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| Visual and experimental media artist / cv March
2008 |
| SUMMARY |
| Christina McPhee works
in the remote landscape where environmental risk meets human
psychogeographies. Her Latency Structures Bonneville Salt Flats
premiered at the 2007 Split Festival of New Media and Film. La
Conchita mon amour opened at Sara Tecchia, New York in 2006 and
continues with 3 channels and 22 screens for Thresholds, Perth
(Scotland), 2008. Her photomontage and video project, Carrizo
Parkfield Diaries, showed at the American University Museum,
Washington DC, in 2007. She lives with partner
Terry Hargrave and two cats, in the central coast of California,
and teaches in digital media at UC-Santa Cruz. http://www.christinamcphee.net |
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| RECENT EXHIBITIONS
2001 - 2008 |
| 2007-2008 |
Flaming
Debt, Pharmakon,
Carrizo Drawings, Salton
Station in development 2008
Bucharest
Biennial 2008, curated by Jan-Erik Lindstrom and Johan Solstrom,
May-June 2008
La Conchita
N=Amour, HD installation, Intervene/Interrupt: Rethinking
Art as Social Practice, Sesnon Gallery, UC-Santa Cruz, curated
by Shelby Graham, May 2008
La
Conchita Paradise, theatre premiere, Santa Cruz Film Festival,
May 9-17,2008
Carrizoprime,
theatre premiere, First Sight Scene, LA Film Forum, Spielberg
Theatre at the Egyptian, Hollywood, curated by Jaimie Baron,
Department of Film, UCLA January 27, 2008
La Conchita N=Amour, 22 screen, 3 channel video installation,
with custom scripting for Threshold Wave, Threshold Artspace,
Horsecross. Commission for Threshold Wave. Curated by Illiyana
Nedkova. Perth, Scotland, October 2007 - April 2008
The Space of Europe: Autonomy, photomontage drawing, participation
in project created by Markus Miessen, The Violence of Participation,
for the Lyon Biennial, September 17, 2007 - January 6, 2008
Rhodes Racer, Bonneville Salt Flats, for program NY Exchange
2007, curated by Karen Lawlor, HD video screening, invitational,
Amsterdam Film Experience, Het Ketelhuis, Westerpark, November
2-4, 2007
La
Conchita Paradise, invitational, video installation, Break
2.4 Festival, Ljubljana, Slovenia, November 6-15, 2007
Latency Structures: Bonneville
Salt Flats, interactive video
installation with remote and local latency delays, HD/SD with
Max/MSP/Jitter processing and remote cam at Center for Land Use
Interpretation, Wendover, Utah; with assistance from Scripps
Institution Scientific Visualization Lab, La Jolla, California.
Invitational exhibition, Split Film Festival, Croatia, September
15-22, 2007
Carrizo-Parkfield Diaries, solo exhibition, large format photomontage
installation, HD/SD video installation, American University Museum-Katzen
Art Center, Washington, DC, June 5 - July 29, 2007
-empyrean- -empyre-, video and book display, Documenta Magazine
Project, documenta 12, Kassel, Germany, summer 2007
Response Spectra, photomontage installation, curated by Raul
Ferrera-Balanquet. Interactiva 07 Biennial of New Media Art,
Merida, Mexico, June 15-July 15 2007
Rhodes Racer, Bonneville Salt Flats, invitational, FutureVisual,
curated by Tullis Rennie, for FutureSonic Manchester Festival,
Manchester, England, May 8-12, 2007
Liste Koln Art Fair, Sara Tecchia Roma New York, April 18-22,
2007
SALT, SilkyVRML422, screening, Noise:
In Language, Culture, Body, and Nature, curated by Marcus Bastos, Itaú Cultural Centre,
Bela Horizonte, Brazil, April 2007
Glasgow City, interpretive photomontage installation, commission,
Barclays Wealth, Glasgow, Scotland, installation June 2007
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| 2005-2006 |
La
Conchita mon amour,
multimedia site study of shrine building and debris flow at
La Conchita, California.Photomontage large format chromogenic
prints, drawings, HD/SD video installation, Sara Tecchia Roma
