Victoria Vesna

Victoria Vesna (born 1959) is a professor and digital media artist. She is known for her feminist video, computer and internet art and has been active since the early 1980s.[1][2][3] Along with collaborators, she is thought to have created one of the first interactive artworks related to nanotechnology (sometimes called nanoart).[4][5]

Early life and education

Victoria Vesna was born in Washington D.C. She received a Fine Arts Diploma from the University of Belgrade, Yugoslavia in 1984. In 2000, she completed her Ph.D. at the Centre for Advanced Studies in Interactive Arts, University of Wales.[6]

Career

Victoria Vesna is chair of the Department of Design Media Arts at the UCLA School of the Arts and Architecture as well as director of UCLA's Art|Sci Center and the UC Digital Arts Research Network. She received the Oscar Signorini award for best net artwork in 1998 and the Cine Golden Eagle award for best scientific documentary in 1986.[7][8]

Through creative research, she examines perception and identity shifts in connection with scientific innovation as well as examining bio and nanotechnology through art.[9]

Exhibitions include Spaceship Earth at the Centre of Contemporary Art Znaki Czasu in Torun (2011) and MORPHONANO at the Beall Center for Art and Technology, Irvine, California (2012).[10]

In Christopher Hanson's review of her book Database aesthetics: Art in the age of information overflow, he says that Vesna provides an engaging collection of essays about changing aesthetics in interactive art and its relationship to the database.[11]

Personal life

Formerly married to Bogdan Maglich, Vesna has two children by that marriage, which ended in divorce.

Works

  • Bodies Corp 2.0 (2015)
  • Octopus Mandala Glow (2013), in collaboration with Ray Zimmerman, Dawn Faelnar, Mike Datz, Peter Rand, Steven Amrhein, and others
  • ACOUSTIC NETWORKS OF BIRDS (2012), in collaboration with biologist Charles Taylor and physicist Takashi Ikegami
  • Quantum Tunneling (2008)
  • Water Bowls (2006)
  • Mood Swings (2006)
  • Datamining Bodies (2004) in collaboration with Gerald de Jong and David Beaudry
  • Zero@wavefunction (2002) in collaboration with nanoscientist James Gimzewski[5][12]
  • Cell Ghosts (2001)
  • Building a Community of People with No Time (2001)
  • Datamining Bodies (1999)
  • Bodies© InCorporated (1996)[13]
  • Virtual Concrete (1995)
  • Another Day in Paradise (1992)[14]

Publications

  • Database aesthetics: Art in the age of information overflow (2007), University Of Minnesota Press.[15][11]
  • Mel Chin-Provocative Eco-Art in Action Academic journal article from Art Journal, Vol. 65, No. 1.
  • Toward a Third Culture: Being In Between Art and Electronic Media. Phaidon Press. 2008.

Exhibitions

Solo exhibitions

  • MORPHONANO: Beall Center for Art and Technology, Irvine, California (2012)*Spaceship Earth: Centre of Contemporary Art Znaki Czasu in Torun (2011)
  • Hox Zodiac: Microwave International New Media Arts Festival ALCHEMY, School of Creative Media, City University of Hong Kong, Hong Kong.(2011)
  • Quantum Tunneling: Median Kunst Labor (Media Art Laboratory), Graz, Austria.(2008)
  • Cell Ghosts: Apeejay Media Gallery, New Delhi.(2005)
  • Zero@wavefunction: Biennale for Electronic Arts, Perth. John Curtin University of Technology, Perth, Australia. (2002)

Group exhibitions

  • TechNoBody, Pelham Art Center, New York, NY(2015)[16][17]
  • "Red Angel," Installation. Art & Science, Aperto '86, Venice Biennale, Italy (1986)

References

  1. ↑ Women of Vision. Histories in Feminist Film and Video. 9 (NED - New ed.). University of Minnesota Press. 2001. pp. 235–247. doi:10.5749/j.cttts8r3.19. ISBN 9780816633715. JSTOR 10.5749/j.cttts8r3.19.
  2. ↑ Colman, Alison (2005). "Constructing an Aesthetic of Web Art from a Review of Artists' Use of the World Wide Web". Visual Arts Research. 31 (1): 13–25. JSTOR 20715365.
  3. ↑ Brown, Kristen (1999). "Trends in computer and technological art" (PDF). Art Criticism. 14 (2): 94–106 – via ARTBibliographies Modern, ProQuest.
  4. ↑ Spector, Tami I. (2008-07-25). "Nanotechnology, Nanoscale Science and Art". Leonardo. 41 (4): 348–349. ISSN 1530-9282.
  5. 1 2 "Zero@wavefunction". notime.arts.ucla.edu. Retrieved 2018-03-28.
  6. ↑ UCLA faculty profile; accessed December 2, 2017.
  7. ↑ Profile, LABoral website; accessed December 2, 2017.
  8. ↑ "XXV Oscar Signorini Prize – Robotic Art – NOEMA – Technology & Society". noemalab.eu. Retrieved 2018-03-28.
  9. ↑ Profile, elmcip.net; accessed December 2, 2017.
  10. ↑ Profile, MutualArt.com; accessed December 2, 2017.
  11. 1 2 Christopher Hanson, review of Database Aesthetics in Discourse 29:1, Winter 2007, p. 189., jstor.org; accessed December 2, 2017.
  12. ↑ Ridder-Vignone, Kathryn D. de (2012-08-31). "Public Engagement and the Art of Nanotechnology". Leonardo. 45 (5): 433–438. ISSN 1530-9282.
  13. ↑ Kurtz, Glenn A. (April 1997). "Victoria Vesna at the San Francisco Art Institute". Artweek. 28: 20.
  14. ↑ Vesna, Victoria (1998). "Another Day in Paradise and Virtual Concrete: Installation and Telepresence Works". Leonardo. 31 (1): 13–19. ISSN 1530-9282.
  15. ↑ Murray, Soraya (2009). Vesna, Victoria; Paul, Christiane, eds. "Digital Aesthetics: Two Handbooks". Art Journal. 68 (3): 112–115. JSTOR 25676496.
  16. ↑ "Virtually Real: Conversations on TechNoBody – Part I | Anti-Utopias". anti-utopias.com. Retrieved 2018-03-28.
  17. ↑ "Virtually Real: Conversations on TechNoBody – Part II | Anti-Utopias". anti-utopias.com. Retrieved 2018-03-28.
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