Women, Art and Technology - Contributors


  • Judy Malloy -- http://www.judymalloy.net
    Electronic narrative pioneer Judy Malloy has been writing hypernarratives since 1986 when she began writing Uncle Roger (a narrative of sex and politics in Silicon Valley) on Arts Com Electronic Network on the WELL. Her hyperfictions include: its name is Penelope; (Narrabase Press, 1990; Eastgate Systems, 1993) Forward Anywhere; (with Cathy Marshall, Eastgate Systems, 1996) and l0ve0ne; (Eastgate Web Workshop)

    Her work has been exhibited internationally, including: The Boston CyberArts Festival; The Eighth International Symposium of Electronic Arts; Siggraph; Franklin Furnace; San Francisco Art Institute; Tisch School of the Arts, New York University; A Space, Toronto; Univ. of California, Berkeley; Sao Paulo Biennial, Brazil; P.P.O.W.; The Women's Studio Workshop; the San Antonio Art Institute; The Los Angeles Institute for Contemporary Art; the Houston Center for Photography; Artemesia Gallery in Chicago; and Xerox PARC where she was an Artist in Residence.

    She has had work published by Eastgate Systems; E.P. Dutton, Tanam Press, St. Martin's Press, Seal Press, MIT Press, the National Endowment for the Arts website, Springer-Verlag, Heresies; and the Blue Moon Review. She is currently the Editor of NYFA Current, a publication of the New York Foundation for the Arts.


  • Rebecca Allen -- http://rebeccaallen.com/
    Rebecca Allen is an internationally recognized media artist inspired by the potential of advanced technology, the aesthetics of motion, and the study of behavior. Her work, which blurs the boundaries between physical reality and virtual reality, between biological life and artificial life, takes the form of interactive art installations, computer animated films and live multimedia performances.

    Allen received a BFA from Rhode Island School of Design and MS from Massachusetts Institute of Technology. She was a member of the Architecture Machine Group at MIT (now known as MIT Media Lab) followed by the NYIT Computer Graphics Laboratory, a world renowned computer animation research center.

    Rebecca was founding co-director of the UCLA Center for Digital Arts and founding chair of the UCLA Department of Design | Media Arts, where she is currently a professor. During 2003-2004 Rebecca is on leave from UCLA in order to explore new areas of art and research as Senior Research Scientist at MIT's Media Lab Europe in Dublin.

    Allen's work is exhibited and published internationally and is part of the permanent collection of the Centre Georges Pompidou and Whitney Museum of American Art. Awards include an Emmy award for "Outstanding Individual Achievement".

  • Linda Austin -- http://www.performanceworksnw.org
    With a background originally in theatre, Linda Austin began making performance and dance in the early 80's -- the heady years of a vibrant art and performance scene in New York City's East Village, where Austin was based until 1998.

    She has performed her work in New York at venues such as Performance Space 122, the Danspace Project at St. Mark's Church, the Kitchen, and Movement Research at Judson Church, as well as in Mexico and Guatemala.

    Returning to her home state of Oregon in 1998, she and Jeff Forbes founded Performance Works NorthWest, a performing arts non-profit that serves as an organizational base for Austin's work, and as a catalyst for performance projects such as the 2002 residency & commissioning project with NYC-based choreographer Sally Silvers. Since July 2000, when Austin & Forbes realized their dream of opening a community rehearsal space cum performing venue in a former church in Portland, Oregon, Performance Works NorthWest has hosted performances of dance, music, theater, film, poetry and performance art, playing an important part in Portland's recent explosion of independent performance and art-making activities. In addition to creating work at her home venue, Austin continues to perform at venues around the NorthWest, such as On the Board's NW New Works Festival in Seattle and, in Sept. 2002, at the very first TBA (Time Based Arts) Festival in Portland, a 10-day international performance festival created by the Portland Institute for Contemporary Art.

    Austin's singularly idiosyncratic movement style is characterized by surprising rhythms, gestural detail, and rapidly fluctuating shifts in energy and mood. Driven by a fascination for the varieties of human form and movement, her work resonates with both lyricism and awkwardness. Supporters of Austin's work have included The New York Foundation for the Arts, Movement Research, the U.S./Mexico Cultural Fund, Oregon's Regional Arts & Culture Council and the Djerassi Resident Artists Program. Her writing has appeared in The Movement Research Performance Journal and Tierra Adentro (Mexico).

  • Judith Barry --
    Rosamund Felsen -- http://www.rosamundfelsen.com/barry/index.php

    Judith Barry is an artist and writer whose work crosses a number of disciplines: performance, installation, sculpture, architecture, photography, new media. She has exhibited internationally at such venues as the Venice Biennale of Art/Architecture, Sao Paolo Biennale, Nagoya Bienale, Cairo Biennale, Carnegie International, Whitney Biennale, Austrailian Biennale, among others.

    In 2000 she won the Kiesler Prize for Architecture and the Arts and in 2001 she was awarded Best Pavilion and Audience Award at the Cairo Biennale. Currently, she is working on a book about art and technology and several installation projects. Her first web project, the Museum you want is on the ICA Boston's web site.

  • Patricia Bentson
    Patricia Bentson is an editor who has worked in book and journal publishing since 1990 and in Web publishing since 1993. She is currently Managing Editor of Leonardo Music Journal and CD, an annual publication devoted to aesthetic and technical issues in contemporary music and the sonic arts. Bentson also manages Leonardo On-Line, the website of Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST) -- http://www.leonardo.info/index.html

    Leonardo On-Line presents materials related to the publications and activities of Leonardo/ISAST Leonardo, Leonardo Music Journal, the Leonardo Awards Program, the Leonardo Book Series, and programs such as workshops and conferences.

  • Dara Birnbaum
    New York-based Artist and Independent Producer Dara Birnbaum has achieved international recognition within the arts, spurring some of the most controversial discussions in contemporary media exploration. Her work addresses both the ideological and aesthetic character of mass media imagery.

