Kristin Lucas is a media artist who works in video, performance, installation and on the Internet. Her work explores the impacts of technology on humanity, blurring the boundary between the technological and corporeal.[2][failed verification] In her work she frequently casts herself as the protagonist in videos and performances where her interactions with technology lead to isolation, and physical and mental contamination.[3]
Kristin Lucas | |
|---|---|
 | |
| Born | 1968 |
| Nationality | American |
| Education | MFA Stanford University, BFA Cooper Union |
| Known for | Performance art and video art |
A key theme in Lucas' work is the blurring boundary between humanity and technology and the relationship between technology and disease. Her character often presents a diseased body to be diagnosed by technology.[4] In Whatever Your Mind Can Conceive (2007), her character grows digital sores on her skin.[5][6] She explored this theme in her 2007 work Change of Name, where she legally changed her name to the same name. When she went before the judge at the hearing, she poetically used words like "refresh" "empty my cache" and "reboot." This work has been called an "ontological intervention" that negotiates the boundary "between the body and the machine."[7] Identity exchange appeared again in her and Andrew Kortina's contribution to Rhizome at the New Museum's Seven on Seven project, where they proposed using Twitter as an interface for swapping identities.[8]
Lucas' work has been commissioned by the Dia Art Foundation, and is in the collection of the Museum of Modern Art.[9][10] Her videos are distributed by Electronic Arts Intermix and her work is represented by Postmasters.[11][12] Lucas was an Eyebeam resident in 2013.[13][14]
References
edit- ^ "Kristin Lucas". Electronic Arts Intermix. EAI. Archived from the original on 4 March 2016. Retrieved 24 June 2015.
- ^ Butler, Cornelia; Schwartz, Alexandra; Pollock, Griselda (2010). Modern Women: Women Artists at The Museum of Modern Art. New York: The Museum of Modern Art. pp. 512. ISBN 978-0870707711. Retrieved 13 June 2015.
- ^ Rush, Michael (April 2008). "Kristin Lucas at Postmasters" (PDF). Art in America: 159. Retrieved 13 June 2015.
- ^ High, Kathy; Miller Hocking, Sherry; Jimenez, Mona (2014). The Emergence of Video Processing Tools. Intellect Books. p. 207. ISBN 9781841506630. Retrieved 13 June 2015.
- ^ O'Neill-Butler, Lauren (January 2008). "Kristin Lucas, Postmasters Gallery" (PDF). Art Forum. Retrieved 13 June 2015.
- ^ Rush, Michael (April 2008). "Kristin Lucas at Postmasters" (PDF). Art in America: 159. Retrieved 13 June 2015.
- ^ Cubitt, Sean; Thomas, Paul (2013). Relive Media Art Histories. Cambridge, MA: MIT Press. p. 31. ISBN 9780262019422. Retrieved 13 June 2015.
- ^ Wilson, Michael. "Phreaks and Geeks". Artforum.com. Art Forum. Retrieved 13 June 2015.
- ^ "BETWEEN A ROCK AND A HARD DRIVE". Dia Art Foundation. Archived from the original on 15 June 2015. Retrieved 13 June 2015.
- ^ "The Collection: Kristin Lucas". MoMA. Retrieved 13 June 2015.
- ^ "Kristin Lucas". Electronic Arts Intermix. Retrieved 13 June 2015.
- ^ Lucas' artworks, such as “Password” (2007), “Involuntary Reception (excerpts)” (2000) and “Host” (1997) can be found in the Experimental Television Center Archive, Rose Goldsen Archive of New Media Art, Cornell University Library.
- ^ "Kristin Lucas | eyebeam.org". eyebeam.org. 2 May 2013. Retrieved 2016-01-28.
- ^ "Kristin Lucas - Department of Art and Art History - The University of Texas at Austin". www.utexas.edu. Retrieved 2016-01-28.
External links
edit
This article about an artist from the United States is a stub. You can help Wikipedia by expanding it. |