Lynn Hershman Leeson
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The following is an archive of written works related to Lynn Hershman Leeson’s career, important exhibitions, and Civic Radar, the most comprehensive exhibition and catalogue of her work to date. It also includes a selection of essays that expose the philosophical underpinnings of Hershman Leeson’s work, written by the artist herself. Text from earlier in the artist’s career is being added over time.
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“Through her novel use of technology and psychological analysis, and her play with identities, Hershman Leeson brings about a power shift that draws attention to and subverts our voyeuristic desires. Across critical, speculative, and documentary registers, she ...
Mousse Magazine – “Lynn Hershman Leeson: Are Our Eyes Targets?” at Julia Stoschek Foundation, Berlin
By Helga Meister in Rheinische Post
”Düsseldorf · She was already working on artificial intelligence when it was still a foreign concept to most people. 40 years later, the fascinating works of media artist Lynn Hershman Leeson can be seen at the Julia Stoschek ...
”Düsseldorf · She was already working on artificial intelligence when it was still a foreign concept to most people. 40 years later, the fascinating works of media artist Lynn Hershman Leeson can be seen at the Julia Stoschek ...
Our Eyes As Targets
By Tony Bravo in the SF Chronicle
"Hershman Leeson spoke to the Chronicle about her work, her take on why AI is trending in the arts, and her thoughts about cultural fears of the technology."
"Hershman Leeson spoke to the Chronicle about her work, her take on why AI is trending in the arts, and her thoughts about cultural fears of the technology."
Lynn Hershman Leeson Has Been Using Artificial Intelligence in Her Art for Decades. What Does She Think of AI Fads?
By Orla Brennan in Another Magazine
“”It’s true that dystopian ideas of the past are now the digital realities of today. We are a society of screens, bombarded by images and feedback loops of algorithm-driven news cycles, with devices as extensions of our bodies ...
“”It’s true that dystopian ideas of the past are now the digital realities of today. We are a society of screens, bombarded by images and feedback loops of algorithm-driven news cycles, with devices as extensions of our bodies ...
Another Magazine – Lynn Hershman Leeson, the Dystopian Artist Who Predicted Our Digital Selves
By Birgit Koelgen in ddorf-aktuell
“Es ist ein Phänomen der technisierten Gegenwart. Selbst schüchterne Menschen genieren sich nicht, Details aus ihrem Leben den Social Media anzuvertrauen. Ob auf Tiktok oder Instagram – ich poste, also bin ich. Ohne Smartphone ...
“Es ist ein Phänomen der technisierten Gegenwart. Selbst schüchterne Menschen genieren sich nicht, Details aus ihrem Leben den Social Media anzuvertrauen. Ob auf Tiktok oder Instagram – ich poste, also bin ich. Ohne Smartphone ...
Kamerageflüster: Neue Video-Schau in Der Stoschek Foundation Düsseldorf
Art Junk
“The Julia Stoschek Foundation is pleased to welcome Lynn Hershman Leeson. Are Our Eyes Targets? to show the first solo exhibition of the renowned media art pioneer in Düsseldorf. ...”
“The Julia Stoschek Foundation is pleased to welcome Lynn Hershman Leeson. Are Our Eyes Targets? to show the first solo exhibition of the renowned media art pioneer in Düsseldorf. ...”
Art Junk – Are Our Eyes Targets? at Julia Stoschek Foundation
By Carla Gannis in Right Click Save
"Throughout her career, Lynn Hershman Leeson has charted a course ahead of her time, exploring the fluid nature of identity while navigating its shifts within socio-technical and scientific frameworks. Over the course of six ...
"Throughout her career, Lynn Hershman Leeson has charted a course ahead of her time, exploring the fluid nature of identity while navigating its shifts within socio-technical and scientific frameworks. Over the course of six ...
The Interview: Lynn Hershman Leeson
By Evan Moffitt in The New York Times
Curators and conservators are working to save — and update — art made with aging hardware.
Curators and conservators are working to save — and update — art made with aging hardware.
What Happens When an Artist’s Technology Becomes Obsolete?
By Evan Moffit in Eyebeam
"'Technology is neutral,' the artist Lynn Hershman Leeson told MoMA Magazine last July. 'We invent these things, and as humans we give it meaning. So, if humans are utopian, then the technology will be also. And if humans are greedy, and ...
"'Technology is neutral,' the artist Lynn Hershman Leeson told MoMA Magazine last July. 'We invent these things, and as humans we give it meaning. So, if humans are utopian, then the technology will be also. And if humans are greedy, and ...
Get Real
Published in Times Online
"The first, coming to Te Tuhi from an international exhibition in Venice, Italy, is Logic Paralyzes the Heart, a multi-media installation by acclaimed American artist and filmmaker Lynn Hershman Leeson..."
"The first, coming to Te Tuhi from an international exhibition in Venice, Italy, is Logic Paralyzes the Heart, a multi-media installation by acclaimed American artist and filmmaker Lynn Hershman Leeson..."
Exhibitions explore evolving human perception
By Gregory Zinman in The Criterion Collection
"Brimming with a digital sheen and commercial-worthy flat lighting by cinematographer Hiro Narita, Teknolust holds a gently ironic embrace of techno-optimism about (pro)creativity and the feminist possibilities for ...
"Brimming with a digital sheen and commercial-worthy flat lighting by cinematographer Hiro Narita, Teknolust holds a gently ironic embrace of techno-optimism about (pro)creativity and the feminist possibilities for ...
The Replacements: AI in the Movies
By Cláudio Alves in The Film Experience
"This cinematic tasting menu of techno-cinema offers many gustative possibilities, though none more surprising than Lynn Hershman-Leeson's Teknolust. Criminally underseen upon its 2002/2003 release, the unorthodox comedy ...
"This cinematic tasting menu of techno-cinema offers many gustative possibilities, though none more surprising than Lynn Hershman-Leeson's Teknolust. Criminally underseen upon its 2002/2003 release, the unorthodox comedy ...