Lynn Hershman Leeson

Lynn Hershman Leeson (b. in 1941 in Cleveland, Ohio) is an award-winning American artist and filmmaker. She was Professor Emeritus at the University of California, Davis, and an A.D. White Professor-at-Large at Cornell University. She is Chair of the Film Department at the San Francisco Art Institute, and has received wide recognition for a body of work combining art with social commentary, particularly regarding the relationship between humans and technology.

Work

Leeson's work has as its themes: identity in a time of consumerism, privacy in an era of surveillance, interfacing of humans and machines, and the relationship between real and virtual worlds. Her work grew out of an installation art and performance tradition. She explored interactivity with her video work.

LORNA was an early project of Leeson. The first interactive laser artdisk, LORNA tells the story of an Agoraphobic woman. Viewers have the option of directing her life into several possible plots and endings. LORNA never left her one room apartment. According to Leeson, the objects in her room were very much like those in The Dante Hotel. Except that there was a television set. As LORNA watched the news and ads, she became fearful, afraid to leave her tiny room. Viewers were invited to liberate LORNA from her web of fears by accessing buttons on their remote control unit that corresponded to numbers placed on the items in her room. Instead of being passive, the action was literally in their own hands. Every object in LORNA'S room contains a number and becomes a chapter in her life that opens into branching sequences.

The viewer/participant accesses information about LORNA'S past, future and personal conflicts via these objects. Many images on the screen are of the remote control device LORNA uses to change television channels. Because viewer/participants also use a nearly identical unit to direct the disc action, a metaphoric link or point of identification is established and surrogate decisions are made for LORNA. The telephone was LORNA'S link to the outside world. imageViewer/participants chose to voyeuristically overhear conversations of different contexts as they trespassed the cyberspace of her hard pressed life. There were three endings: Lorna shoots her television set, commits suicide, or moves to Los Angeles.

The plot has multiple variations that can be seen backwards, forwards, at increased or decreased speeds, and from several points of view. There is no hierarchy in the ordering of decisions. And the icons were made often of cut off and dislocated body parts such as a mouth, or an eye...

In 2007 a retrospective at the Whitworth Art Gallery in Manchester, Autonomous Agents, featured a comprehensive range of the artist's work - from the Roberta Breitmore series (1974–78) to videos from the 1980s and interactive installations that use the Internet and artificial intelligence software. Her influential early ventures into performance and photography are also featured in the current touring exhibition WACK! Art and the Feminist Revolution, organized by the Los Angeles Museum of Contemporary Art. The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I, was published by The University of California Press in 2005 on the occasion of another retrospective at the Henry Gallery in Seattle.

Work by Lynn Hershman Leeson is featured in the public collections of the Museum of Modern Art, the William Lehmbruck Museum, the ZKM (Zentrum fur Kunst und Medientechnologie), the Los Angeles County Museum of Art, the National Gallery of Canada, the Walker Art Center and the University Art Museum, Berkeley, in addition to the private collections of Donald Hess and Arturo Schwarz, among many others. Commissions include projects for the Tate Modern, San Francisco Museum of Modern Art, de Young Museum, Daniel Langlois and Stanford University, and Charles Schwab.

Her three feature films - Strange Culture, Teknolust, Conceiving Ada - have been part of the Sundance Film Festival, the Toronto International Film Festival and The Berlin International Film Festival, among others, and have won numerous awards. She is presently in the editing phase of a feature-length documentary entitled !Women Art Revolution! A (Formerly) Secret History, which is anticipated for release in 2011.

Awards and honors

Recently honored with grants from Creative Capital and the National Endowment for the Arts, she is also the recipient of a Siemens International Media Arts Award, the Flintridge Foundation Award for Lifetime Achievement in the Visual Arts, Prix Ars Electronica, the Alfred P Sloan Foundation Feature Film Prize, and the Distinguished Artist Award for Lifetime Achievement in Digital Art from the Association for Computer Graphic's Special Interest Group on Graphics and Interactive Techniques (ACM SIGGRAPH). In 2004, Stanford University Libraries acquired Hershman Leeson's working archive.