    In the summer of 2003, Daara Birnbaum's work will be part of Utopia Station at the 50. Biennale di Venezia. In the fall of 2003, her work will be represented in group exhibitions at both Kunst-Werke Berlin and MUMOK, Vienna. Additional exhibitions of Birnbaum's work, during 2002 - 2003 include: Photography: Fact to Fiction at Galerie Marian Goodman, Paris; en el lado de la television at the Espai D'Art Contemporani de Castell, Spain; III SIFFACUS Art and Architecture Conference, Barcelona; video zero/communication interferences at the Haifa Museum of Art, Israel, and within the curated exhibition "Video Cube," at FIAC, Paris. She was a juror of the 2002 Video Kunst-preis, ZKM, Karlsruhe, Germany.

    Birnbaum is represented by the Marian Goodman Gallery, NYC and Paris. Major retrospective exhibitions of her work were presented at the KUNSTHALLE Wien, Austria and the Norrtlje Konsthall, Sweden. Other major exhibitions include: Documenta IX, VIII, and VII; the Carnegie International; the Venice Biennale; the Bienal de Valencia; the Biennial of Seoul "media_city seoul 2000; and the 74th American Exhibition, Chicago (where she received the Norman Wait Harris Prize.) Her work is part of permanent collections at: The Museum of Modern Art, NY: the San Francisco Museum of Modern Art, S.F.; the Museum of Contemporary Art, Chicago; the S.M.A.K., Gent, Belgium; the Castello di Rivoli, Torino, Italy; the Israel Museum, Jerusalem; Moderna Museet, Stockholm, Sweden; amongst many other well known international institutions.

    International Film and Video Awards include: the American Film Institute's prestigious Maya Deren Award for Independent Film and Video Artists; Festival International de la Video at des Arts Electroniques, Locarno, TV Picture Prize; Chicago International Film Festival; Videonale, Bonn; the San Sebastian Film Festival; Sdwestfunk Television and ZKM, Karlsruhe, Deutsche Videokunstpreis, Special Jury Prize; the National Endowment for the Arts; amongst others.

    Teaching positions held by Birnbaum have also been prestigious, including: Heinz und Gisela Friedrich-Stifung, Guest Professor, Stdel-Hochschule fr Bildende Kunst Stdelschule and Institut fr Neue Medien, Frankfurt am Main, Germany; Visiting Junior Fellow of the Council of the Humanities and Perkins Junior Fellow in the Program in Visual Arts, Princeton University. Dara Birnbaum has also been awarded a Certificate in Recognition of Service and Contribution to the Arts by Harvard University.

  • Martha Burkle Bonecchi
    Martha Burkle is Professor of Knowledge Management at the Monterrey Institute of Technologies University. She is pioneer in the research field of women and technologies in Latin America. An activist in Mexico and other developing countries, Burkle has written numerous articles on information and communication technologies and its impact on society and is a member of a number of international organizations involved with research in this area. Her research has been done in the UK, Canada and Mexico particularly. She earned a Ph.D. in Technology Policies and Higher Education at the University of Sussex, England, and her MA in Women Studies, at the Autonomous University in Mexico City.
  • Kathy Brew
    Kathy Brew's hybrid career spans the realms of media and contemporary art. From 1997 through 2001 she was Director of Thundergulch, the new media arts initiative of the Lower Manhattan Cultural Council that provides new forms of interaction between artists, audiences, and new technologies. She has served on the Mayor's New Media Subcommittee on Digital Arts and Culture, and the Steering Committee/Board of Advisors of New York New Media Association's Art and Culture Special Interest Group. She is a panelist for the New York State Council on the Art's Electronic Media and Film program, and is on the Curatorial Committee of Eyebeam Atelier where she recently served as Exhibition Director for Beta Launch, the first exhibition of work coming out of Eyebeam's artist-in-residence program.

    Kathy Brew is also a video-maker, whose experience spans experimental work to independent documentaries and public television productions. For the past six years, she has been collaborating with Roberto Guerra, working on a range of different independent projects including a recent video connected with an exhibition at MIT Media Lab, entitled, ID/entity Portraits in the 21st Century, where artists and technologists collaborated on interactive projects. The piece was selected for the 2003 International Festival of Art on Film in Montreal. Brew and Guerra have also independently produced segments for WNET's City Arts and Egg, and have received two Emmy awards for Outstanding Fine Arts programming (1999 and 2000). Ms. Brew has worked over the years with several other artists/producers on a range of media projects, including REGRET TO INFORM, a documentary about widows of the Vietnam War that garnered awards at the 1999 Sundance Film Festival and the Independent Feature Project's American Spirit Awards, as well as having been nominated for a 1999 Oscar in the documentary category; and

    RABBIT IN THE MOON, a documentary about Japanese-American internment during World War II, another award-winning film at the 1999 Sundance Film Festival, which aired on POV in 1999 and won a national Emmy. Ms. Brew has also written on media and contemporary art for catalogs and other publications. She has recently written for an upcoming book to be published by MIT Press on women, art, and technology; and has published articles in World Art, Civilization, High Performance, Shift, the San Francisco Bay Guardian, San Francisco Focus, and Artcoast. She also currently serves as Series Consultant/Curator for Reel New York, WNET/Thirteen's series for independent film and video makers. She teaches in the MFA Computer Arts department at the School of Visual Arts and NYU's Interactive Telecommunications Program.

  • Mark Coniglio -- http://www.troikaranch.org
    Troika Ranch has performed throughout the United States in venues including The Duke on 42nd Street, New York City; the Walker Art Center, Minneapolis; the Luckman Fine Arts Center, Los Angeles and the Lied Center for Performing Arts, Lincoln, Nebraska. Troika Ranch has been awarded creative residencies at HERE Arts Center, New York City; the Liberty Science Center, Jersey City, New Jersey; The Bemis Center for Contemporary Art, Omaha, Nebraska; STEIM (Studio for Electro-Instrumental Music) Amsterdam, The Netherlands; and a New York State DanceForce Creative Residency in Potsdam, New York. Troika Ranch has been supported by the Brooklyn Arts Council, the Jerome Foundation, Meet the Composer, the New York Foundation for the Arts - New York Arts Recovery Fund, the Barbara Bell Cumming Foundation, The Puffin Foundation, and the Nancy Quinn Fund.

