This selection of absorbing interactive and video works spans four decades in the career of the American artist, a feminist trailblazer who exploits new technologies in provocative ways. The interactive videodisk “Lorna,” from 1979-1982, displayed in a living-room-like set with leopard-print armchairs and teal walls, invites you to snoop through the apartment of an agoraphobe. The navigation is clunky by today’s standards, but the work endures as a seductive, discomfiting exploration of voyeuristic complicity. In “Venus of the Anthropocene,” completed this year, a white-wigged cyborg-mannequin with gold organs sits at a vanity, in a familiar scene of feminine self-inspection. Stand behind her, though, and you’ll find your own face frozen in the mirror, as stats display your gender, age, and mood, as determined by facial-analysis software.
Goings On About Town: Lynn Hershman Leeson
Feb 1, 2017
The New Yorker