New York, New York, October 19 - November 22, 2006
La Conchita
mon amour, Turbulence Artists Studio, invitational, curated
by Helen Thorington and Joann Green, www.turbulence.org, November
4, 2006 to present
Bitterwater Blackbyrd, screening, Abrasions:
Architecture and Accident, curated by Jessica Allee and Wago
Kreider. Studio 27, San Francisco, November 17, 2006
Wunderkabinet,
five channel theatrical video installation for electronic opera
based on stories from the Museum of Jurassic Technology Los
Angeles. In collaboration with Matt Brubeck and Pamela Z, REDCAT,
Walt Disney Hall, Los Angeles premiere, October 11-13, 2006
Carrizo-Parkfield Diaries, two channel digital video and audio
installation, curated by Maria Tjader-Knight. Cartes Centre
for Art and Technology/WeeGee, Tapiola, Espoo, Finland, May-September
2006
Carrizoprime, HD installation, CinemaScope, SCOPE Hamptons,
curated by GH Hovagimyan, July 2006
Artistic Disasters: 65
Seconds that Shook the Earth, Commemorating the 1906 San Francisco
Earthquake,screenings, SilkyVRML422 . performance video on
the Carrizo Plain with earthquake audio from p-waves recorded
during the 2004 Parkfield quake; and SALT, traumatic memory
after the 2003 San Simeon quake,California. Curated by Steve
Seid, Pacific Film Archive, Berkeley Art Museum, University
of California, Berkeley, April 6, 2006
Persona-Personae, prints
from the Carrizo-Parkfield Diaries, photomontage large format
chromogenic prints, Sara Tecchia, New York, January-February
2006
Carrizo Quartet, single channel video installation, Bildmuseet,
University of Umea, Sweden, curated by Jan-Erik LIndstrom,
December 2005 -January 2006
Carrizo Quartet, single channel
video installation, for Groundworks: Environmental Collaboration
in Contemporary Art, curated by Patrick Deegan and Grant Kester,
Regina Gouger Miller Gallery, Carnegie Mellon University, Pittsburgh,
October14-December 11, 2005
SilkyVRML422, screening, Cartes
Flux, Cartes Centre for Art and Technology, Espoo, Finland,
December, 2005
Wunderkabinet, debut, The LAB, San Francisco,
September 9-15. 2005
SilkyVRML422, screening, prog:ME, Electronic
Arts Festival, Rio de Janeiro, Brazil, July 2005
SALT, screening,
Hic et Nunc: Review of Contemporary Art, San Vito al Tagliamento,
Veneto, Italy, June 11 - July 17, 2005
Carrizo-Parkfield
Diaries,
photomontage chromogenic prints, digital video, Transport Gallery,
Los Angeles, March 5 -April 16, 2005
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| 2003-2004 |
Slipstreamkonza, photomontage
chromogenic prints on datascape of carbon respiration, Konza
Prairie Biological Field Station, Kansas, Recombinant Flux,
group show with Scott Draves, Marie-Jose Durquet, Josh Feldman,
Alice Kelley, Aaron Ross and Shirley Shor. RX Gallery, San
Francisco, July 2004
Persephone in Arteroids, for the group
show page_space, literary digital games, with Jim Andrews and
Helen Thorington, texts by Molly McPhee, curated by Braxton
Soderman. Machine Gallery, Los Angeles, February 28 - March
14, 2004
Bloodellipse, interactive screen protesting the war
in Iraq, the >wartime< project LIVE, group show, on tour
2003/4 including Machida City Musuem of Graphic Arts, Tokyo;
Standart Festival, Madrid; test portaal 03, Amsterdam
-empyre-,
screen installation of networked forum on digital media arts
and culture, Networked 2004, curated by Melinda Rackham. Australian
Centre for the Moving Image (ACMI) Melbourne, June 2004 Naxsmash,
Open Space Gallery, invitational screening, Interactive Futures,
Victoria Independent Film and Video Festival, Victoria (BC),
January 30, 2004
Naxsmash + Kino (Social Space Plattenbauen
Weimar), transparent photomedia and video installation, backup.lounge|lab,
festival of new media in film, Bauhaus-University, Weimar,
Deutsche Nationaltheatre, October 20-November 3, 2003
Slipstreamkonza,