    Mark Coniglio (Artistic Director) - A native of Nebraska, Composer Mark Coniglio began his career with a five-year tenure as a producer for American Gramophone Records, during which time he received a performance of his work by the London Symphony Orchestra. He studied at the California Institute of the Arts with electronic music pioneer Morton Subotnick and received his degree in music composition in 1989. He was on the faculty of the CalArts school of Music from 1990 to 1994, where he taught courses in Interactive Music and was on the staff of the Center for Experiments in Art, Information and Technology. Coniglio invents custom instruments and software specifically for use in the performance of his music. These instruments focus on monitoring the movements and vocalizations of live performers and using that information to allow generative and performative control of synthesizers, video software and other media. In addition to his work with Troika Ranch, Coniglio also acts as a consultant for other dance companies. He recently served as technical advisor for a video intensive work created by Judith Jamison for the Alvin Ailey American Dance Theater. Coniglio has lectured on interactive performance at many national and international arts institutions. He is the creator of Isadorar, a graphic programming environment that provides interactive control over digital media with special emphasis on the real time manipulation of digital video.

  • Anna Couey -- http://www.well.com/~couey
    Anna Couey works with communication systems as social sculpture. Her work includes telecommunications art, community networking and information activism for social justice. From the mid-1980s to early 1990s she participated in the development of the Art Com Electronic Network, an international online system dedicated to the interface of contemporary art and new communications technologies, and Arts Wire, a U.S.-based communications system for artists and arts organizations. Her telecommunications art projects investigate the use of computer networks to restructure social relationships and relationships of power between diverse communities and cultural groups, and have been presented at the International Symposium on Electronic Art, New York University, SIGGRAPH and other venues. Currently, she is exploring the interconnections between art and social action.
  • Donna Cox -- http://www.ncsa.uiuc.edu/~cox/
    Donna J. Cox is a recognized pioneer in computer art and scientific visualization. Since 1985, she has been faculty in the School of Art and Design as well as a research visualization artist/scientist at the National Centre for Supercomputing Applications (NCSA). Her collaborative works have been featured in art and science museums, PBS television, and IMAX theatres around the world.

    She has authored many papers on scientific visualization, critical theory, and information design. Cox received the Leonardo Coler-Maxwell Award in 1987 for her seminal paper coining the term "Renaissance Teams". She is a recognized international speaker providing hundreds of keynotes and plenary presentations at conferences and events.

    In 1997, she was Associate Producer for Scientific Visualization and Art Director for the PIXAR/NCSA segment of the Academy Award nominated IMAX movie, Cosmic Voyage. Cox, Robert Patterson, NCSA, and Marcus Thi‚baux, ISI, received a patent for a virtual reality choreography system, Virtual Director. She was elected as a council member of Internet 2 Commission; serves on the Editorial Board for Leonardo; (Journal of the International Society for the Arts, Sciences and Technology) and is an active researcher in CAiiA/STAR Program, University of Plymouth. Her most recent projects include visualizations for the Hayden Planetarium in New York City, the Discovery Channel Program, Unfolding Universe, and IntelliBadgeT, SC2002. She is one of the jurors on the National Science Foundation's first contest in visualization of science and will be the keynote speaker for the Supercomputing 2003.

  • Char Davis -- http://www.immersence.com
    Char Davies' immersive virtual environments are internationally recognized as landmarks in the field of interactive media art. Integrating full-body immersion, navigation based on breathing and balance, and interactive 3-D digital imagery and sound, her works are known for challenging conventional thinking about virtual space. Her work in this medium is based on two decades of artistic research into nature, psyche, and perception, and is motivated by a quest to collapse Cartesian boundaries between subject/object, interior/exterior, self and world.

    Originally a painter and filmmaker, she became involved in digital technology in the mid '80s, becoming a founding director of the highly successful 3D software company Softimage. Davies has exhibited her work at numerous museums and galleries around the world, and has written and lectured widely, including at the 16th Annual Darwin College Lecture Series, Space 2001, at Cambridge University. She has received numerous awards, most recently an Honorary Doctorate of Fine Arts from the University of Victoria, British Columbia. She is currently developing new work through her Montreal-based research company Immersence. An extensive bibliography can be found at: http://www.immersence.com

  • Diane Fenster -- http://www.dianefenster.com/
    Diane Fenster's art has been called an important voice in the development of a true digital aesthetic. She views herself as an alchemist, using digital tools to delve into fundamental human issues. Her work is literary and emotional, full of symbolism and multiple layers of meaning. Her style marries her photography with evocative and fragmented imagery. Fenster leaves her way through the impersonal medium of digital technology to bring forth sensitive portrayals of themes and images that can provoke powerful viewer responses. Her images appear in numerous publications on digital art, she is a guest lecturer at many seminars and conferences and her work has been internationally exhibited and is part of museum, corporate and private collections. In September 2001, Fenster was the first artist to be inducted into the Adobe Photoshop Hall of Fame in recognition of her achievements in the field of digital imagery.
  • Monika Fleischmann
    Born in 1950, German research artist Monika Fleischmann studied visual arts, theater, and computer graphics. Her multidisciplinary background -- fashion design, art and drama, computer graphics -- made her an expert in the world of art, computer science, and media technology. Her main research topic is to extend the idea of interaction and communication by interfaces combined with interactive virtual environments on the base of perceptive processes. "I want to visualise the impact of technology on society, to understand that increasingly we inhabit two worlds: the one we live in with our bodies and the one inside computer networks."

