Lynn hershman leeson biography graphic organizer
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Forty-two years in the making, W.A.R. She invented virtual sets for making Conceiving Ada(1998) before film productions commonly used similar technologies. Hershman Leeson was recently recognized by The New School in New York as a Dorothy H. Hirshon Director in Residence, for the 2013-14 academic year in the School of media Studies.
The artist and others transformed into Roberta Breitmore from 1973 to 1978 as a private performance. Hershman Leeson has been at the forefront of artistic technological experimentation since her earliest works, incorporating touch screen technology as early as the 1980s, artificially intelligent voice recognition in the early 2000s, and biotechnology throughout the 2010s.
charts the history of the Feminist Art Movement in America from the 1960s to the present and deftly illuminates how this underexplored movement radically transformed the art and culture of our times. She received a special mention from the Jury for her participation in the 59th International Art Exhibition of La Biennale di Venezia.
A biography produced as part of the programme “Living with two brains: Women in New Media Art, 1960s-1990s”
© Archives of Women Artists, Research and Exhibitions, 2024A. on art criticism from San Francisco State University. She has worked with a range of different media throughout her entire creative career: photography, video, electronic environments, software and Net Art, such as »Agent Ruby« (1999–2002), as well as in film and performances. In December 2014 a major retrospective of her work titled CiviC RadaR will open at the ZKM (Zentrum fur Kunst und Medientechnologie) in Karlsruhe Germany.
cat. Her films have screened at the Sundance Film Festival, Toronto Film Festival, and the Berlin International Film Festival, among others. Sweeney Art Gallery, University of California, Riverside
- Feminale Film Festival, Cologne, Retrospective of Films and Videos
- Romancing the Anti-body: Lust and Longing in (Cyber) space, in: Arthur, Marilouise Kroker (ed.): Critical Digital Studies: A Reader.
The films and videos span topics from the mathematician Lady Ada Lovelace, to Marcel Duchamp’s mechanical art, to the Feminist Art Movement, to the artist Laura Albert’s alter ego JT LeRoy, repeatedly referencing themes of artifice, authenticity, and gendered subjectivity.
Starting in 1973, Hershman Leeson took on the ‘fictional’ identity of San Francisco-based Roberta Breitmore, using makeup, wigs, costuming, and eventually hiring actors to develop her persona. The public appreciation of this both formal as well as thematic visionary artist expresses itself in equal measure and such that the Stanford University Libraries acquired her archive in 2004.
Hershman Leeson is also a retired professor of the University of California in Davis.Room #8 (2006–2018), the last installation room of the project, contains a vial of synthetic DNA with an archival record of the artist’s videos and films as binary data packets—her artistic oeuvre broken down into molecules in storage—and another vial of artificially engineered antibody that bears the name “LYNN HERSHMAN” in its molecular structure.
Her retrospective exhibition, Civic Radar, traveled between Germany and San Francisco from 2014 and 2017. The artist’s films have been screened at all central festivals, among them, the Sundance Film Festival, the Toronto Film Festival and the Berlinale.
Lynn Hershman Leeson’s works comprise part of an entire range of first-class national as well as international collections, among which are the Museum of Modern Art (MoMA), New York, the Lehmbruck Museum, Duisburg, the ZKM, Karlsruhe, the Los Angeles County Museum of Art, and the Tate Modern, London.Hershman Leeson has exhibited her work nationally and internationally. In 2011 Lynn Hershman Leeson released the ground-breaking documentary Women Art Revolution. A precursor to Hershman Leeson’s ongoing experiments with performative personas, one aspect of her 1972 master’s thesis at San Francisco State University involved writing art criticism under three pseudonyms: Prudence Juris, Herbert Goode and Gay Abandon.
Dreaming is Risky Business: An Interview with Renowned New Media Artist Lynn Hershman Leeson, Policy Mic, February 2013, http://www.policymic.com/articles/26600/dreaming-is-risky-business-an-i… (visit February 21, 2014)
- Meredith Tromble: The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I. Berkeley (Univ.
Extending her use of the interrogative, Hershman Leeson’s moving image works frequently incorporate documentary-style first-person interviews and archival research to structure their inquiries. In the 2000s, L. Hershman Leeson began critically exploring the possibilities of genetic engineering.