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Jeffrey Shaw (born 1944) is a pioneering new media artist and researcher. From 1965 to 2002 he lived in Milan, London, Amsterdam and Karlsruhe, and returned to Australia in 2003 to assume the Directorship of the iCinema Research Centre at the University of New South Wales. Starting from September 2009, Shaw is the Dean of School of Creative Media, City University of Hong Kong.
Shaw has been a leading figure in new media art since its emergence from the performance, expanded cinema and installation paradigms of the 1960s. He is internationally renowned for pioneering the creative use of digital media in the fields of virtual and augmented reality, immersive visualization, navigable cinematic systems and interactive narrative. His work includes performance, sculpture, video and many interactive installations.
Shaw was born in Melbourne, Australia and studied at the University of Melbourne, sculpture at Brera Academy, Milan and St. Martins School, London. He was the co-founder the Artist Placement Group in London (1966–1989), of the Eventstructure Research Group in Amsterdam (1969–1979), and founding director (1991–2003) of the ZKM Institute for Visual Media in Karlsruhe. in 1976, he designed the inflatable pig, flown over Battersea Power Station, and used by Pink Floyd on the cover of their Animals album and subsequent tour. At the ZKM, he initiated and led a seminal artistic research, production and exhibition program that included residencies and the creation of new works by many of the most notable media artists of our time. In 1995, Shaw was appointed Professor of Media Art at the Staatlichen Hochschule für Gestaltung, Karlsruhe.
Shaw’s career is also distinguished by his collaborations with fellow artists including Tjebbe van Tijen, Theo Botschuijver, Dirk Goeneveld, Peter Gabriel, Agnes Hegedues, David Pledger, The Wooster Group, William Forsyth, Dennis Del Favero, Peter Weibel, Jean Michel Bruyere, Bernd Lintermann, and Sarah Kenderdine.
Shaw was awarded an Australian Research Council Federation Fellowship in 2003, and returned to Australia to co-found and direct the UNSW iCinema Centre’s research program in immersive interactive narrative systems for distributed and situated intercommunication, where world leading aesthetic and technical research into immersive interactive post-narrative systems is being undertaken.
- 2002 Future Cinema (co-curated with Peter Weibel), ZKM, Karlsruhe, KIASMA Museum of Contemporary Art, Helsinki and NTT InterCommunication Center, Tokyo
- 1998 Surrogate, Karlsruhe, ZKM
- 1997 Current, Karlsruhe, ZKM
- 1995 NewFoundland II, Karlsruhe, ZKM
- 1993 NewFoundland, Karlsruhe
- 1992 Bitte berühren, Karlsruhe
- T_VISIONARIUM, 2007 (with Neil Brown, Dennis Del Favero, Peter Weibel), Biennale of Seville 2008
- PLACE-HAMPI, 2006 (with Sarah Kenderdine, John Gollings, and Paul Doornbusch), Lille 3000, Lille, France
- EAVESDROP, 2005 (with David Pledger), Sydney Festival, Powerhouse Museum, Sydney, Australia
- CUPOLA, 2004, European Cultural Capital of Europe 2004, Eurolille, Lille, France
- FUTURE CINEMA, 2003, Exhibition co-curated with Peter Weibel, ZKM Centre for Art and Media, Karlsruhe, Germany; InterCommunication Centre, Tokyo, Japan; KIASMA, Helsinki, Finland
- WEB OF LIFE, 2002 (with Michael Gleich, Bernd Lintermann, Lawrence Wallen, Torsten Belschner, Manfred Wolff-Plottegg), Museum für Kommunikation, Frankfurt, Germany
- PLACE- RUHR, 2000, Vision Ruhr, Dortmund, Germany
- conFIGURING the CAVE, 1997 (with Agnes Hegedues, Bernd Linterman and Leslie Stuck), NTT InterCommunication Center, Tokyo, Japan
- PLACE - A USERS MANUAL, 1995, Neue Galerie Graz, Austria
- THE GOLDEN CALF, 1994, Ars Electronica, Linz, Austria
- EVE MultiMediale 3, 1994, ZKM Center for Art and Media, Karlsruhe, Germany
- THE VIRTUAL MUSEUM, 1991, Das Belebte Bild, Art Frankfurt, Frankfurt, Germany
- REVOLUTION, 1990, Imago, KunstRai, Amsterdam, Netherlands
- THE IMAGINARY MUSEUM OF REVOLUTIONS, 1989 (with Tjebbe van Tijen) Brucknerhaus, Linz, Austria
- THE LEGIBLE CITY, 1988 (with Dirk Groeneveld), Bonnefanten Museum, Maastricht, Netherlands
- HEAVENS GATE, 1987 (with Harry de Wit), Shaffy Theater, Amsterdam, Netherlands
- INVENTER LA TERRE, 1986, La Villette, Paris, France
- THE NARRATIVE LANDCSAPE, 1985 (with Dirk Groeneveld), Amsterdam, Netherlands
- POINTS OF VIEW, 1983, Mickery Theater, Amsterdam, Netherlands
- THE LAMB LIES DOWN ON BROADWAY 1975, (Eventstructure Research Group) Genesis World Tour
- VIEWPOINT, 1975, (Eventstructure Research Group) 6th Biennale de Paris, Musee d'Art Moderne, Paris, France
- WATERWALK, 1970, (Eventstructure Research Group) Brighton Festival, Brighton, England
- MOVIEMOVIE, 1968 (with Eventstructure Research Group) 4th Experimental Film Festival, Knokke le Zoute, Belgium
- CORPOCINEMA, 1967 (Eventstructure Research Group) Sigma Projects, Museumplein, Amsterdam, Netherlands
- CONTINUOUS SOUND AND IMAGE MOMENTS, 1966 (with Tjebbe van Tijen and Willem Breuker) Netherlands Film Museum, Amsterdam, Netherlands
- Castelli, R., (Ed) Cinemas of the Future, Lille 2004 Capitale Europeenne de la Culture, 2004, pp. 50–53, 56-57, 78-79.