Lynn Hershman Leeson was the recipient of a 2009 John Simon Guggenheim Memorial Foundation Fellowship.

In 2010 Hershman Leeson received the [ddaa] d.velop digital art award.

Hershman Leeson is Chair of the Film Department at the San Francisco Art Institute, Professor Emeritus at the University of California, Davis and an A D White Professor at Large at Cornell University.

Selected filmography

• Conceiving Ada (1997)
• Teknolust (2002)
• Strange Culture (2007)
• !Women Art Revolution A (Formerly) Secret History (2011)

Other works

Early works

• Drawings, Collages, Paintings (1958–72)

  Investigation: The integration of humans and machines in line drawings, watercolor, and collage

• Sculptures (1963–74)

  Investigation: Recyclable modular human body casts with recyclable materials

Performances/Installations

• Prudence Juris, Herbert Goode, Gay Abandon (1968–72)

  Investigation: The effect of three simulated art critics on public opinion

• Performance Dinners (1970–83)

  Investigation: Site-specific consumable dinner portraits/performances

• The Dante Hotel (1973-4)

  Investigation: A simulated hotel room, in real life and real time, that reconstructs fictional occupants through fragments of their identity

• Roberta Breitmore (1974–1978)

  Investigation: A simulated person who interacts with real life in real time. This project allowed people to add and contribute to the simulated person. This project is related to the term of identity performance because it allows a person to be created into something that the programmer wants to portray.

• Forming a Sculpture Drama in Manhattan (1974)

  Investigation: Three simultaneous, dispersed site-specific installations with intertwined narratives

• The Floating Museum (1974–1978)

  Investigation: Organization to commission and exhibit public, site-specific, and non-traditional art forms

• Lady Luck: A Double Portrait of Las Vegas (1975)

  Investigation: The American mythology of chance and luck

• RE:Forming Familiar Environments (1975)

  Investigation: Construction of social relationships by means of a live interactive game set in a private home

• 25 Windows: A Portrait of Bonwit Teller (1976)

  Investigation: Department store windows as a cultural portrait

• MAMCO: Myth America Corporation (1979–80)

  Investigation: A simulated corporate structure to finance artwork

• Non Credited Americans (1981)

  Investigation: The dichotomy of credit and non-credit within a consumer structure

• Deep Contact(1984–89)

  Investigation: The user is allowed to interact with a woman's body parts via a touch screen that changes the story based on the body part that is touched.

• New Acquisitions (1985)

  Investigation: A simulated museum acquisition of Greek sculptures as a site-specific public performance

Photography

• Face Stamps (1966–72)

  Investigation: How the state controls and alters individual identity

• Water Women Series (1975-)

  Investigation: 'Bodies of water' that reflect invisibility, evaporation, and survival

• Hero Sandwich Series (1980–87)

  Investigation: genetically motivated photography

• Time Frame Series (1984)

  Investigation: A manipulation of media to mask and to celebrate corporeal vulnerability

• Phantom Limb Series (1988-)

  Investigation: Embodied identity in a culture of mass media and surveillance

• Digital Venus Series (1995-)

  Investigation: The disembodiment of the female nude in art history

• Cyborg Series (1997-)

  Investigation: The seduction of cyborgian subjectivity

Video

• Fifty-three videos, various lengths

  Investigation: Video as alternative space

• Interactivity
• Lorna (1983–84)

  Investigation: Self-referencing games; an interactive branching system of multiple narratives and points of view

• Deep Contact (1984–89)

  Investigation: An interactive touch-sensitive videodisc about the relationship of intimacy to technology

• Room of One's Own (1990-3)

  Investigation: A reverse peep show in which the viewer's 'gaze' both determines the narrative and captured in the act of surveillance

• America's Finest (1994-5)

  Investigation: A camera/gun that transforms the aggressor/user into a victim of surveillance and capture

• Paranoid Mirror (1995-6)

  Investigation: A sensor-driven environment that transforms the user into the interface

• Camera Obscura (1998)

  Investigation: Real-time digital inverse capture becomes a reverse surveillance system

Net Works

• The Dollie Clones (1995-8)

