George Legradyb. 1950 in Budapest.Emigrated to Montréal, Québec (Canada) in 1956. Attended Loyola College, Montréal, 1968-70, Goddard College in Vermont (USA) 1972-74, and the San Francisco Art Institute 1974-76, from which he obtained a Masters of Fine Arts in 1976. Legrady's research and artwork began in a conceptual approach to photographic representation. Since the mid-1980's, his projects have focused on the cultural and theoretical implications of digital computer media and its impact on our belief in the image. As Associate Professor of Interactive Computer Media, Conceptual Art and Theory in Information Arts / Conceptual Design, within the Art Department at San Francisco State University, an art programme that integrates cultural theory and advanced applications in digital technology within the contexts of conceptual art and contemporary art practice, Legrady received the USC Innovative Teaching Award. He was Visiting Scholar at the Hungarian Academy of Fine Arts, Budapest, for a semester in 1994. He is currently Professor of Electronic Media at the Merz Akademie in Stuttgart, Germany. |
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Selected solo exhibitions
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| 1981 | Floating Objects, London Regional Art Gallery, London, Ontario (Canada) | |
| Staged Photographs, Institute for Arts & Urban Resources, P.S.1, L.I.C., New York; Yajima Galerie, Montréal, Québec, Canada; | ||
| 1983 | Staged Photographs, San Francisco Cameraworks (USA) | |
| 1984 | Stock Footage, La Jolla Museum of Contemporary Arts, California; University of Arizona, Tuscon, Arizona; CEPA Gallery, Buffalo, New York, USA | |
| 1986 | Posing & Studies for Monuments, L.A.C.E., Los Angeles; Yajima Galerie, Montréal, Québec, Canada | |
| 1987 | From Noise to Signal, USC Atelier Gallery, Santa Monica, California | |
| From the Yellow Pages, Galerie Chantal Boulanger, Montréal, Québec, Canada | ||
| 1991 | Between East & West, YYZ Gallery, Toronto, Ontario, Canada | |
| 1992 | Nothing Essential Happens in the Absence of Noise, Watertoren, Hedendaadse Kunst, Vlissingen, The Netherlands | |
| 1994 | [The clearing] (with Gilles Peress), New Langton Arts, San Francisco, California | |
| 1995 | George Legrady: Interactive Media Art, Rovaniemi Art Museum, Rovaniemi, Finland | |
| 1996 | Open Space Gallery, Ansel Adams Center, San Francisco, California, USA | |
| 1997 | Canadian Museum of Contemporary Photography (National Gallery), Ottawa, Canada | |
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Selected group exhibitions and installations
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| 1989-90 | The Photography of Invention (curated by Joshua Smith), National Museum of American Art, Smithsonian Institution, Washington D.C.; Museum of Contemporary Art, Chicago; Walker Art Center, Minneapolis, Minnesota, USA | |
| 1993 | In/Out of the Cold, Center for the Arts, Yerba Buena Gardens, San Francisco, | |
| 1993-94 | The Digital Image, Equivalents II, in: Iterations, (curated by Tim Druckrey), International Center for Photography, New York City; | |
| Montage '93, Memorial Art Gallery, Rochester, New York | ||
| 1994 | An Anecdoted Archive from the Cold War, Artifices 3, Salle de la Legion d'Honneur, Marie de Saint-Denis, Paris | |
| An Anecdoted Archive, ISEA'94, Helsinki Museum of Contemporary Art, Helsinki | ||
| An Anecdoted Archive, Fifteen Years of Ars Electronica, Landesmuseum, Linz, Austria | ||
| 1994-95 | An Anecdoted Archive, Les Hypermedias, Centre Georges Pompidou, Paris | |
| 1995 | Slippery Traces, Biennale d'Art Contemporain de Lyon, Lyon, France | |
| ISEA'95, Montréal, Québec, Canada | ||
| An Anecdoted Archive, ARC Interactive Media Festival, Los Angeles, USA | ||
| V2-DEAF, Rotterdam, The Netherlands | ||
| Obsessions: from Wunderkammer to Cyberspace, Foto Biennale, Rijksmuseum Twenthe, Enschede, The Netherlands | ||
| International VideoFest (Berlin Video Festival), Berlin | ||
| The 6th Fukui International Video Biennale, Fukui, Japan | ||
| 1995-97 | Photography After Photography, Siemens Kultur Programm, Munich, Germany (Travelling to Kunsthalle, Krems, Austria; Städtische Galerie Erlangen, Brandenburgische Kunstsammlungen, Cottbus, Germany; Museet for Fotokunst, Odense, Denmark; Fotomuseum, Winterthur, Switzerland; also: Helsinki, ICA London, Philadelphia, Adelaide) | |
