- Contracts and Projects
-Poetry and Narrative
-Non-Fiction
- Selected Group Exhibitions, Readings and Panels
- Installations
- Selected Performances
- About Judy Malloy
CONTRACTS AND PROJECTS
POETRY AND NARRATIVE
NON-FICTION
SELECTED GROUP EXHIBITIONS, READINGS AND PANELS
INSTALLATIONS
SELECTED PERFORMANCES
About Judy Malloy
Judy Malloy is a poet who works at the conjunction of
hypernarrative,
magic realism, and information art. Her work
has been exhibited and published
internationally including
the 2008 Electronic Literature Conference, San
Francisco Art
Institute, Tisch School of the Arts, NYU, Sao Paulo
Biennial,
the Los Angeles Institute for Contemporary Art, Boston
Cyberarts
Festival, The Walker Art Center, Visual Studies Workshop,
Environmental Film
Festival Ithaca, NY, Eastgate Systems,
E.P. Dutton, Tanam Press, Seal Press,
MIT Press,
The Iowa Review Web, and Blue Moon Review.
A pioneer on the Internet and in electronic literature,
in 1986 she wrote
and programmed the seminal hyperfiction
Uncle Roger, and in the
ensuing years she created a
series of innovative hypernarratives works
published
by Eastgate and on the Internet, including its name
was
Penelope (Eastgate Systems) and l0ve0ne, the
first selection in
the Eastgate Web Workshop.
In 1993, she was invited to Xerox PARC where she
worked
in Computer Science Laboratory as the first artist
in their
artist-in-residence program. In 1994,
she created one of the first arts
websites,
Making Art Online. (currently hosted on the
website of
the Walker Art Center)
As an arts journalist and Internet information developer, she has
worked
most notably as Editor of The New York Foundation for the
Arts sponsored
NYFA Current, (formerly Arts Wire
Current) an Internet-based
National journal on social, economic,
philosophical, and political issues in
the arts and culture.
She is the editor of Women, Art & Technology, (MIT Press.
2003)
and she recently produced an Authoring Software Blog, in
conjunction
with the Electronic Literature Conference.
Malloy's early work included information art installations,
such as
Technical Information, Site, 1981; audio-visual
performances, such as
Super Lucy, Target Video, 1982;
and a series of card catalogs,
1976-1981 and electromechanical
books. (begun in 1982) Although they can be
read sequentially,
these were meant to be non-sequential works that combine
words
and pictures so that neither are the words descriptions of
the
pictures nor are the pictures illustrations of the words.
Her recent work includes Concerto for Narrative Data,
(in press
Iowa Review Web) The Wedding
Celebration of Gunter and Gwen,
(exhibited in Visionary
Landscapes, North Bank Artists Gallery, as
part of the 2008
Electronic Literature Conference) and Revelations of
Secret
Surveillance, a complex work of hypernarrative, magic
realism,
and information art that employs metaphor, history,
narrative,
and annotated references to disclose the potential for
harassment,
control, and covert censorship inherent in covert
surveillance
and contemporary techno-surveillance.
Information extracted from: http://www.well.com/user/jmalloy/res.html
Academic year 2008/2009
© a.r.e.a./Dr.Vicente Forés López
© Pablo Ivars Mari
imapa@alumni.uv.es
Universitat de València Press