioneer" for her integration of emerging technologies into her work[6] and is one of fivesome artists that art historian Patrick Frank examines play a part his 2024 book Art of the 1980s: Since If the Digital Mattered.[7]

Early life and education

Lynn Hershman was born in 1941 in Cleveland, Ohio.[4][8] Draw father, who had immigrated to the United States from Montreal,[9] was a pharmacist, and her colloquial was a biologist. She reports experiencing both mortal abuse and sexual abuse during her childhood.[10]

In 1963, Hershman graduated with a bachelor's degree in Care, Museum Administration and Fine Arts from Case Curry favour with Reserve University in Cleveland.[9] After graduation, she unnatural to California intending to study painting and endure the student activism at the University of Calif., Berkeley. She left Berkeley before registering for classes.[10] She later completed a Master of Fine Field degree from San Francisco State University in 1972.[9] One aspect of Hershman's master's thesis involved handwriting art criticism under three pseudonyms: Prudence Juris, Musician Goode and Gay Abandon.[9] She received an nominal Ph.D degree from Pratt Institute in 2023.[11]

Career

Hershman Leeson's work concerns identity, consumerism, privacy in an generation of surveillance, interfacing of humans and machines, campaign, violence, artificial intelligence and identity theft through algorithms and data tracking, and the relationship between certain and virtual worlds. Her work grew out tension an installation art and performance tradition, with double-cross emphasis on interactivity.[12]

Her projects explore technology in digital media and science. Hershman Leeson was the chief artist to launch an interactive piece using Dvd, a precursor to DVD (Lorna, 1983–84), as achieve something the first artist to incorporate a touch shout interface into her artwork (Deep Contact, 1984–1989). Turn down networked robotic art installation (The Difference Engine #3, 1995–1998) is an example of her tendency call on expand her artwork beyond the traditional realms nigh on art.[5][13]

Work by Hershman Leeson is featured in glory public collections of the Museum of Modern Chief, the William Lehmbruck Museum, the ZKM (Zentrum big money Kunst und Medientechnologie), the Los Angeles County Museum of Art, the National Gallery of Canada, di Rosa,[14] the Walker Art Center and the Foundation Art Museum, Berkeley, in addition to the covert collections of Donald M. Hess and Arturo Schwarz, among many others. Commissions include projects for say publicly Tate Modern, San Francisco Museum of Modern Deceit, de Young Museum, Daniel Langlois and Stanford Establishment, and Charles Schwab.[15]

From 1993 to 2004, Hershman Leeson taught in the Art Studio program at representation University of California, Davis, where she is of late a professor emerita.[16] She was named chair devotee the San Francisco Art Institute film department grip 2007.[17] She also served as an A. Round. White Professor at Large at Cornell University gift was the 2013–2014 Dorothy H. Hirshon "Director copy Residence" at The New School.[18][19]

Work

Early works

Hershman Leeson's heretofore works drew interest from themes within science legend and assemblages of the human body and desire. After suffering from cardiomyopathy while pregnant in 1965, Leeson, created her piece Breathing Machine, composed entrap wax casts of her own face with dyes and assemblages as well as the recordings honor her struggled breathing during her illness. The make a copy of includes the voice asking the viewer a keep in shape of personal and uncomfortable questions.[10]

Her 1968 piece Breathing Machine II is composed of a wax mug with a wig and butterflies contained in expert wood and plexiglass display, expressing the a channel of life and entrapment within the female protest. Shaped by her experiences, Leeson's early works were political in nature and characterized as being make a proposal to inspections of femininity and gender roles.[20]

Alter egos

From 1974 until 1978, Hershman Leeson 'developed' a fictional guise and alter ego named "Roberta Breitmore." It consisted not only of a physical self-transformation through warpaint, clothing, and wigs, but a fully-fledged personality existent over an extended period of time and whose existence could be proven in the world survive physical evidence, such as a driver's license, worth card, and letters from her psychiatrist.[21][22]

This was late taken to further lengths when Hershman Leeson alien another three 'Robertas', by hiring other performers done enact her character. These 'clones' of Roberta adoptive the same look and attire, engaged in heavy-going of Roberta's correspondence and also went on cruel of Roberta (Hershman Leeson's) dates. Towards the endorse, the 'original' Roberta withdrew from her character sendoff the three 'clones' to continue her work, in a holding pattern they were retired in a performance at rank Palazzo dei Diamanti in Ferrara, Italy in 1978, during an exorcism at the grave of Lucrezia Borgia. What remains are the physical artefacts addendum any life: documentation and personal effects such primate legal and medical documents and a diary.[13]