large format photomontage chromogenic prints. James D. Phelan
Award in Printmaking of the San Francisco Foundation, juried
by Constance Lewallen, Kala Art Institute, Berkeley, September
14-October 31, 2003
Naxsmash (Redropes), performance installation,
SelectMedia Festival, Chicago, November 21, 2003
Naxsmash (Redropes),
performance installation, San Francisco Performance Cinema
Symposium, September 27, 2003
Memoires of a Cyborg, performance
art work, DAC/Digital Arts and Culture, RMIT University, Melbourne,
Australia, May 2003
Smashlounge, installation with scrims,
monitors, live net, and performance, California Museum of Photography,
University of California-Riverside, September 28, 2002 - January
9, 2003
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| 2001-2002 |
Piranesia, VRML study
of the space of the net as a paranoid ‘invisible city’ after
Piranesi’s Carcieri, interactive screen installation,
Propeller Gallery, for SoftForm, net.art and software group
exhibition, Toronto, June 16, 2002
Sonicpersephone + Piranesia,
cyborg landscapes from naxsmash.net, interactive screen, group
exhibition, FILE 2002, Paco das Artes, University Gallery of
Sao Paulo, Brazil, August 8 - 22, 2002
Piranesia, net art installation
for Convergence/Cybersonica Festival, New Media Centre, Institute
of Contemporary Art (ICA), London, curated by Stanza, June
4 -July 13, 2002
Naxsmash for Global Poetry at the Powerhouse,
installation/ sculptural/spatial construction and poetry performance
with Terry Hargrave and architectural students, in participation
with UNESCO’s Global Poetry Day: “Global Poetry
Experimental Net-Action/Virtual and Real”, initiated
by Caterina Davinio and karenina.it, Cal Poly San Luis Obispo,
March 21, 2002
Naxsmash at Moonbase, performance installation
with sound/video/transparent prints, Digitalis
I: Concerning the Spiritual in Digital Art, Vancouver, British Columbia,
November 2001
NaxSuite, photomontage inkjet prints, prints
on traumatic memory performance at Lake Nacimiento, California,
Phillipe Laumont Editions, New York, April 2001
NaxSuite, photomontage
inkjet prints, Byron C. Cohen Gallery for Contemporary Art,
Kansas City, May-July 2001
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| RECENT PUBLICATIONS |
“Processual Editing
and -empyre- soft-skinned space,” for MagNet Reader 3,
edited by Nat Muller and Alessandro Ludovico, forthcoming in
print 2008
“Slipstreaming the Cyborg,” in Digital
Critical Theory, edited by Arthur and Marilouise Kroker, Toronto:
University of Toronto Press, forthcoming 2008
“The Space
of Europe: Autonomy”, in The Violence
of Participation,
edited by Markus Miessen, Berlin and New York: Sternberg Press,
December 2007 ISBN 978-1-933128-34-4
“‘Bare LIfe’ and
the Traumatic Landscape,” documenta
12 Magazine Project online journal, 2007
“Bare Life as Editorial Subject:
on ‘bare life’ in the network -empyre- soft-skinned
space, documenta 12 Magazine Project online journal, 2007
‘Is
modernity our antiquity?”, Christina McPhee, moderator/editor,
-empyre- discussion, hypertext, documenta
12 Magazine Project online journal, 2007, conversation conducted in March 2006.
With Christiane Paul, Christophe Bruno, Dirk Vekemans, and
Erik Kluitenberg.
‘what is bare life?” Christina
McPhee, moderator/editor, -empyre- discussion, hypertext, documenta
12 Magazine Project online journal, 2007. Conversation conducted
in July 2006. With GH Hovagimyan, Michele White, Conor McGarrigle,
Jordan Crandall,Tina Gonsalves, and Susan Mendes Silva.
“what
is to be done? (education), Christina McPhee, moderator/editor,
-empyre- discussion, hypertext, documenta
12 Magazine Project online journal,
2007. Conversation conducted in January 2007. With Ricardo
Rosas, Melinda Rackham, Sharon Daniel, Chris Molinski, Claudia
Reiche, Ollivier Dyens, Iliyana Nedkova, and Christiane Robbins.
