George Gessert (b.1944, Milwaukee, Wisconsin, USA) ::: Article

Artist, historian and art theorist. In 1966 graduated from the University of California (BA, Berkeley); in 1969 - from the University of Wisconsin (MA, Madison). Since 1985 his work has focused on the overlap between art and genetics. Creating hybrids, he is especially interested in the ways that human aesthetics affect evolution. Exhibited at the USA museums and abroad, including the following ones: the New Langton Arts (San Francisco, 1988), the Museum of Art (University of Oregon, Eugene, 1990), the Vasarely Museum (Budapest), Exploratorium (San Francisco, 1995), the Smithsonian Institution (New York, 1995), the Brunnier Gallery (Iowa State University, Iowa, 1998), Exit Art (New York, 2000), the Science Museum (London, 2002), Le Lieu Unique (Nantes, 2003), the European Media Art Festival (Osnabrueck, 2003) and many others. His writings on Ars Genetica appeared in such editions on contemporary art as "Design Issues", "Art Papers", "Art Press", "Circa", "Northwest Review", "LifeScience" (Ars Electronica) and others. Since 1996 has been editorial advisor for art and biology, "Leonardo" magazine. Received various awards, incl. Coler-Maxwell Medal for Excellence (Leonardo/MIT Press, 1993). Art works included in the following collections: the Jean Brown Archive; the Art Gallery of Hamilton (Hamilton, Ontario), the Franklin Furnace; the Museum of Modern Art; the Minnesota Center for the Book Arts; Ruth and Marvin Sackner collection and others. Participant of international conferences and symposiums on contemporary art. Delivered lectures at various educational institutions and museum venues.


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I. LABORATORY: science and technology

Svetlana Borinskaya. Genomics and Biotechnology: Science at the Beginning of the Third Millennium.

Mikhail Gelfand. Computational Genomics: from the Wet Lab to Computer and Back.

Irina Grigorjan, Vsevolod Makeev. Biochips and Industrial Biology.

Valery Shumakov, Alexander Tonevitsky. Xenotransplantation as a Scientific and Ethic Problem.

Abraham Iojrish. Legal Aspects of Gene Engineering.

Pavel Tishchenko. Genomics: New Science in the New Cultural Situation.
II. FORUM: society and genomic culture

Eugene Thacker. Darwin's Waiting Room.

Critical Art Ensemble. The Promissory Rhetoric of Biotechnology in the Public Sphere.

SubRosa. Sex and Gender in the Biotech Century.

Ricardo Dominguez. Nano-Fest Destiny 3.0: Fragments from the Post-Biotech Era.

Birgit Richard. Clones and Doppelgangers. Multiplications and Reproductions of the Self in Film.

Sven Druehl. Chimaera Phylogeny: From Antiquity to the Present.
III. TOPOLOGY: from biopolitics to bioaesthetics

Boris Groys. Art in the Age of Biopolitics.

Stephen Wilson. Art and Science as Cultural Acts.

Melentie Pandilovski. On the Phenomenology of Consciousness, Technology, and Genetic Culture.

Roy Ascott. Interactive Art: Doorway to the Post-Biological Culture.
IV. INTERACTION CODE: artificial life

Mark Bedau. Artificial Life Illuminates Human Hyper-creativity.

Louis Bec. Artificial Life under Tension.

Alan Dorin. Virtual Animals in Virtual Environments.

Christa Sommerer, Laurent Mignonneau. The Application of Artificial Life to Interactive Computer Installations.
V. MODERN THEATRE: ars genetica

George Gessert. A History of Art Involving DNA.

Kathleen Rogers. The Imagination of Matter.

Brandon Ballengee. The Origins of Artificial Selection.

Marta de Menezes. The Laboratory as an Art Studio.

Adam Zaretsky. Workhorse Zoo Art and Bioethics Quiz.
VI. IMAGE TECHNOLOGY: ars chimaera

Joe Davis. Monsters, Maps, Signals and Codes.

David Kremers. The Delbruck Paradox. Version 3.0.

Eduardo Kac. GFP Bunny.

Dmitry Bulatov. Ars Chimaera.

Valery Podoroga. Rene Descartes and Ars Chimaera.
VII. METABOLA: tissue culture and art

Ionat Zurr. Complicating Notions of Life - Semi-Living Entities.

Oron Catts. Fragments of Designed Life - the Wet Palette of Tissue Engineering.

Dmitry Prigov. Speaking of Unutterable.

Wet art gallery





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