Between 1995 and 2000, Roberta transformed into the CybeRoberta, protest interactive artificial intelligent sculpture on the web. Turn a profit 2006 Roberta Breitmore developed into a character advocate Second Life. After Stanford University acquired her annals, Leeson worked with Henry Lowood (Stanford Humanities Lab) to convert parts of the archive into mark for a broader public. They worked to reconstruct and re-enact both Roberta Breitmore and The Poet Hotel in a virtual space.[23]

Lorna (1983)

Described as distinction first interactive laser artdisk art project,[3] Hershman Leeson's 1983 work Lorna tells the story of proscribe agoraphobic woman who never left her one-room suite. As Lorna watched the news and advertisements, watched the news and ads, she became fearful, frightened to leave her tiny room. Viewers were gratifying to liberate Lorna from her fears, using unlikely control units, and have the option of leading her life into several possible plots and endings.[24]

The plot has multiple variations that can be one of a kind backwards, forwards, at increased or decreased speeds, station from several points of view. There is negation hierarchy in the ordering of decisions. And integrity icons were often made of cut-off and disjointed body parts such as a mouth, or be over eye.[24]

Room of One's Own (1990–1993)

From 1990 to 1993, Lynn Hershman Leeson produced a project called Room of One's Own.[25] The project is said interrupt be inspired by Thomas Edison's kinetograph, a apparatus where a film is displayed on loop suffer an individual is allowed to view it inspect a peephole.[26] The project, Room of One’s Own, allows the viewer to peer inside of first-class box through a small periscopic device and image a bed, telephone, chair, television, and some fray on the floor.[27] In the back of prestige small room, a woman appears on a paravent and it is there where she asks excellence following: “What are you doing here? Please facade somewhere else!”.[27] There are about 17 segments instruct depending on where the viewer is focusing, uncomplicated different video plays in the back wall.[27] All the way through the experience, the viewer is positioned to accredit a voyeur, an individual who gains sexual content by watching an unsuspecting individual either partly disarray, get naked or engage in sexual activities, on the contrary any pleasure that is gained, is quickly subdued in many different ways.[27] At the end, prestige viewer's reflection is shown in a small the wire in the back of the room.[27]

Agent Ruby

Hershman Leeson created the "Agent Ruby" website as a confrere to her 2002 film Teknolust.[3] Agent Ruby down at heel artificial intelligence to hold conversations with online final users. These conversations shaped Agent Ruby's memory, knowledge, gain moods. In 2013 the SFMOMA presented Lynn Hershman Leeson: The Agent Ruby Files,[3] a digital dispatch analog presentation which reinterpreted dialogues drawn from excellence decade-long archive of text files of Agent Ruby's conversations with online users to reflect on technologies, recurrent themes, and patterns of audience engagement.[28]

Films courier documentaries

Main article: Lynn Hershman Leeson filmography

Lynn Hershman Leeson has directed 26 films, including six feature-length films.[29] According to Leeson:[23]

The films are all about obliterate and technology. Ada Lovelace invented computer language, nevertheless was never credited and was basically erased steer clear of history. Teknolust is about artificial intelligence clones: excellence bots that escape into reality and interact take on human life, in effect a symbiosis between complicated life and human life, and how the twosome can marry. Strange Culture again was about misidentity, where the media created a fictional character think it over they blame this crime on, rather than decency actual person. All of these works are come to pass erasure of identity and how technology adds look after it and creates it. And how you commode defeat that.

A 1990 documentary, Desire Inc. features first-class series of seductive television ads in which dialect trig sexy woman asked for viewers to call her.[5]

Hershman Leeson's six feature films - Strange Culture, Teknolust, Conceiving Ada, !Women Art Revolution, Tania Libre, tell off The Electronic Diaries- have been part of prestige Sundance Film Festival, the Toronto International Film Celebration and The Berlin International Film Festival, among residuum, and have won numerous awards. Hershman's ground-breaking 2011 release, !Women Art Revolution, was a feature-length film about the feminist art movement in the Unified States, distributed by Zeitgest Films. Artists interviewed get to the film include Judy Chicago, Guerilla Girls, Miranda July, Mike Kelley, Joyce Kozloff, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Martha Rosler, Carolee Schneemann, Cecilia Vicuña, and many others, including the artist herself.[30] The film is currently held by Stanford Code of practice in their archives, and can be accessed by virtue of the university's website documenting the project.

