Victoria Vesna

Victoria Vesna (born 1959) is a professor and digital media artist. She is known for her feminist video, computer and internet art and has been active since the early 1980s.[1][2][3] Along with collaborator Jim Gimzewski she is thought to have created one of the first interactive artworks related to nanotechnology (sometimes called nanoart)[4][5][6] and defines her art practice as experimental research.[7]

Victoria Vesna
Victoria Vesna performing Octupus Mandala at Santa Monica Glow. Photo: Brandon Choe.
BornJune 9, 1959
Washington D.C.
EducationUniversity of Wales and University of Belgrade
Known fornanoart, digital art, computer art, video art
Notable work
Zero@wavefunction (2002), Datamining Bodies (1999), and Bodies Corp 2.0 (2015)
AwardsOscar Signorini Prize
Websitehttps://victoriavesna.com/

Early life and education

Victoria Vesna was born in Washington D.C. on June 9, 1959.[7] She graduated from the High School of Art & Design in New York City, NY in 1976.[7] She received a Fine Arts Diploma from the University of Belgrade, Yugoslavia in 1984. In 2000, she completed her Ph.D. at the Centre for Advanced Studies in Interactive Arts, University of Wales with a thesis entitled "Networked Public Spaces: An Investigation into Virtual Embodiment" in 2000.[8]

Career

Teaching

Victoria Vesna was the chair of the Department of Design Media Arts at the UCLA School of the Arts and Architecture as well as director of UCLA's Art|Sci Center and the UC Digital Arts Research Network.[8]

Awards

She received the Oscar Signorini award for best net artwork in 1998 and the CINE Golden Eagle award for best scientific documentary in 1986.[9][10]

Artwork

Through creative research, she examines perception and identity shifts in connection with scientific innovation as well as examining bio and nanotechnology through art.[11]

Exhibitions include Spaceship Earth at the Centre of Contemporary Art Znaki Czasu in Toruń (2011) and MORPHONANO at the Beall Center for Art and Technology, Irvine, California (2012).[12]

Artweek reviewer Claudine Isé writes, “Vesna has created a number of Web-based works that examine the dichotomy between concepts of “virtual’ and ‘concrete.’ Her on-line projects include an upcoming electronic conference about the cultural production of death as well as a popular site called Bodies INCorporated, which gives visitors an opportunity to design their own ‘cyber bodies’ from a selection of organic and synthetic textures, such as water, lava, chocolate, rubber or plastic.”[13]

Author

In Christopher Hanson's review of her book Database aesthetics: Art in the age of information overflow, he says that Vesna provides an engaging collection of essays about changing aesthetics in interactive art and its relationship to the database.[14]

Personal life

Formerly married to Bogdan Maglich, Vesna has two children by that marriage, which ended in divorce.

Works
  • [Alien] Star Dust (2019–present)
  • Noise Aquarium (2016–present)
  • Brainstorming (2015–present)
  • Bodies Corp 2.0 (2015)
  • Octopus Mandala Glow (2013), in collaboration with Ray Zimmerman, Dawn Faelnar, Mike Datz, Peter Rand, Steven Amrhein, and others
  • ACOUSTIC NETWORKS OF BIRDS (2012), in collaboration with biologist Charles Taylor and physicist Takashi Ikegami
  • Quantum Tunneling (2008)
  • Water Bowls (2006)
  • Mood Swings (2006)
  • Datamining Bodies (2004) in collaboration with Gerald de Jong and David Beaudry
  • Zero@wavefunction (2002) in collaboration with nanoscientist James Gimzewski[5][6]
  • Cell Ghosts (2001)
  • Building a Community of People with No Time (2001)
  • Datamining Bodies (1999)
  • Bodies© InCorporated (1996)[15]
  • Virtual Concrete (1995) [16]
  • Nanomandala [17]
  • Another Day in Paradise (1992)[18]

Publications
  • Database aesthetics: Art in the age of information overflow (2007), University Of Minnesota Press.[19][14]
  • Mel Chin-Provocative Eco-Art in Action Academic journal article from Art Journal, Vol. 65, No. 1.
  • Toward a Third Culture: Being In Between Art and Electronic Media. Phaidon Press. 2008.