    The work of Monika Fleischmann & Wolfgang Strauss has been exhibited widely throughout the world. Their work has been included in exhibitions or awarded at Ars Electronica - Linz, ZKM -Karlsruhe, Nagoya Science Museum, at SIGGRAPH and presented at ICC Tokyo, Imagina - Monte Carlo and ISEA.

    In 1988 Fleischmann and Strauss had been co-founders of Art + Com in Berlin, a research institute for computer-assisted media art, architecture, design. In 1997 they created the MARS (Media Arts Research Studies) exploratory media lab at the Fraunhofer Institute for Media Communication in Sankt Augustin near Bonn. MARS consists of an interdisciplinary group of artists, technicians, computer and culture scientists. Focusing on human presence in and experience of new technologies, MARS investigates in the aesthetic of interactivity in the new media environments now integrated in our everyday life. The human body is seen as the interface between the interior and the exterior, between reality and virtual reality. MARS develops full body interfaces which transfer the perception of our surroundings to the way we interact with digital space. Creating interfaces as synaesthetic sensors for the senses, MARS opens up for new digital spaces for hearing, seeing and feeling.

  • Jennifer Hall -- http://www.dowhile.org/physical/people/hallj.html
    Jennifer Hall is an artist who has been working with interactive media for over twenty-five years. She is experienced in a variety of media related forms, and is currently engaged in the re-focusing of biological material as an art medium. Her recent project includes using seizure induced brain waves to create her own line of fine chocolates.

    Hall received her Bachelor of Fine Arts (B.F.A) at the Kansas City Art Institute in 1980, and her Masters of Science in Visual Studies (M.S.V.S.) from the Massachusetts Institute of Technology (M.I.T.) in 1985; she is the Founding Director of the Do While Studio, a Boston-based, not-for-profit organization dedicated to the fusion of art, technology, and culture. She is a Professor and Coordinator of the Masters of Science of Art, Education, and New Media Program at the Massachusetts College of Art, Boston.

    In 2000, Jennifer Hall received the first Rappaport Prize, the largest award for an individual New England artist. In both 1984 and 1985, she received the IBM Home Computing Award administrated by the Media Lab at M.I.T. for developing gesture driven interfaces. In 1995 she received Woman of the Year from the Boston Chapter of the National Epilepsy Association for her work with Art and Epilepsy, and in 1998 was awarded the first Anne Jackson Award for Teaching from the Massachusetts College of Art. Hall has installed work at numerous locations such as the Contemporary Museum of Sydney, Australia; the Museum de Belle Arts, Caracas, Venezuela; and St. Johns Island, Newfoundland.

  • Jo Hanson
    Jo Hanson is an ecological artist, writer and occasional curator whose work evolved in an ecological and social focus in response to her daily cleaning of street trash in her windy block of San Francisco since 1970. In 1994 her base expanded into the redwoods of the Russian River area, an hour north of San Francisco.

    Hanson holds an MA in education from the University of Illinois and another in art from San Francisco State University, reflecting a mid- life career change. She exhibits widely. Her work became known in the mid-70's for the installation Crab Orchard Cemetery, originated by the Corcoran Gallery of Art, Washington, DC. A re-creation of a Southern Illinois rural cemetery, it employed unusual techniques including 12-foot high photo enlargements on transparency to create a foliate scenic surround around the gallery walls.

    Hanson is an active lecturer, panelist, writer, and advocate for ecological and social art and artists. She published a still-current tax book for artists in 1987, and co-publishes the Women Environmental Artists Directory since 1996. A former San Francisco arts commissioner, she has also done occasional teaching at the University of California-Berkeley, California Collage of Arts and Crafts in Oakland and Otis Art Institute in Los Angeles.

    Hanson's experiences with San Francisco's street-cleaning and recycling agencies and six years service as an Arts Commissioner, set up associations which led to her proposing and advising an artist in residence program, opened in 1990 in San Francisco's disposal company, Sanitary Fill Co., part of Norcal Waste Systems, Inc. The company's pioneering program models the use of art and artists as effective instruments for getting public cooperation in waste reduction. An effective educational center for school students and the community developed around the residency program.

    In the Russian River watershed Hanson's work expanded to include restoration of native growth, creek, and creek bank rehabilitation, and participation with the Dutch Bill Creek Watershed Group to restore habitat and mitigate watershed conditions. She emphasizes preserving natural systems. They are living systems that exist through mutual support. They can never be put back the same way if destroyed. Nature is too interactive for safe tinkering. Hanson documents this work in artists books. An installation called Gaia Does the Laundry chronicles her experience of major flooding and the important role of flood and flood plains.

    Recipient of an Artist Fellowship (1977) and a visual arts project grant (1979) from the National Endowment of the Arts, she later received several civic citations that include citations from the San Francisco Mayor and the Board of Supervisors. Hanson received the 1992 Lifetime Achievement Award from the Regional Women's Caucus for Art. The National Women's Caucus for Art award in 1997; and the Distinguished Women Artists Award from the Fresno Art Museum's Council of 100 in 1998. She was honored by the Bioneers Conference in 2000., Her work is in numerous public and private collections.

  • Helen Mayer Harrison and Newton Harrison -- http://www.feldmangallery.com/pages/artistsrffa/arthar01.html
  • Blyth Hazen
    Blyth Hazen has a background in drawing and painting and has been working with digital media since the mid-1980's. She uses databases as an artform, building automatic drawing utilities that mimic her analog artmaking processes. Recently she has collaborated with Jennifer Hall on several large robotics projects installed at the DeCordova Museum, Keene State College and Phillips Exeter Academy. New projects explore time, complexity and automata.

    Hazen received her BA in Philosophy and Art from Austin College, Sherman, Texas and her MFA from the Studio for Interrelated Media at Massachusetts College of Art. She is currently an assistant professor at Montserrat College of Art, where she teaches new media, robotics and Foundation courses. She is also the Education Coordinator at Do While Studio, a Boston-based non-profit organization working with art, technology and community. Prior to joining the Montserrat faculty, she taught at Massachusetts College of Art and worked in education technology administration. Ms. Hazen has also developed numerous web projects for art and educational institutions.