- De Mèredieu, F., (Ed) Histoire de l’Art Moderne. Matérielle et immatérielle, Larrouse, Paris, 1994, pp. 303–305.
- Dinkla, S., Pioniere interaktiver Kunst von 1970 bis heute: Hatje Cantz Ostfildern, 1997, pp. 97–146.
- Druckery, T., Weibel, P. (Eds.) Net Condition, MIT Press, Cambridge, 2001.
- Duguet, A-M., Klotz, H., Weibel, P., Jeffrey Shaw – a user's manual. From Expanded Cinema to Virtual Reality, Hatje Cantz, Ostfildern, 1997.
- Evenstructure Research Group: Concepts for an Operational Art, in: Art and Artists, London, January 1969.
- Grosenick, U., and Riemschneider, B., (Eds), Art at the Turn of the Millennium, Taschen Verlag, Cologne, 1999, pp. 462–465.
- Hansen, M. B. N.,Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media, in: New Philosophy for New Media, MIT Press, Cambridge 2004.
- Gleich, M., Shaw, J., The Web of Life – Linking Art and Science, Aventis Foundation and ZKM Karlsruhe, 2004.
- Oliver Grau: Virtual Art: From Illusion to Immersion, MIT-Press, Cambridge 2003, pp 240–243.
- Huhtamo, E., Jeffrey Shaw's EVE and the Panoramic Tradition, in: ICC InterCommunication, No. 14, Tokyo, Autumn 1995, pp. 138–139.
- Kenderdine, S., Shaw. J., Del Favero, D. and Brown, Place-Hampi: Co-Evolutionary Narrative & Augmented Stereographic Panoramas, Vijayanagara, India in: New Heritage, New Media And Cultural Heritage, Kalay, Y. E., Kvan, T., and Affleck, J.,(Eds.) Routledge, Oxfordshire, 2008.
- Manovich, L., The Language of New Media, MIT Press, Cambridge, 2001, pp 226, 260-261, 282-285.
- Margaret Morse, M., (Ed) Hardware, Software, Artware - Art Practice at the ZKM Institute for Visual Media, 1992–1997, ZKM Karlsruhe, 1997.
- Paul, C., Digital Art, Thames & Hudson Ltd. 2003.
- Popper, F., Art of the Electronic Age, Thames & Hudson, 1997.
- Popper, F., From Technological to Virtual Art, MIT Press, Cambridge, MA, 2007.
- Rötzer, F., Jeffrey Shaw: "Reisen in virtuelle Realitäten" in: Kunstform, Vol. 117, 1992.
- Rush, M., New Media in Late 20th-Century Art, London, New York, 1999, pp. 210–212.
- Schwarz, H. P., Media Art History, Prestel-Verlag, Munich 1997.
- Shaw, J., Movies after Film – The Digitally Expanded Cinema, in: New Screen Media. M. Rieser, M., and Zapp, A., (Eds) British Film Institute, London 2002.
- Shaw, J: Der entkörperte und wiederverkörperte Leib (The Dis-Embodied Re-Embodied Body), in: Kunstforum. Die Zukunft des Körpers I, 1996, pp132.
- Shaw, J., Weibel, P., Future Cinema. The Cinematic Imaginary after Film, MIT Press, Cambridge, 2003.
- Thomson, C. W.m, Visionary Architecture. From Babylon to Virtual Reality, Prestel, München/New York, 1994.
- Topham, S., Blow Up. Inflatable Art, Architecture and Design. Prestel, Munich, 2002 pp. 86–90.
- Wilson, S., Information Arts. Intersections of Art, Science, and Technology, MIT Press,Cambridge, 2002, pp. 709–712, 760-761.