“‘Bare
LIfe’ and the Traumatic
Landscape,” virose.pt, July 2006
“Aphasia Parrhesia:
Code and Speech in the Neural Topologies of the Net,” Drunkenboat
7, edited by Ravi Shankar, Spring 2005
“Net Baroque,” in
Life in the WIres, a CTHEORY Reader, edited by Arthur and Marilouise
Kroker, Pacific Center for Technology and Culture, Victoria:
New World Perspectives Books (August 2004) ISBN 10 0920393217
ISBN-13: 978-0920393215
“Sense of Place and Sonic Topologies:
Towards a Telemimetic Sublime in the Data Landscape”,
San Francisco: YLEM Journal, volume 24, number 6, May-June
2004
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| REVIEWS |
Nicholas Ruiz III, “La
Conchita,” International Journal of Baudrillard Studies,
vol 4, no. 1, January 2007
John Haber, “Christina McPhee
at Sara Tecchia Roma New York,” Artillery, Los Angeles,
December 2006
John Haber, “City Lights: Catherine Opie
(American Cities) and Christina McPhee (La Conchita mon Amour),
http://www.haberarts.com/mcphee.htm
Josef Woodard, “‘Wunderkabinet’ plays
with the facts,” Los Angeles Times, October 14, 2006
GH Hovagimyan, “Interview with Christina McPhee” http://spaghtti.nujus.net/artDirt/archives/2006_03.html
John Stanley, “Quake, Rattle and Roll on the Screen,” San
Francisco Chronicle, April 2, 2006
Ryan Griffis, “Christina
McPhee,” ArtUS, July-September 2005
Holly Willis, “Carrizo-Parkfield
Diaries,” Signal to Noise,LA Weekly, March 4-10, 2005
Mark Gordon, “Christina McPhee,” radio interview,
Centerstage, KXLU, Los Angeles, March 1, 2005
“Christina
McPhee”, Mind Candy, LA Alternative Weekly, Los Angeles,
April 16, 2005
Agnese Benassi, “Carrizo-Parkfield Diaries:
Notes from the Underground,” Noema, online here ,
Italy, March 2005
Ryan Griffis, “Tragic Travelogue: A
Consideration Around Christina McPhee’s “Carrizo-Parkfield
Diaries,” Rhizome Digest,New York, April 19, 2005, online
here |
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| PROFESSIONAL SERVICE,
GRANTS, AWARDS |
ISEA 2008 Singapore,
Reviewer Committee, invitation, Gunalan Nadarajan, chair, 2008
Visiting artist, Digital Arts and New Media Graduate MFA Program
and Department of Film and Digital Media, University of California-Santa
Cruz, April 2007
American Scandinavian Foundation, travel grant
for installation of “Carrizo-Parkfield Diaries” at
Cartes Center for Art and Technology, Espoo, Finland, 2006
Travel Grant for programming, presenting, research, GPS Expo,
Center for Land Use Interpretation, Wendover, Utah, July 2006;
grant for support from University of California-San Diego Department
of Visual Arts and UCIRA, 2006
Visiting Artist, residency fellowship,
HUMlab, Universitat Umea, Sweden, 2005
Residency/production
support, Experimental Television Center, New York, 2005
Research
fellowship, Interactive Media, Falmouth College of Arts, Cornwall,
UK 2004
backup festival/lounge|lab visiting artist residency,
Bauhaus-Universitat Weimar, Germany 2003
State Foundation for
Culture and the Arts, Hawaii, exhibition grant, 1999
Banff
Centre, Media and Visual Arts, Banff, Alberta July 1999
Vermont
Studio Center Artists’ Fellowship, March-April 1990
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| SELECTED COLLECTIONS |
Experimental Television
Center, New York
Thresholds Artspace, Perth, Scotland
New Museum
of Contemporary Art/Rhizome Artbase
Cartes Center for Art and
Technology, Espoo, Finland
Kemper Museum of Contemporary Art
Cornell University Rose Goldsen Archive of New Media Art
National
Library of Australia Pandora Archive
Sheldon Memorial Art Gallery
and Sculpture Garden
Taylor Museum for Southwestern Studies,
Colorado Springs Fine Arts Center
Great Plains Art Collection
University of Nebraska
Open University Milton Keynes |
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| EDUCATION |
MFA
Boston University,
School for the Arts, student of Philip Guston, painting, 1979
BFA Kansas CIty Art Insititute, painting and printmaking, valedictorian,
1976
Scripps College Claremont, visual art/art history 1974-75
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| ACADEMIC/TEACHING |
Lecturer, Department
of Film and DIgital Media, University of California-Santa Cruz
2008. Courses: Film 189 Advanced Topics in Electronic and Digital
Media, upper division seminar; Film 177: Digital Media/Computer
and the Arts Production Studio (advanced course).
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Visiting Critic, Department
of Architecture, California Polytechnic State University, 2001-2007
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Lecturer, studio,drawing
as conceptual art practice, 100/300/400 levels, Department
of Art and Art History, University of Missouri-Kansas CIty,
1998-2001
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| Studio Faculty, Department
of Painting, Kansas City Art Institute, 1988-1990 |
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