  • Agnes Hegedus -- http://csw.art.pl/new/99/7e_agndl.html
  • Lynn Hershman -- http://www.lynnhershman.com/
  • Kathy Rae Huffman -- http://faces-l.net/en/users/kathyraehuffman
    Kathy Rae Huffman is Director of Visual Arts at Cornerhouse -- http://www.cornerhouse.org -- Manchester's leading centre for contemporary art, media and cinema. In the heart of Manchester's centre city, it serves as a meeting point for artists, cultural and socially engaged people. From June 2000 - May 2002, she was the director of Hull Time Based Arts, East Yorkshire's premiere media and live-art centre for the production and presentation of artists work, and the annual ROOT festival.

    She is a networker and specialist for web based initiatives, a collector of new media works, and a curator who pioneered support of artists work centered in media theory and practice. She travels widely and works closely with artists in Bulgaria, Croatia, Slovenia, Serbia, Macedonia, Russia, Austria, Netherlands, and elsewhere.

    From 1998-2000, Huffman was Associate Professor of Electronic Art, and director of EMAC, the undergraduate bachelor of science program Electronic Media Arts and Communication, at Rensselaer Polytechnic Institute. At RPI, her research focused around issues of female environments in the Internet, including 3D online environments, telepresence events, and the history of video and Installation art.

    Huffman's recent exhibitions include 'Grace Weir A Fine Line' (Sept 2003);' 'Lab3D The Dimensionalised Internet' , 'Balkan Matrix' and 'Where do we go from here?', new media exhibitions at Cornerhouse that utilise digital film, internet, sound or video in real space; 'e-[d]entity', an international program of video works by women, which shows ways female identity is expressed in online environments, distributed by the Video Data Bank, Art Institute of Chicago -- http://www.vdb.org

    Since 1999, Huffman has co-organized and co-curated four annual international competitions and on-line exhibitions of 3D environments Web3Dart, with Karel Dudesek (London/Vienna). The website is the largest collection of 3D online works and is the most comprehensive works of it's kind. It has featured more than 150 artists from more than 35 countries. Exhibited internationally, it is the official Art Show at the 3D Web Symposium and has been shown in festivals, exhibition and art spaces internationally.

    Huffman's Internet networking projects include FACES (2000), a rapidly growing online collection of websites by women.

    Huffman co-initiated FACES, a mailing list for women working in the various fields of new media, in 1997. This list now numbers 300+ women working in the educational, artistic, technical, research, and social areas of media work. FACES meet for networking and project development at international festivals (ISEA, EMAF, Ars Electronica, Transmediale, documentaX) and has become a vital link in the info_network of informed media art women.

    FACES was inspired by FACE SETTINGS (1996-1998), a performance/installation work with Eva Wohlgemuth (Vienna) that investigated communication between women, in on-line and in real life situations, mostly at special performing dinner events http//thing.at/face/. SIBERIAN DEAL (1995) a pioneering work, also with Eva Wohlgemuth, was a project investigating value and the exchange of objects and information while travelling together in Siberia.

    As a freelance artist, curator, writer and networker, Huffman was based in Austria from 1991-1998. She was a member of HILUS Intermediale Projekt Forschung, Vienna (1995-1998), where she made her media library available for research, and organized public events like the successful social office meetings 'Info-Coctails'. As a writer, Huffman has contributed to Telepolis, Rhizome, ISEA and other online journals. In 1996, Huffman collaboratively initiated the column pop~TARTS for the Telepolis online journal with Margarete Jahrmann and maintained the column until 1999.

    Huffman was curator/producer of the Contemporary Arts Television Fund, a project that joined WGBH TV (Boston's public television station) & The Institute of Contemporary Art Boston (1984-1991). She was Curator for Media and Performing Arts at The ICA from 1989 -1991. She was Curator at the Long Beach Museum of Art, and director of it's regional media art center, with a collection that focused on the history of Southern California media art, from 1979-1983.

  • Joan Jonas -- http://www.moma.org/collection/artist.php?artist_id=2930
  • Brenda Laurel -- http://www.tauzero.com/Brenda_Laurel/index.html
    Brenda Laurel is a designer, writer, researcher, and performer. She serves as a member of the graduate faculty in Media Design at the Art Center College of Design in Pasadena. She is also active as a consultant in interaction design and research. For 25 years, her work has focused on experience design, interactive story, and the intersection of culture and technology. She holds an M.F.A. and Ph.D. in theatre from Ohio State University. After a four-year stint studying gender and technology at Interval Research, Brenda co-founded Purple Moon to create interactive media for girls in 1996 (acquired by Mattel in 1999).

    In 1990 she co-founded Telepresence Research, developing technology and applications for virtual reality and remote presence. Other employers include Atari, Activision, and Apple. Among her many publications are The Art of Human-Computer Interface Design (Editor, 1990), Computers as Theatre (author, 1991, second ed. 1993), and Utopian entrepreneur (M.I.T. Press, 2001). In addition to public speaking and consulting, Brenda is a member of the boards of several companies and organizations, including Cheskin Research, the Communication Research Institute of Australia, and the Comparative Media Studies program at M.I.T.