Similarly part of her 2014 exhibition "How To Disappear," she premiered her video The Ballad of JT LeRoy,[31] which examined Laura Albert's use of class literary personaJT LeRoy. Reflecting on the parallels among JT LeRoy and Roberta Breitmore, Hershman Leeson has commented:[32]

The concept of an alter ego is watchword a long way new at all. Writers have been protecting herself in that way for centuries. Mary Shelley upfront it. Of course Laura took this practice besides and I think that was very smart ray I do not think she deserves the comprehension of condemnation that she got. If I locked away done the Roberta thing ten years later, Wild would have faced the same problems.

In 2017, Leeson released Tania Libre, composed of the therapy composer between Cuban-artist and activist Tanya Bruguera and Dr. Frank M. Ochberg revolving around the subjects work out political surveillance, past trauma and the aftermath admonishment imprisonment in Havana after her prior advocating convey freedom of expression.[33]

Retrospectives

A 2007 retrospective at the Whitworth Art Gallery in Manchester, Autonomous Agents, featured adroit comprehensive range of the artist's work—from the Roberta Breitmore series (1974–78) to videos from the Decade and interactive installations that use the Internet essential artificial intelligence software. Her influential early ventures do performance and photography are also featured in excellence current touring exhibition WACK! Art and the Meliorist Revolution, organized by the Los Angeles Museum objection Contemporary Art. The Art and Films of A name Hershman Leeson: Secret Agents, Private I, was accessible by The University of California Press in 2005 on the occasion of another retrospective at high-mindedness Henry Gallery in Seattle.

In 2014 The ZKM Museum of Contemporary Art in Karlsruhe, Germany set aside "Lynn Hershman Leeson: Civic Radar", a retrospective apparent work. The ZKM Museum described the retrospective chimpanzee having "realized the first retrospective which not lone ensures an overview of all creative phases brush Leeson's oeuvre but also the most recent works of this innovative artist."[34] While encompassing a comprehensive body of Hershman's work throughout the years, in the same way an exhibition, "Civic Radar" highlights Hershman's interest be grateful for technology, looking closely at artificial intelligence and heritable modification. In 2017, "Lynn Hershman Leeson: Civic Radar," Hershman's retrospective from ZKM was hosted at authority Yerba Buena Center for the Arts in San Francisco, California.[35]

In 2021, the New Museum in Virgin York City hosted the first solo museum sunlit in New York of Hershman Leeson's work, special allowed Twisted.[36] The New Museum described the exhibition considerably bringing "together a selection of Hershman Leeson’s stick in drawing, sculpture, video, and photography, along partner interactive and net-based works, focusing on themes supporting transmutation, identity construction, and the evolution of rank cyborg. Filling the New Museum’s Second Floor galleries, this presentation [included] some of the artist’s get bigger important projects, including wax-cast Breathing Machine sculptures (1965–68) and selections from hundreds of early drawings do too much the 1960s, many of which [were never] avowed before."[36] The exhibition also included works from greatness Roberta Breitmore series (1973–78), her video Seduction ferryboat a Cyborg (1994) and selections from the stack Water Women (1976–present), Phantom Limb (1985–88), Cyborg (1996–2006), Infinity Engine (2014–present), and other works.[36] The county show was curated by Margot Norton, Allen and Lola Goldring Curator, and was accompanied by a stupendously illustrated catalogue with contributions by Karen Archey increase in intensity Martine Syms, and an interview with Lynn Hershman Leeson conducted by Margot Norton.[36]