Exhibitions

Solo exhibitions
  • MORPHONANO: Beall Center for Art and Technology, Irvine, California (2012)*Spaceship Earth: Centre of Contemporary Art Znaki Czasu in Torun (2011)
  • Hox Zodiac: Microwave International New Media Arts Festival ALCHEMY, School of Creative Media, City University of Hong Kong, Hong Kong.(2011)
  • Quantum Tunneling: Median Kunst Labor (Media Art Laboratory), Graz, Austria.(2008)
  • Cell Ghosts: Apeejay Media Gallery, New Delhi.(2005)
  • Zero@wavefunction: Biennale for Electronic Arts, Perth. John Curtin University of Technology, Perth, Australia. (2002)

Group exhibitions
  • TechNoBody, Pelham Art Center, New York, NY (2015)[20][21]
  • "Red Angel," Installation. Art & Science, Aperto '86, Venice Biennale, Italy (1986)

References
  1. "Victoria Vesna". Women of Vision. Histories in Feminist Film and Video. Vol. 9 (NED - New ed.). University of Minnesota Press. 2001. pp. 235–247. ISBN 9780816633715. JSTOR 10.5749/j.cttts8r3.19.
  2. Colman, Alison (2005). "Constructing an Aesthetic of Web Art from a Review of Artists' Use of the World Wide Web". Visual Arts Research. 31 (1): 13–25. JSTOR 20715365.
  3. Brown, Kristen (1999). "Trends in computer and technological art" (PDF). Art Criticism. 14 (2): 94–106 – via ARTBibliographies Modern, ProQuest.
  4. Spector, Tami I. (2008-07-25). "Nanotechnology, Nanoscale Science and Art". Leonardo. 41 (4): 348–349. doi:10.1162/leon.2008.41.4.348. ISSN 1530-9282.
  5. "Zero@wavefunction". notime.arts.ucla.edu. Retrieved 2018-03-28.
  6. Ridder-Vignone, Kathryn D. de (2012-08-31). "Public Engagement and the Art of Nanotechnology". Leonardo. 45 (5): 433–438. doi:10.1162/LEON_a_00440. ISSN 1530-9282.
  7. "Victoria Vesna - Biography". vv.arts.ucla.edu. Retrieved 2020-03-27.
  8. UCLA faculty profile; accessed December 2, 2017.
  9. Profile, LABoral website; accessed December 2, 2017.
  10. "XXV Oscar Signorini Prize – Robotic Art – NOEMA – Technology & Society". noemalab.eu. Retrieved 2018-03-28.
  11. Profile, elmcip.net; accessed December 2, 2017.
  12. Profile, MutualArt.com; accessed December 2, 2017.
  13. Isé, Claudine (1996). "Everywhere and nowhere at once: out on the web". Artweek. 27 (2): 11.
  14. Christopher Hanson, review of Database Aesthetics in Discourse 29:1, Winter 2007, p. 189., jstor.org; accessed December 2, 2017.
  15. Kurtz, Glenn A. (April 1997). "Victoria Vesna at the San Francisco Art Institute". Artweek. 28: 20.
  16. "Virtual Concrete Essay". vv.arts.ucla.edu. Retrieved 2021-03-09.
  17. "NANO | nanomandala". nano.arts.ucla.edu. Retrieved 2021-03-09.
  18. Vesna, Victoria (1998). "Another Day in Paradise and Virtual Concrete: Installation and Telepresence Works". Leonardo. 31 (1): 13–19. doi:10.2307/1576542. ISSN 1530-9282. JSTOR 1576542. S2CID 193021182.
  19. Murray, Soraya (2009). Vesna, Victoria; Paul, Christiane (eds.). "Digital Aesthetics: Two Handbooks". Art Journal. 68 (3): 112–115. JSTOR 25676496.
  20. "Virtually Real: Conversations on TechNoBody – Part I | Anti-Utopias". anti-utopias.com. Retrieved 2018-03-28.
  21. "Virtually Real: Conversations on TechNoBody – Part II | Anti-Utopias". anti-utopias.com. Retrieved 2018-03-28.
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