| 1996 | The Butterfly Effect, Mûcsarnok (Kunsthalle), Budapest European Media Art Festival (EMAF), Osnabruck, Germany Everybody's Talking, Gemeente Museum Helmond, Helmond, The Netherlands Das digital Wort, Word Up Festival, Vienna Can it Digit?, Postmasters Gallery, New York | |
| 1996-98 | CD-ROM: Burning the Interface, Museum of Contemporary Art, Sydney, Australia | |
| 1997 | Deep Storage (curated by Siemens Kultur Program), Haus der Kunst, Munich, Germany; Neue National Galerie, Berlin | |
| Kunst und Austellunghalle der Bundesrepublik, Bonn | ||
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Selected solo exhibitions
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| 1992-94 | Equivalents II (An interactive work based on 2D fractal synthesis to create organic abstract images from text input by the user. The project is based on Alfred Stieglitz's 1922 project, Equivalents.) |
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| 1994 | [The Clearing] (An interactive artwork that explores the "computer game" form for information access, with a focus on the representation of the War in Bosnia during the 1993-1994 period.) |
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| An Anecdoted Archive from the Cold War (An installation work and CD-ROM about the intersection of personal and official narratives in Stalinist Hungary using the floorplan of the former Communist propaganda museum into which are inserted over 60 stories.) |
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| 1996 | Slippery Traces | |
| 1997 | Tracing | |
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Selected lectures
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| 1989 | Belief & the Image, New Genres Program, San Francisco Art Institute, San Francisco | |
| Digital Vision, Minneapolis College of Art & Design, Minneapolis, Minnesota (USA) | ||
| 1990 | NCGA Computer Graphics Association Convention, Anaheim, California (USA) | |
| 1991 | Vision dans le contexte des technologies digitales, Université de Paris I - Sorbonne, Paris | |
| Culture & Narrative, Art Gallery of Ontario, Toronto, Canada | ||
| 1992 | Copyright/Computers, Conference on Copyright Issues, SF Lawyers for the Arts, San Francisco | |
| Digital Issues Photography Program, University of Essen, Essen, Germany | ||
| Society of Photographic Education Conference, Santa Barbara, California (USA) | ||
| Digital World, New Genres Graduate Program, San Francisco Art Institute | ||
| 1993 | Photoscape '93 Conference, SF Cameraworks Gallery, San Francisco | |
| La Croyance et l'image digitale, Conference at the Ecole Nationale de Beaux-Arts, Paris | ||
| International Center of Photography, New York | ||
| 1994 | ISEA'94, Helsinki | |
| MetaForum '94, Hungarian Academy of Fine Arts, Budapest | ||
| NewMediaLogia, Soros Center for Contemporary Art, Moscow | ||
| Film Studies Program, Eötvös Loránd University of Sciences (ELTE), Budapest | ||
| Hungarian Film Institute, Budapest | ||
| Les Hypermédias Colloquium, (Keynote lecture with Nam
June Paik and Pierre Lévy), Centre Georges Pompidou, Paris Hochschule für Grafik und Buchkunst, Leipzig, Germany |
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| 1995 | School of Visual Arts, New York | |
| Center for Research in Computing and the Arts, University of California, San Diego, | ||
| La Jolla, California, USA | ||
| Hochschule für Medien Institut, Linz, Austria | ||
| Skopje Fine Arts Academy, Skopje, Macedonia | ||
| Soros Center for Contemporary Art, Skopje, Macedonia | ||
| Interactive Media Festival, Los Angeles (USA) | ||
| Media Arts Department, University of Lappland, Rovaniemi, Finland | ||
| Interactive Media: A new Creative Frontier, Siggraph '95 National Conference, Los Angeles (USA) | ||
| Two Multimedia Artists Show Their Award-Winning Work, UCLA, Department of Extended Education Lecture Program, Los Angeles, USA | ||
| ISEA'95, Montréal, Québec, Canada | ||
| SCAN-University of Groningen, The Netherlands | ||
| Soros Center for Contemporary Art, Tallinn, Estonia | ||
| Medien-Salon, AktionForum Praterinsel, Munich, Germany | ||
