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Lynn Hershman Leeson's groundbreaking installation, performance, photography, video, digital, and film works have earned her an international reputation as a prodigious and innovative artist. This first historical and critical analysis of her work by prominent scholars and the artist herself brings nearly forty years of creative output into focus by tracking the development of her constant themes through each medium. The provocative essays in this volume, ranging from formal to theoretical to psychological to poetical analyses, establish her place at the forefront of contemporary art.
Hershman Leeson's work explores vision, spectatorship, and the construction of sexed subjectivity, touching on key feminist concerns relating to the lived experience of the physical body and the body as a medium on which social law and values are inscribed. Her projects of self-analysis and self mythification explode stable notions of identity. The Art and Films of Lynn Hershman Leeson demonstrates how Hershman Leeson's work uniquely mirrors fragmented human subjectivity at the beginning of the twenty-first century. Especially useful are the artist's updated chronology and a DVD with excerpts from several of her works.
Copub: Henry Art Gallery, University of Washington
- Sales Rank: #2971766 in Books
- Published on: 2005-12-05
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .75" w x 7.00" l, 1.42 pounds
- Binding: Paperback
- 248 pages
Review
"Lynn Hershman is regarded as the most influential female artist of new media."
From the Inside Flap
"Lynn Hershman is regarded as the most influential female artist of new media."—Rudolph Freiling, Curator, Media Art, ZKM Mediammuseum
"Lynn Hershman Leeson's universe is the super-radical and unstoppably empowered kindergarten of all our wildest dreams: where no limit exists to our optimism and our curiosity, where even our intellects can bask in glee and play. Working alongside her is one of the true delights of my life. She makes my cells rejoice. I love her with a will."—Tilda Swinton
"Lynn Hershman applies her wise intelligence, inspired humor, and good emotional sense to life in our cyber-environment. Her recent film Teknolust is a humanist's guide to real technological opportunities that we nevertheless barely imagine-it's just one channel of the fantastic course tracked by The Art and Films of Lynn Hershman Leeson."—Richard Shiff, Director, Center for the Study of Modernism, The University of Texas at Austin
"As the first sustained critical exploration of Lynn Hershman's artistic practice, this anthology offers a rich context for understanding the artist's pioneering works. The world that Hershman has created through her art is populated by doubles and clones, tele-robots, and artificial intelligences living on the Internet-all of them engaged in the possibilities of constructing identity. The interwoven narratives forming the matrix of Hershman's work are unraveled here in lucid and engaging essays that provide an in-depth reading of her projects and trace their influence in the fields of visual arts and pop culture."—Christiane Paul, Adjunct Curator of New Media Arts, Whitney Museum of American Art
"Lynn Hershman is simply one of the most brilliant and original artist-filmmakers in the world today."—Eleanor Coppola, Artist/Filmmaker
"You've been my best model of courageous living."—Sheldon Renan, Founder, Pacific Film Archive, UC Berkeley
"With brilliant, imaginative fluidity, Lynn Hershman moves between many worlds and mediums—between fact and fiction, between past, present and future times, and between live performance, writing, video, film and cyberspace."—Moira Roth, Trefethen Professor of Art History, Mills College
About the Author
Lynn Hershman Leeson is Emeritus Professor at the University of California, Davis, A.D. White Professor at Large at Cornell University, and editor of Clicking In: Hot Links to a Digital Culture (1996). Meredith Tromble is visiting faculty at the San Francisco Art Institute and editor in chief of Art Contemporaries. Robin Held, currently Chief Curator at the Frye Art Museum in Seattle, is the curator of Hershmanlandia: The Art and Films of Lynn Hershman Leeson, a retrospective of Lynn Hershman Leeson's work.
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5 of 5 people found the following review helpful.
Excellent overview while providing detailed analyses
By L. Gamble
Documenting 35 years of cutting-edge work from one of America's most important contemporary artists, The Art and Films of Lynn Hershman Leeson is a "must have" for academics, artists and anyone interested in contemporary film, video, performance art, installation art, feminism or new media. If Leeson's range of media seems impressive, run down the list of her technical innovations, which reads like the dreams of several artists rather than the achievement of one (a theme, by the way, underscored throughout her work): creator of one of the first interactive videodisc artworks, one of the earliest networked robotic art installations, the first artwork to use touch-screen interface and, most recently, a process for making virtual sets, called LHL, designed for her first feature film, Conceiving Ada. Her reputation as a constant innovator and "pioneer of new media" isn't surprising, unlike the fact that this book is the first comprehensive look at her work. If you don't know about Lynn Hershman Leeson already, you should.
Published in conjunction with the exhibition Hershmanlandia: The Art and Films of Lynn Hershman Leeson, this book does an excellent job of both providing coverage while offering detailed analyses of Leeson's work. Edited by artist and art historian Meredith Tromble, the text includes a well-balanced selection of multidisciplinary essays written by art critics, historians and curators, film historians and theorists, and Hershman herself. Hershman's "Private I: An Investigator's Timeline," gives a succinct yet detailed account of her career while reenacting her playful, witty and sophisticated use of autobiography as a means to articulate the complexities of subjectivity in general, where binary distinctions such as public vs. private, personal vs. political, human vs. machine, art vs. science, fantasy vs. reality, and art-making vs. world-making are, through a plethora of odd meetings and wild matings, playfully problematized and profoundly upended.
The collection of essays are, for the most part, concise and insightful, produced by some of the best scholars in their respective fields. For example, Abigail Solomon-Godeau reads Leeson's strategies of "conscientious objectification," her "intervention into the mechanics of spectacle," as a form of "ethical self-reflection," while Amelia Jones locates Leeson in a genealogy of performative photographic self-display routed through Claude Cahun, recognizing Leeson's ability to simultaneously affirm both surface and depth in an image, the "simulacral nature of postmodern culture" and the lived experience of a subject in the flesh--in this case, "female experience in patriarchy." David E. James also addresses Leeson's work as a performance of self, but shows how Leeson complicates and extends this strategy by working with the influences, tensions and contradictions that circulate between autobiography (as authorial agency, biographical truth as well as fabrication) and the materiality of representation (in this case video), throwing into relief the tenuous and porous boundaries between the individual and the social, subjects and objects of knowledge, truth and fiction, life and death, and trauma and healing.
The book contains 17 color plates, a good number of figures, and a beautifully organized DVD that includes presentation of the artworks (both stills and clips), more essays on Hershman's work, and selected histories: videos, films, exhibitions and awards. While much of the material overlaps, the DVD will also point you to Hershman's website and impressive web-based projects, such as Agent Ruby. Be sure to check them out.
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