  • Cecile Le Prado-- http://mac-texier.ircam.fr/textes/c00002785/
    Cecile Le Prado is a composer and Associated Professor at the CEDRIC/ Conservatoire National of Arts et Metiers, Paris France.
  • Margaret Morse
    Margaret Morse is Professor of Film and Digital Media at the University of California at Santa Cruz. She has written numerous articles on media, embodiment, art, aerobics, sport, food and more as well as two books Virtualities Television, Media Art and Cyberculture (Indiana UP 1998) and, as main author, Hardware, Software, Artware (ZKM and Cantz Verlag, 1997).
  • Jaishree K. Odin -- http://www.hawaii.edu/is/faculty/odin.htm
  • Pauline Oliveros -- http://www.deeplistening.org
    Pauline Oliveros is an internationally acclaimed composer, performer, humanitarian, and pioneer in American music. For five decades she has explored sound and forged new ground for herself and others. Through improvisation, electronic music, teaching, ritual, and meditation she has created a body of work with such breadth of vision that it profoundly affects those who experience it. Oliveros was born and raised in Houston, Texas to a musical family. In 1985 she started the Pauline Oliveros Foundation, a non-profit organization in New York, to "support all aspects of the creative process for a worldwide community of artists." Currently she serves as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute in Troy NY and as Darius Milhaud Composer-in-residence at Mills College in Oakland CA.
  • Simone Osthoff
    Simone Osthoff is Assistant Professor of Critical Studies at the School of Visual Arts, Penn State University. Her works have been exhibited in solo and group shows both nationally and internationally, and her research and publications, focusing on Brazilian Visual Culture and New Media Art, have been published in the New Art Examiner, World Art, Leonardo, and as chapters in Routledge and MIT books, as well as in other art journals and on-line venues. She is currently a panel member of the Leonardo Digital Review and a Fulbright Scholar lecturing and researching in Brazil in 2003.
  • Nancy Paterson -- http://www.vacuumwoman.com
    Nancy Paterson is a Toronto based electronic media artist working primarily in the field of interactive installations. She is Coordinator of the Artist in Residence program at the Centre for Creative Communications and Visiting Artist at the School of Communication Arts, Seneca@York. She is an Instructor at the Ontario College of Art & Design and Facilities Coordinator at Charles Street Video in Toronto. Documentation of recent mediaworks such as STOCK MARKET SKIRT, an internet-interactive mediawork which explores the intersection of technology, art and fashion, is available at http://www.vacuumwoman.com
  • Sheila Pinkel
    Sheila Pinkel is an artist and associate professor of art at Pomona College, Claremont, Ca. where she teaches photography, history of photography and computer graphics. She has been an international editor of Leonardo for the last twenty years.

    Her art work deals with her love of nature and concern about its destruction. During the 1980s she focused her work on the growth of the military-industrial complex, completing thirteen art installations entitled "Thermonuclear Gardens" between 1982-1992. Since then she has followed the lives of refugees who survived the Indochina Wars in Cambodia and Laos, photographed and written about the tribal peoples of Balochistan, Pakistan, and most recently completed a 32' x 5' mural for the Los Angeles Department of Cultural Affairs about the Tongva, the Native American tribal peoples pre-dated the Spanish in the Los Angeles area and who continue to live in this area today.

  • Patric Prince
    Patric D. Prince is an art historian and theorist specializing in the history of computer art. In addition to teaching at the Pratt Institute in Brooklyn, New York, California State University, Los Angeles, and West Coast University, Los Angeles she has curated new media art exhibitions since the early 1980s.

    Prince has authored an archive CD-ROM compilation of images documenting past SIGGRAPH art exhibitions from 1981 - 1990. Patric Prince was a co-director and founder of CyberSpace Gallery in West Hollywood. She organized the SIGGRAPH Traveling Art Show from 1989-1996. Prince lectures internationally and has written numerous articles on the history of art and technology. She has archived an extensive collection of early materials relating to art and technology and is currently an outside consultant for CACHe, Critical and Archival Histories of the Electrionic Arts.

  • Celia Rabinovitch
    Celia Rabinovitch is an artist, writer, and professor whose paintings are exhibited internationally. Her book, Surrealism and the Sacred Power, Eros, and the Occult in Modern Art (Icon Editions,Westview Press, 2002) is a ground-breaking work in the history of art and the history of religions. Rabinovitch contributes features for Artweek, Metalsmith and American Ceramics (N.Y.C.), C Magazine (Toronto) and The Dictionary of Art (London). She earned a Ph.D. in the history of art and religions at McGill University, and her M.F.A. (painting) at the University of Wisconsin.
  • Sonya Rapoport -- http://users.lmi.net/sonyarap/
    Sonya Rapoport, since the mid-70's, has produced computer assisted cross-cultural multi-media artworks and interactive installations. From 1994 until the present she has been creating artworks for the web. Her artwork references scientific, biblical, and gender topics.

    Her work reflects an ideology of transmutation trans-cultural, trans-sexual and trans-genic. She has collaborated in art/science projects with the Lawrence Berkeley Laboratory; Anthropology, and Plant & Microbiology Departments at the University of California, Berkeley; and the Instituto de Agricultura Sostenible in Cordoba, Spain. International venues for viewing Rapoport's work have been Sao Paulo, Brazil; Ars Electronica, Austria; Documenta, Kassel, Germany; the Kuopio Museum, Finland; ISEA conferences; and traveling exhibitions sponsored by the U.S. Information Service and the National Endowment for the Arts.

    Recently she exhibited and lectured about her work at the Second International Art Biennial-Buenos Aires, Argentina. In March, 2003 Rapoport presented her art concept for communicating altruisms to extraterrestrials at the SETI (Search For Extraterrestrial Intelligence) workshop in Paris.

    Since 1988 Rapoport has created art projects for the Internet for which she received a California Arts Council grant for ACEN Telecommunication. Rapoport serves on the governing board of LEONARDO/ISAST. Her art critiques appear in their MIT publications. She is a member of the Community Advisary Committee for the Berkeley Art Museum, University of California.

  • Leslie Ross -- http://www.leslieross.net
    Leslie Ross studied modern and baroque bassoon in Montreal and Ottawa. In 1985 her interest in the development and construction of the bassoon led her to work with Philip Levin where she built the Levin-Ross baroque and classical bassoons. She set up her own bassoon building workshop in NYC in 1993. She continues to work on period instruments with such groups as the Handel & Haydn Society Orchestra, Concert Royal, Studio de Musique Ancienne de Montreal and Les Arts Florissants of Paris.