| 1996 | L'Esthétique et la politique de l'image, organised by Université de Paris I - Sorbonne & VIII - Saint-Denis, Musée d'art Africains et Océaniques, Paris | |
| New Media Conference, Goethe-Institut Prague, Czech Republic Centre Georges Pompidou, Paris | ||
| 1997 | Akademie Schloss Solitude, Stuttgart, Germany | |
| ISEA'97, Chicago (USA) | ||
| George Legrady: from Analog to Digital, National Gallery of Canada, Ottawa | ||
| Bauhaus University, Weimar,Germany | ||
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Awards
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| 1988-89 | Canada Council Arts Fellowship Award | |
| 1990 | SFSU Faculty Professional Development Award | |
| 1991 | Canada Council Project Grant | |
| 1993 | WESTAF National Endowment for the Arts Regional Fellowship in Photography | |
| 1993-94 | Canada Council, Computer-Integrated Media Award | |
| Prix Ars Electronica, Honorable Mention, Linz, Austria | ||
| New Voices, New Vision Competition Grand Prize Award, Voyager Co., | ||
| Wired magazine, Interval Research Corporation | ||
| National Endowment for the Arts Award, Photography Fellowship | ||
| 1995 | Artslink, NEA/Soros Foundation Grant | |
| 1996 | Artslink, National Endowment for the Arts Award | |
| 1997 | Canada Council Computer-Aided Media Award | |
| I.D. Magazine, Best of CD-ROM Competition | ||
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Selected artist publications
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| 1980 | Everyday Stories | |
| 1981 | Floating Objects (artist book and catalogue), George Legrady and the London Regional Art Gallery, London Ontario, Canada | |
| 1984 | Stock Footage, George Legrady and CEPA Gallery, Buffalo, NY, USA | |
| 1993 | Who's Speaking to Whom ..., Entgrenzte Grenzen II, Ed. Richard Kriesche, Kulturdata, Graz, Austria | |
| 1994 | [the clearing], computer disk publication, base.arts, San Francisco, USA | |
| An Anecdoted Archive from the Cold War (CD-ROM), HyperReal Media Productions | ||
| Interface Metaphors and the Anecdoted archive, Revue Virtuelle 12, Intro. by Jean-Louis Boissier, Centre Georges Pompidou, Paris | ||
| 1995 | Image Language and Belief in Synthesis, in: Critical Issues in Electronic Media, Ed. Simon Penny, SUNY press, New York | |
| George Legrady: Interactive Media Art, curated by Erkki Huhtamo, Rovaniemi Art Museum, Rovaniemi, Finland | ||
| 1996 | ArtintAct 3 (Slippery Traces) (CD-ROM), ZKM, Karlsruhe, Germany | |
| 1997 | Mythic Narrative in Hungarian Newsreel Footage of the 1950's (An interactive work that examines the role of fantasy in newsreel footage narratives of the Stalin Era, CD-ROM publication, Budapest) National Gallery of Canada, Canadian Museum of Contemporary Photography (solo exhibition catalogue CD-ROM) | |
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Selected Bibliography
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| 1988 | Digital Photography, curated by Jim Pomeroy, San Francisco Camerawork Gallery, San Francisco | |
| 1989 | Fotografie, Wissenschaft und neue Technologien, Kunstmuseum, Dusseldorf, Germany | |
| The Photography of Invention, Museum of American Art, Smithsonian Institute, MIT Press | ||
| 1993 | Iterations: The Digital Image, Tim Druckrey, MIT Press/International Center of Photography, New York | |
| 1994 | Artifices 3, Ed. Anne-Marie Duguet, Jean-Louis Boissier, Saint-Denis, France | |
| 'Mémoires vives,' Jean-Paul Fargier, in: Le Monde, 18 Nov. 1994, Paris | ||
| 1995 | 'Interview by Katalin Timár,' in: BALKON, 1/95, Budapest | |
| [the clearing], Mark Bartlett, in: SEE magazine, Vol 1:1, Winter 1995, Ansel Adams Center, San Francisco | ||
| Photography after Photography, Siemens Kultur Programm, Munich, Germany | ||
| 'False Endings, Anecdoted Histories, Deterritorialized Subjects and Central European Imaginaries,' Irit Rogoff, in: ART & DESIGN, 8/95, London | ||
| 'Interview by Erzsébet Komár,' in: Filmkultúra, 8/95, Budapest | ||
| 'The Art World and I go on Line,' Robert Atkins, in: Art in America, 12/95, New York | ||
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Links http://www.merz-akademie.de |
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| Back to "The Moment Before Discovery" |
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