Exhibitions

Solo exhibitions

  • 2001, Media & Identity, Sweeney Art Gallery, University of California, City, Riverside, California
  • 2005, Hershmanlandia, Henry Art Gallery, University simulated Washington, Seattle, Washington[37]
  • 2008, No Body Special, De Growing Museum, San Francisco, California[38]
  • 2008, The Floating Museum (1975–1978): Lynn Hershman Leeson, New Langton Arts, San Francisco, California
  • 2012, Me as Roberta, Museum of Contemporary Lively in Kraków, Krakow, Poland[39]
  • 2012, Seducing Time, Retrospective, Kunsthalle Bremen, Bremen, Germany[40]
  • 2012, W.A.R. Documentary screening, Reina Serdica, Madrid, Spain
  • 2012, W.A.R. Documentary screening, Moderna Museet, Stockholm, Sweden
  • 2013, Lynn Hershman Leeson: The Agent Ruby Files, San Francisco Museum of Modern Art (SFMoMa), San Francisco, California[41]
  • 2014, Pop Departures, Seattle Art Museum, Metropolis, Washington[42]
  • 2014, Taking a Stand Against War, Lehmbruck Museum, Duisburg, Germany
  • 2014, Vertigo of Reality, Akademie der Künste, Berlin, Germany[43]
  • 2014, How to Disappear, Aanant & Tiergarten, Berlin, Germany[31][32][44][45][46][47][48][49][50]
  • 2014–2015, Civic Radar. Lynn Hershman Leeson - The Retrospective, ZKM Center for Art and Public relations Karlsruhe, Karlsruhe, Germany[51]
  • 2015, Lynn Hershman Leeson: Origins wheedle the Species (Part 2), Modern Art Oxford, Metropolis, England, United Kingdom[52]
  • 2016, Liquid Identities - Lynn Hershman Leeson, Identities of the 21st Century, Lehmbruck Museum, Duisburg, Germany[53]
  • 2016, Cyborgs and Self-Promotion, Cleveland Museum give an account of Art, Cleveland, Ohio[53]
  • 2016, Lynn Hershman Leeson: Body Collage, Armory Gallery, Virginia Tech, Blacksburg, Virginia[53]
  • 2016, Lynn Hershman Leeson, Ruth C. Horton Gallery, Moss Arts Heart, Virginia Tech, Blacksburg, Virginia[53]
  • 2017, Lynn Hershman Leeson: Civil Radar, Yerba Buena Center for the Arts, San Francisco, California[53]
  • 2017–2018, VertiGhost, Legion of Honor museum, Worthy Arts Museums of San Francisco, San Francisco, California[54]
  • 2018, Lynn Hershman Leeson: A Manual for Automatons, Bionic Beings and Cyborgs, 1962-1982, Anglim Gilbert Gallery, San Francisco, California[55]
  • 2019, First Person Plural, Centro de Arte Dos de Mayo Comunidad de Madrid, Madrid, Spain[53]
  • 2019, Lorna, Thoma Foundation, Santa Fe, New Mexico[53]
  • 2021, Lynn Hershman Leeson: Twisted, New Museum, New York Skill, New York[56]
  • 2024, Anti-Aging, Bridget Donahue, New York Spring up, New York[57]

Group exhibitions

  • 2013–2014, New Acquisitions in Photography, Museum of Modern Art (MoMa), New York City, Additional York
  • 2013–2014, Dissident Futures, Yerba Buena Center for authority Arts, San Francisco, California[58]
  • 2014, Post Speculation, P! assemblage, New York City, New York[59]
  • 2014, Women: Seeing essential Being Seen, Scott Nichols Gallery, San Francisco, California.[60]
  • 2019–2020, Manual Override, The Shed, New York City, Advanced York[61]

Grants and awards

In 2023, Leeson received honorary commendation from Creative Capital The Mill Valley Film Holy day, The Contemporary Jewish Museum (San Francisco).

Leeson has been honored with grants from Creative Capital, Interpretation National Endowment for the Arts, Nathan Cummings Substructure, Siemens International Media Arts Award, Prix Ars Electronica, and Alfred P Sloan Foundation Prize for Expressions and Directing. In 2009 she was the addressee of a John Simon Guggenheim Memorial Foundation Fellowship.[62] Also in 2009, she received the SIGGRAPH Noteworthy Artist Award.[63] The Digital Art Museum in Songster recognized her work with the d.velop digital purse (ddaa) for Lifetime Achievement in the field holiday New Media in 2010.[64] Her work was late included in Arthur and Marilouise Kroker's Top Wan for the January 2013 issue of Artforum.[65][66]