    Her solo works include performances on acoustic bassoon, amplified bassoon through electronic sound processors and samplers and interactively with computers, and on works created for various constructed instruments. The Tentacled Bellows; a foot powered drone machine that combines the principles of an organ and bagpipe (built as a portable armourlike, houselike structure), being one of these constructs, a circular bowed and plucked structure (electronically manipulated) and 9 to 12 foot long papier mache horns being two others.

    In The Goat Story(Jan.1997) a collaboration with choreographer Scott Heron she built an installation in the form of a wind-chime forest activated by oscillating fans, a wire bird-cage gown with live birds, and created a sound score from live amplification of running and bubbling water, of the installation and of the birds as well as playing shawm and bassoon and using prepared tapes. In PIG for choreographer Linda Austin she transformed an upright piano into a manipulable music box and built several dozen wind up percussive and strummed sound sculptures

    She was the recipient of an Artists residency for the construction and installation of sound sculptures at Het Apollohuis in Eindhoven, Holland in August 1996, with a gallery showing for the month following.

  • Valerie Soe
    Valerie Soe is a writer and experimental videomaker living and working in San Francisco whose productions include Mixed Blood, Picturing Oriental Girls A (Re) Educational Videotape, (Best Bay Area Short, Golden Gate Awards, San Francisco International Film Festival) and "All Orientals Look the Same," (Best Foreign Video, Festival Internazionale Cinema Giovani; First Place, Experimental Category, Visions of U.S. Festival). Other awards include a James D. Phelan Art Award in Video, a 1994 Cultural Equity Grant from the San Francisco Art Commission, a 1994 Art Matters Fellowship, and a 1992 Rockefeller Foundation Intercultural Film/Video Fellowship.

    Her most recent video, Beyond Asiaphilia, is an experimental video that looks at miscegenation, lust and Asian masculinity from a personal perspective, as filtered through the lens of Hong Kong movies. It premiered in May 1997 at the Long Beach Museum of Art.

    Soe also writes art criticism and has been published in Afterimage, High Performance, Cinematograph and The Independent, among others. She has curated several exhibitions including Girl To Woman Stories For The New Feminism at the University of California, Irvine's Fine Arts Gallery, Teen Scream Girls Make Movies at the 1998 Madcat Women's Film Festival and Teen Riot at Artists' Television Access and Yerba Buena Center for the Arts, as well as several programs on experimental Asian American film and video. She is also on the Board of Directors for Film Arts Foundation and the Association of Independent Video and Filmmakers and is a founding member of X-Factor, an experimental film and videomaker coalition. She is currently on faculty at San Francisco State University's Asian American Studies Department.

  • Zoe Sofia
    Zoe Sofia is a noted Australian cyber and cyber-gender theorist and the author of "Virtual Corporeality: A Feminist View," (In Cybersexualities edited by Jenny Wolmark; Edinburgh University Press, 1999) as well as many other essays.
  • Carol Stakenas
    http://www.welcometolace.org/pages/view/people/ - LACE
    Carol Stakenas is the Deputy Director and Curator of Creative Time, New York City’s multidisciplinary public arts presenter. She has curated and produced public art at remarkable sites such as the Brooklyn Bridge Anchorage, Times Square and Grand Central Terminal. Recently, she created and co-chaired the international seminar, Blur 02 Power at Play in Digital Art and Culture, hosted by Creative Time, the New School and Parsons School of Design. This ongoing forum in New York brings together artists, curators, and new technology experts to discuss the evolving nature of cultural production and artists' uses of new technologies. She regularly speaks at a range of institutions including the Boston Cyberarts Festival, Concordia University in Montreal, The Leeds Film Festival, The University of Wisconsin-Madison and Banff Centre for the Arts, to name a few.
  • Dawn Stoppiello -- http://www.troikaranch.org
    Troika Ranch has performed throughout the United States in venues including The Duke on 42nd Street, New York City; the Walker Art Center, Minneapolis; the Luckman Fine Arts Center, Los Angeles and the Lied Center for Performing Arts, Lincoln, Nebraska. Troika Ranch has been awarded creative residencies at HERE Arts Center, New York City; the Liberty Science Center, Jersey City, New Jersey; The Bemis Center for Contemporary Art, Omaha, Nebraska; STEIM (Studio for Electro-Instrumental Music) Amsterdam, The Netherlands; and a New York State DanceForce Creative Residency in Potsdam, New York. Troika Ranch has been supported by the Brooklyn Arts Council, the Jerome Foundation, Meet the Composer, the New York Foundation for the Arts - New York Arts Recovery Fund, the Barbara Bell Cumming Foundation, The Puffin Foundation, and the Nancy Quinn Fund.

    Dawn Stoppiello (Artistic Director) Choreographer/Dancer Dawn Stoppiello's career began in Portland, Oregon at the Jefferson High School for the Performing Arts. She left Oregon for Los Angeles where she received her degree in dance from California Institute of the Arts in 1989. During that time she was honored with a Princess Grace Foundation scholarship and performed professionally with Jazz Tap Ensemble and Chicago Repertory Dance Ensemble. After graduation, she became a member of the Bella Lewitzky Dance Company where she remained until 1992. Stoppiello has taught on the dance faculty of Loyola Marymount University, Idyllwild School of Music and the Arts and the University of Maryland, Baltimore County. She was an invited panelist for the Beyond the Divide Symposium as part of the Adelaide Festival 2002 in Adelaide, Australia where she lectured on her work with interactive computer systems. Stoppiello has taught master classes at numerous universities around the country and has lectured on interactive performance in Monaco, Holland, England, Canada and throughout the United States.

  • Wolfgang Strauss
    Born in 1951, Wolfgang Strauss is architect and research artist. He studied Architecture and Visual Communication and has held teaching positions in Interactive Media Design at the School of Fine Arts HDK Berlin, at the KHM Media Art School in Cologne, at the School of Fine Arts in Saarbrcken and the Kunsthochschule (Art Academy) in Kassel. His recent work is about intuitive interface environments related to the human body and digital media space. "With digitization, the field of architecture extends: we must build the exterior, but also electronic interior, spaces to create the aesthetics of a new eco-system."

