Lynn Hershman-Leeson
Nacimiento : , Cleveland, Ohio, USA
Historia
Over the last five decades, artist and filmmaker Lynn Hershman Leeson has received international acclaim for her art and films. She is recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. She is considered one of the most influential media artists and has made pioneering contributions in photography, video, film, performance, installation and interactive as well as net-based media art.
Her activist films on injustice within the art world and society at large have been praised worldwide. !Women Art Revolution! won first prize in the Montreal Festival for Films on Art and hailed by the Museum of Modern Art as one of the three best documentaries of 2012. Holland Cotter of the New York Times called it “the most comprehensive documentary ever made on the feminist art movement.” Her 2009 film Strange Culture – which the NY Time deemed “the perfect balance of form and content” and The Nation called “a brilliant and moving examination of fear and its manipulation” – resulted in the the release of an artist facing a prison sentence of 23 years.
Director
The final video in the four-part Cyborg series.
Self
Tell Them We Were Here is an inspirational feature-length documentary about eight artists who show us why art is vital to a healthy society and reminds us that we are stronger together.
Director
Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.
Director
A woman's personal life unfolds over twelve years in a video diary that simultaneously parallels and reflects global history. Personal fears and obsession dissolve into a story of triumph and empowerment as the protagonist eventually finds her voice.
Producer
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Writer
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Editor
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Director
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Director
In 2015 reknown Cuban artist Tania Bruguera was imprisoned in Havana after advocating for freedom of expression. Shortly after her release she returned to the United States and located Dr. Frank M. Ochberg, the founding father of trauma therapy, particularly PTSD and Stockholm Syndrome. The filmed therapy sessions between them exposes an intimate yet profound analysis of Cuba, surveillance and the politics in of repression embedded in government and family structures.
Editor
Documental que recorre la evolución del movimiento artístico feminista surgido en Estados Unidos durante la década de 1960. Su directora, Lynn Hershman Leeson fue partícipe activa de este movimiento y ha pasado 42 años documentándolo. A través de entrevistas íntimas, obras de arte provocativas y fragmentos de vídeos raramente vistos hasta ahora, nos acerca al que muchos historiadores e historiadoras consideran el movimiento artístico más significativo de finales del siglo XX.
Writer
Documental que recorre la evolución del movimiento artístico feminista surgido en Estados Unidos durante la década de 1960. Su directora, Lynn Hershman Leeson fue partícipe activa de este movimiento y ha pasado 42 años documentándolo. A través de entrevistas íntimas, obras de arte provocativas y fragmentos de vídeos raramente vistos hasta ahora, nos acerca al que muchos historiadores e historiadoras consideran el movimiento artístico más significativo de finales del siglo XX.
Herself
Documental que recorre la evolución del movimiento artístico feminista surgido en Estados Unidos durante la década de 1960. Su directora, Lynn Hershman Leeson fue partícipe activa de este movimiento y ha pasado 42 años documentándolo. A través de entrevistas íntimas, obras de arte provocativas y fragmentos de vídeos raramente vistos hasta ahora, nos acerca al que muchos historiadores e historiadoras consideran el movimiento artístico más significativo de finales del siglo XX.
Director
Documental que recorre la evolución del movimiento artístico feminista surgido en Estados Unidos durante la década de 1960. Su directora, Lynn Hershman Leeson fue partícipe activa de este movimiento y ha pasado 42 años documentándolo. A través de entrevistas íntimas, obras de arte provocativas y fragmentos de vídeos raramente vistos hasta ahora, nos acerca al que muchos historiadores e historiadoras consideran el movimiento artístico más significativo de finales del siglo XX.
Editor
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Writer
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Director
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Director
This project uses mixed reality convergence through which users can participate in some of the digital existing archive of Lynn Hershman Leeson, now housed in the Special Collections Library at Stanford University. Created in 2006, this project is one of the first artist archive projects in Second Life and has been exhibited at the Museum of Contemporary Art Montreal, ISEA and San Francisco Museum of Modern Art.
Narrator
This project uses mixed reality convergence through which users can participate in some of the digital existing archive of Lynn Hershman Leeson, now housed in the Special Collections Library at Stanford University. Created in 2006, this project is one of the first artist archive projects in Second Life and has been exhibited at the Museum of Contemporary Art Montreal, ISEA and San Francisco Museum of Modern Art.
Producer
Rosetta Stone es una biogenetista interesada en el desarrollo de la inteligencia artificial. En uno de sus experimentos crea tres criaturas con aspecto humano pero que realmente son máquinas inteligentes. Estas tres "hermanas" clonadas viven juntas en un apartamento, cada una tiene su carácter particular, sus propios deseos y sueños, pero todas tienen dos cosas en común: son extremamente propensas a los gérmenes patógenos de las ciudades y sólo pueden equilibrar sus organismos con esperma masculino.