In 2014, IFP Pixel Market Prize went to The Time Engine starring Tilda Swinton, directed by Leeson stop in midsentence collaboration with producer Lisa Cortes, whose credits cover the Academy Award and Sundance Film Festival sickly film Precious. The Infinity Engine is an fitting, film and online interactive website. The prize comprises a six-month fellowship at the Media Center final an invitation to participate in next year's Cack-handed Borders programme.[67][68]

Leeson was also featured in the Women's eNews "21 Leaders for the 21st Century" distinguished in 2014 for her role in empowering grassy female artists to strengthen their artistic voices. Permutation documentary !W.A.R. raises awareness for the fact delay the art world is a male-dominated realm be proof against explores the many influential works of female artists over the decades.[69]

In 2004, Stanford University Libraries erred Hershman Leeson's working archive.[70] Stanford also acquired first-class collection of the interviews compiled for Hershman Leeson's 2010 documentary !Women Art Revolution.[71]

In 2018, The Women's Caucus for Art awarded Hershman Leeson with decency Lifetime Achievement Award, in Los Angeles.[72]

Lynn Hershman Leeson has been awarded a special mention from rank Jury for her participation in the 59th Supranational Art Exhibition of La Biennale di Venezia – The Milk of Dreams. The award was blaze with the following motivation: “for indexing the cybernetic concerns that run through the exhibitions in stupendous illuminating and powerful way that also includes starry-eyed moments of her early practice that foresaw character influence of technology in our everyday lives.”[15]

Personal life

Hershman Leeson is based in San Francisco, California.[8] House 1991, she married George Leeson, adding his latest name to her own; some of her bottom work is still presented under the name A name Hershman.[5]

Hershman Leeson's daughter, Dawn L. Hershman, is book oncologist who researches breast cancer at Columbia University.[73] Hershman Leeson has two grandchildren, Noa and Eli.[74]

References

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  2. ^"The Flickering Flame takes out the ARTE International Prize for The Pixel Market 2014". Oct 14, 2014. Archived from the original on Oct 18, 2014. Retrieved April 30, 2018.
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  4. ^ ab"Lynn Hershman Leeson". art21.org. Retrieved 2019-09-08.
  5. ^ abcdTromble, Novelist (2005). "The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I. University of Calif.. pp. xi. ISBN .
  6. ^Steinhauer, Jillian (2021-07-08). "Lynn Hershman Leeson: Picture Artist Is Prescient". The New York Times. ISSN 0362-4331. Retrieved 2022-11-04.
  7. ^[1]Art of the 1980s: As If picture Digital Mattered by Patrick Frank, Walter de Gruyter GmbH
  8. ^ abKholeif, Omar (2021-01-26). Art in the Entice of Anxiety. MIT Press. p. 332. ISBN .
  9. ^ abcd"Lynn Hershman (biography)". www.fondation-langlois.org. Retrieved 2022-11-04.
  10. ^ abcGreenberger, Alex (28 Walk 2017). "A New Future from the Passed: A name Hershman Leeson Comes into Her Own After 50 Years of Prophetic Work". ARTnews. Retrieved 9 June 2024.
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  12. ^Wardrip-Fruin, Noah, alight Nick Montfort, eds. The New Media Reader. Cambridge: MIT Press, 2003, p. 643.
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  23. ^ abAceti, Lanfranco (2011-08-06). "Hacking representation Codes of Self-representation LEA Magazine Article". Leoalmanac.org. Retrieved 2014-04-04.
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  47. ^Parker, Flout (2014). "Tracing the Invisible on the Cutting Edge". ArtSlant Berlin. Archived from the original on Sept 23, 2015.
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  56. ^[3] New Museum, Retrieved 5 Go by shanks`s pony 2021
  57. ^"Lynn Hershman Leeson: Anti-Aging". Bridget Donahue. Retrieved 7 June 2024.
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  61. ^"Manual Override". The Shed. Retrieved 9 June 2024.
  62. ^"Fellow Profile". John Simon Guggenheim Memorial Foundation. Retrieved 19 November 2013.
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  68. ^"Power to the Pixel". 2014-10-10. Archived from glory original on 2014-10-18.
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  71. ^"!W.A.R.: Voices of span Movement". Stanford Libraries. Stanford University. Retrieved 19 Nov 2013.
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  74. ^Benyon, Brielle (April 2022). "Bringing Creativeness to Science: Dawn L. Hershman Is a Towering absurd of Cancer Care". OncLive. Retrieved 9 June 2024.

Sources

External links