    The work of Monika Fleischmann & Wolfgang Strauss has been exhibited widely throughout the world. Their work has been included in exhibitions or awarded at Ars Electronica - Linz, ZKM -Karlsruhe, Nagoya Science Museum, at SIGGRAPH and presented at ICC Tokyo, Imagina - Monte Carlo and ISEA.

    In 1988 Fleischmann and Strauss had been co-founders of Art + Com in Berlin, a research institute for computer-assisted media art, architecture, design. In 1997 they created the MARS (Media Arts Research Studies) exploratory media lab at the Fraunhofer Institute for Media Communication in Sankt Augustin near Bonn. MARS consists of an interdisciplinary group of artists, technicians, computer and culture scientists. Focusing on human presence in and experience of new technologies, MARS investigates in the aesthetic of interactivity in the new media environments now integrated in our everyday life. The human body is seen as the interface between the interior and the exterior, between reality and virtual reality. MARS develops full body interfaces which transfer the perception of our surroundings to the way we interact with digital space. Creating interfaces as synaesthetic sensors for the senses, MARS opens up for new digital spaces for hearing, seeing and feeling.

  • Alluquere Rosanne Stone -- http://www.sandystone.com/
  • Nell Tenhaaf -- http://www.yorku.ca/tenhaaf/
  • Steina
    Steina was born in Reykjavik, Iceland, in 1940. She studied violin and music theory, and in 1959 received a scholarship from the Czechoslovak Ministry of Culture to attend the State Music Conservatory in Prague.

    Woody and Steina married in Prague in 1964, and shortly thereafter she joined the Icelandic Symphony Orchestra. After moving to the United States in 1965 she worked in New York City as a freelance musician. She began working with video in 1969, and since then her various tapes and installations have been exhibited in USA, Europe and Asia. Although her main thrust is in creating Video Tapes and Installations she has recently become involved in interactive performance in public places, playing a digitally adapted violin to move video images displayed on large video projectors.

    In 1971 she co-founded The Kitchen, an Electronic Media Theater in New York. Steina has been an artist-in-residence at the National Center for Experi-ments in Television, at KQED in San Francisco, and at WNET/Thirteen in New York. In 1988 she was an artist-in-residence in Tokyo on a U.S./Japan Friendship Committee grant. She has received funding from the New York State Council on the Arts, the National Endowment for the Arts, the Corporation for Public Broadcasting, the Guggenheim Foundation, the Rockefeller Foundation, the American Film Institute and the New Mexico Arts Division. She received the Maya Deren Award in 1992 and the Siemens Media Art Prize in 1995. In 1993 she co-curated with Woody the exhibition and catalogue, Eigenwelt der Apparatewelt (Pioneers of Electronic Art) for Ars Electronica in Linz, Austria. In 1996 she served as the artistic co-director and software collaborator at STEIM (Studio for Electronic Instrumental Music) in Amsterdam. In 1996 Steina and Woody showed eight new media installations at the San Francisco Museum of Modern Art, an exhibition repeated in Santa Fe a few months later. Her installation, titled Orka was featured in the Icelandic Pavilion at the 1997 Venice Bienale. In 1999 she showed three installations in three countries Nuna in Albuquerque, New Mexico, Textures in Reykjavik, Iceland and Machine Vision in Milano, Italy. She created two installations for the Art Festival 2000 in Reykjavik, Iceland. In 2001 she was invited to festivals in Norway, Russia, Estonia, Portugal, Montreal, England and Italy. Between July and October of 2002 she realized four installations in four locations in her hometown of 22 years, Santa Fe, NM

  • Eva Wohlgemuth http://www.cornerhouse.org/art/art-exhibitions/eva-wohlgemuth -- Cornerhouse

    Eva Wohlgemuth (*1955), based in Vienna (A), realized several landart and concept projects before she profiled as a media and web-artist. She is now producing in the field of reactive visual systems installation (sculpture, draw, paint) and media. E.W received several prizes and took part in selected exhibitions, amongst them the Documenta X (Web Section)

    Amongst her most known pieces are Siberian Deal (1995) in collaboration with Kathy Rae Huffman.

    Face Settings (1996, 1997) in collaboration with Kathy Rae Huffman which led to the foundation of the Faces Mailing list.

  • Pamela Z -- http://www.pamelaz.com
    Pamela Z is a San Francisco-based composer/performer and audio artist who works primarily with voice, live electronic processing, and sampling technology. She creates solo works combining operatic bel canto and experimental extended vocal techniques with found percussion objects, spoken word, "MAX MSP" on a PowerBook, and sampled concrte sounds triggered with a MIDI controller called The BodySynth which allows her to manipulate sound with physical gestures. She has toured extensively throughout the United States, Europe, and Japan and has performed in numerous festivals including Bang on a Can at Lincoln Center in New York, the Interlink Festival in Japan, Other Minds in San Francisco, and Pina Bausch Tanztheater's 25 Jahre Fest in Wuppertal, Germany. She has composed, recorded and performed original scores for choreographers and for film and video artists, and has done vocal work for other composers (including Charles Amirkhanian, and Henry Brant). Her large-scale, multi-media performance works, Parts of Speech and Gaijin, have been presented at Theater Artaud in San Francisco, and her audio works have been included in exhibitions at the Whitney Museum of American Art in New York and the Erzbischfliches Dizesanmuseum in Cologne. Pamela Z has composed commissioned works for new music chamber ensembles the Bang On A Can Allstars, the California E.A.R. Unit, and the Left Coast Chamber Ensemble. She is the recipient of numerous awards including the CalArts Alpert Award in the Arts, the ASCAP Music Award, and the NEA and Japan/US Friendship Commission Fellowship. She holds a music degree from the University of Colorado at Boulder.

Women, Art & Technology