Screenplay
Rosetta Stone es una biogenetista interesada en el desarrollo de la inteligencia artificial. En uno de sus experimentos crea tres criaturas con aspecto humano pero que realmente son máquinas inteligentes. Estas tres "hermanas" clonadas viven juntas en un apartamento, cada una tiene su carácter particular, sus propios deseos y sueños, pero todas tienen dos cosas en común: son extremamente propensas a los gérmenes patógenos de las ciudades y sólo pueden equilibrar sus organismos con esperma masculino.
Director
Rosetta Stone es una biogenetista interesada en el desarrollo de la inteligencia artificial. En uno de sus experimentos crea tres criaturas con aspecto humano pero que realmente son máquinas inteligentes. Estas tres "hermanas" clonadas viven juntas en un apartamento, cada una tiene su carácter particular, sus propios deseos y sueños, pero todas tienen dos cosas en común: son extremamente propensas a los gérmenes patógenos de las ciudades y sólo pueden equilibrar sus organismos con esperma masculino.
Production Design
Emmy Coer, un genio de la informática, idea un método de comunicación con el pasado, recurriendo a las ondas información inmortales. Ella se acerca al mundo de Ada Lovelace, fundadora de la idea de un lenguaje informático y defensora de las posibilidades de la "máquina diferencial".
Writer
Emmy Coer, un genio de la informática, idea un método de comunicación con el pasado, recurriendo a las ondas información inmortales. Ella se acerca al mundo de Ada Lovelace, fundadora de la idea de un lenguaje informático y defensora de las posibilidades de la "máquina diferencial".
Producer
Emmy Coer, un genio de la informática, idea un método de comunicación con el pasado, recurriendo a las ondas información inmortales. Ella se acerca al mundo de Ada Lovelace, fundadora de la idea de un lenguaje informático y defensora de las posibilidades de la "máquina diferencial".
Director
Emmy Coer, un genio de la informática, idea un método de comunicación con el pasado, recurriendo a las ondas información inmortales. Ella se acerca al mundo de Ada Lovelace, fundadora de la idea de un lenguaje informático y defensora de las posibilidades de la "máquina diferencial".
Director
In this video series an individual confronts fears and, through the process of confessing directly to the camera, transcends trauma. It is also about agin, longing, the delusions and misconceptions we are encumbered with as we mature towards self-awareness, and the masks we assume to deny or hide understanding. The tapes rupture, fracture, and use digital effects to mirror the psychological changes of the protagonist.
Herself
In this video series an individual confronts fears and, through the process of confessing directly to the camera, transcends trauma. It is also about agin, longing, the delusions and misconceptions we are encumbered with as we mature towards self-awareness, and the masks we assume to deny or hide understanding. The tapes rupture, fracture, and use digital effects to mirror the psychological changes of the protagonist.
Writer
"A poetic allegory about technology's invasion of the body and the destruction of the immune system, witnessing the pollution of history that drowns us." - Video Data Bank
Director
"A poetic allegory about technology's invasion of the body and the destruction of the immune system, witnessing the pollution of history that drowns us." - Video Data Bank
This docudrama presents the history of the telephone, updated and told from the point of view of a character who uses the screen as both a connection to intimacy and a condom for safe sex.
Director
This docudrama presents the history of the telephone, updated and told from the point of view of a character who uses the screen as both a connection to intimacy and a condom for safe sex.
Writer
A love story for the 90s: Valery falls in love with an identical twin, a virtual reality scientist, and finds she can have a more intimate relationship with him through the computer screen than in person. Or is it really him?
Director
A love story for the 90s: Valery falls in love with an identical twin, a virtual reality scientist, and finds she can have a more intimate relationship with him through the computer screen than in person. Or is it really him?
Writer
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Editor
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Producer
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Director
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Editor
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Director
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Editor
Fact and fiction blur in this faux documentary about a lost woman, Lian, who is searching for her own identity. Lian is manipulated by Dennis, a video editor. He captures surveillance footage of her and manipulates it in an attempt to manipulate and then possess her real life.
Director
Fact and fiction blur in this faux documentary about a lost woman, Lian, who is searching for her own identity. Lian is manipulated by Dennis, a video editor. He captures surveillance footage of her and manipulates it in an attempt to manipulate and then possess her real life.
Director
Binge turns on confession and self-image, using obesity as the main course. Losing her familiar shape to overeating, Lynn Hershman occupies electronic space to announce her despair and her subsequent—and partially successful—diet. It is a fitting medium for such a declaration, for not only is much of self-identity generated by television, but shape, volume, and appearance are rendered abstract by the video effects Hershman employs.—Steve Seid
Director
In Lynn Hershman’s Confessions of a Chameleon the artist shares intimate but highly suspect stories about her past. To cover her tracks, Hershman unswervingly declares, “I always tell the truth.”
Director
Documentary about an art installtion.
Producer
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Editor
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Writer
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Director
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