  Investigation: Two telerobotic humanoids that absorb viewers into their internal networks

• The Difference Engine #3 (1995-8)

  Investigation: A networked telerobotic sculpture using the physical and virtual architecture the Zentrum fur Kunst und Medientechnologie

• Time and Time Again (1999)

  Investigation:A distributed network that integrates viewers in scattered locations into a sensor-driven museum environment

• Synthia Stock Ticker (2000-2)

  Investigation: How changes in the stock market reflect and affect human behavior

• Agent Ruby (2002-) [1]

  Investigation: An artificial intelligence agent with the capacity to develop her memory and knowledge base by interacting with users

• DiNA (2004-)

  Investigation: A networked, artificially intelligent bot running for the political office

Awards

• 2009

Lifetime Achievement Award, Association for Computing Machinery's Special Interest Group on Graphics and Interactive Techniques (ACM SIGGRAPH), New Orleans, LA

Guggenheim Fellow, US & Canada Competition. Creative Arts, Film, John Simon Guggenheim Memorial Foundation, New York, NY

Individual Artist Commissions Award, San Francisco Arts Commission, San Francisco, CA

• 2008

Film/Video Grantee, for !Women Art Revolution! A (Formerly) Secret History, Creative Capital, New York, NY

• 2007

Marlon Riggs Award, for courage and innovation in cinema, The San Francisco Film Critics Circle, San Francisco, CA

• 2006

Innovation that Matters Award, ISEA/ZeroOne, San Jose, CA

Funding, for the production of Life to the Second Power: Animating the Archive, The Daniel Langlois Foundation, Montreal, Canada

• 2005

National Endowment for the Arts Grant in Media Arts

Positive Innovations Award, International Digital Media and Arts Association, Muncie, IN

Acquisition of Lynn Hershman Leeson archives 1966-2002 by Stanford University Libraries

• 2003

Alfred P. Sloan Foundation Feature Film Prize in Science and Technology, for Teknolust, Hamptons International Film Festival, East Hampton, NY

• 2000

Cyber Identities, Tribute and Retrospective, Feminale Film Festival, Cologne, Germany

Funding, for the production of Agent Ruby, The Daniel Langlois Foundation, Montreal, Canada

• 1999

Golden Nica Award (Grand Prize) in Interactive Art, for The Difference Engine #3, Prix Ars Electronica, Linz, Austria

• 1995

Anne Gerber Award, for Paranoid Mirror, Seattle Art Museum, Seattle, WA

ZKM/Siemens Media Art Prize, Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany

Cyberstar Award, for The Venus Home Page, WDR (Westdeutscher Rundfunk) /GMD, Cologne, Germany

Honorary Mention in Interactive Art, for America's Finest, Prix Ars Electronica, Linz, Austria

• 1994

Reaching through the Screen: A Tribute to Lynn Hershman, Special Tribute, San Francisco International Film Festival, San Francisco, CA

• 1993

Honorary Mention in Interactive Art, for Room of One's Own, Prix Ars Electronica, Linz, Austria

• 1991

Barbara Aronofsky Latham Memorial Award, for Conspiracy of Silence, Art Institute of Chicago, Chicago, IL

Jonas Mekas Award, for Shadow's Song, Humboldt International Short Film Festival, Arcata, CA

First Prize, for Seeing Is Believing, Festival Internacional de Video Cidade de Vigo, Vigo, Spain

• 1990

Trophée de Cristal (Grand Prize), for Longshot, Montbéliard Video and Television Festival, Montbéliard, France

Prix du Public, for Longshot, Festival du Nouveau Cinéma, Montréal, Canada

• 1989

Film of the Year, for Longshot, London Film Festival, British Film Institute, London, England

• 1987

Golden Gate Award, for Confessions of a Chameleon, San Francisco International Film Festival, San Francisco, CA

External links

• Lynn Hershman Leeson Home page
• Lynn Hershman Leeson Weblog
• Lynn Hershman Leeson at bitforms, NY
• Lynn Hershman Leeson at Galerie Waldburger, Brussels
• Life to the power of N 2008 exhibition series
• !Women Art Revolution Collection at Stanford University Libraries