----------empyre- soft-skinned space----------------------
hi -empyreans- 
it's nice to be back in touch and thanks, Renate, for suggesting we pitch in 
our bios.  Here'a a recent highlights bio, see below.  Greatest hits or 
something.  I tried to write a more personal account than I usually do. 
I'm very glad to hear back via private email if any of you would like more info 
on my projects.   

very best regards

Christina


http://www.christinamcphee.net/about/

 
Christina McPhee is a media and visual artist whose work is involved in the 
‘deep ecology’ of topologic mark-making, abstraction, and illumination.  Her 
work often engages site and territory, integrates scientific data into 
sonified, time-based and visual images, and reflects on excess and beauty at 
the edges of architecture and natural science.

Christina McPhee was born in Los Angeles in 1954.  Her family moved to Nebraska 
when she was seven and she grew up on the edge of a small prairie town,  and 
taught herself drawing. A voracious reader, she was also influenced by an 
intense involvement in piano and classical music,  and,  via minimal contact 
with the media culture of the period, a childhood of making things. She 
returned to Los Angeles with a full scholarship at  Scripps College, Claremont, 
then transferred to Kansas City Art Institute to study painting (BFA 1976 
valedictorian).  She worked at Carpenter Center for the Visual Arts, Harvard, 
then studied at Boston University School for the Arts. She was a student of 
Philip Guston during his last two years of teaching, and graduated with the MFA 
in painting in 1979.  Throughout the eighties she pursued landcape and 
topologic large scale drawing studies of archeological-architectural studies in 
the American West. She raised two children in Kansas City, Missouri, taught 
drawing at the Kansas City Art Institute, and organized exhibitions in the 
region and mountain west.   In the late nineties she started to do remote 
performance and video projects using nascent desktop editing software, and from 
2002 on become a pioneer in new media arts internationally.  She moved to 
California to continue work in media  and drawing at remote technological 
landscapes, involving abstraction and montage around her documentary shots of 
ecological crisis at energy producing sites.  Her projects on seismic memory 
and on sonification of carbon sink data were among the first media projects to 
dwell in a discourse between architectural space, performance,  science and 
early modernist abstraction. She curated and moderated the Sydney-based 
-empyre- list serv for digital medi arts and culture from 2003-2008, and was 
participating editor on behalf of -empyre- when it was invited to contribute 
and exhibit at Documenta 12 (Halle), Kassel 2007.  She taught for several years 
in the  new media graduate program at UC Santa Cruz; then left academia to 
concentrate full time on production.  She shot and edited a series of short 
films on deepwater life in the Gulf of Mexico after the BP oil spill, at the 
invitation of biologists at the University of Louisiana.  Her newest projects 
(2013) involve painting and drawing conceptually driven ‘carbon cycle models.’ 
She  works with layered, linear sequences and formal structures, often 
interpolating poetic, political, and scientific data within topologic glyphs.   
She is based in San Francisco and the central coast of California.

Solo museum exhibitions include American University Museum, Washington, DC and 
Bildmuseet, Umea, Sweden, and Freies Museum, Berlin (video retrospective). 
Recent group exhibitions include Bucharest Biennial 3, Museum of Modern Art 
Medellin; Headlands Center for the Arts, and Los Angeles County Museum of Art 
(with Center for Visual Music), and Berkeley Art Museum- Pacific Film Archive. 
Public collections of her work include New Museum of Contemporary Art-Rhizome 
Artbase; Whitney Museum of American Art-Artport; Colorado Springs Fine Arts 
Center/Taylor Museum;  Kemper Museum of Contemporary Art, Thresholds New Media 
Collection, Scotland; and the United States Department of State Art in 
Embassies.  She is a MAP Fund for Performance grantee (2012) with Pamela Z for 
Carbon Song Cycle, a performance work for chamber ensemble, voice, electronics 
and video (2013), which premiered at Berkeley Art Museum in April 2013.. Other 
awards and support include Turbulence/NY State Foundation for the Arts with GH 
Hovagimyan for “Plazaville” (2009) Documenta 12 Magazine Project (travel and 
participation support) (2007); American Scandinavian Foundation (exhibition 
support), 2006;  Experimental Television Center, New York (production support); 
 HUMLab visiting artist residency, Umea Universitat, Sweden (2005);  Lounge|lab 
residency and exhibtion support, Bauhaus-Universitat, Weimar (2003), and Banff 
Center for the Arts (residency, Media and Visual Arts, 2000).



very best regards

Christina


http://www.christinamcphee.net/about/

 
Christina McPhee is a media and visual artist whose work is involved in the 
‘deep ecology’ of topologic mark-making, abstraction, and illumination.  Her 
work often engages site and territory, integrates scientific data into 
sonified, time-based and visual images, and reflects on excess and beauty at 
the edges of architecture and natural science.

Christina McPhee was born in Los Angeles in 1954.  Her family moved to Nebraska 
when she was seven and she grew up on the edge of a small prairie town,  and 
taught herself drawing. A voracious reader, she was also influenced by an 
intense involvement in piano and classical music,  and,  via minimal contact 
with the media culture of the period, a childhood of making things. She 
returned to Los Angeles with a full scholarship at  Scripps College, Claremont, 
then transferred to Kansas City Art Institute to study painting (BFA 1976 
valedictorian).  She worked at Carpenter Center for the Visual Arts, Harvard, 
then studied at Boston University School for the Arts. She was a student of 
Philip Guston during his last two years of teaching, and graduated with the MFA 
in painting in 1979.  Throughout the eighties she pursued landcape and 
topologic large scale drawing studies of archeological-architectural studies in 
the American West. She raised two children in Kansas City, Missouri, taught 
drawing at the Kansas City Art Institute, and organized exhibitions in the 
region and mountain west.   In the late nineties she started to do remote 
performance and video projects using nascent desktop editing software, and from 
2002 on become a pioneer in new media arts internationally.  She moved to 
California to continue work in media  and drawing at remote technological 
landscapes, involving abstraction and montage around her documentary shots of 
ecological crisis at energy producing sites.  Her projects on seismic memory 
and on sonification of carbon sink data were among the first media projects to 
dwell in a discourse between architectural space, performance,  science and 
early modernist abstraction. She curated and moderated the Sydney-based 
-empyre- list serv for digital medi arts and culture from 2003-2008, and was 
participating editor on behalf of -empyre- when it was invited to contribute 
and exhibit at Documenta 12 (Halle), Kassel 2007.  She taught for several years 
in the  new media graduate program at UC Santa Cruz; then left academia to 
concentrate full time on production.  She shot and edited a series of short 
films on deepwater life in the Gulf of Mexico after the BP oil spill, at the 
invitation of biologists at the University of Louisiana.  Her newest projects 
(2013) involve painting and drawing conceptually driven ‘carbon cycle models.’ 
She  works with layered, linear sequences and formal structures, often 
interpolating poetic, political, and scientific data within topologic glyphs.   
She is based in San Francisco and the central coast of California.

Solo museum exhibitions include American University Museum, Washington, DC and 
Bildmuseet, Umea, Sweden, and Freies Museum, Berlin (video retrospective). 
Recent group exhibitions include Bucharest Biennial 3, Museum of Modern Art 
Medellin; Headlands Center for the Arts, and Los Angeles County Museum of Art 
(with Center for Visual Music), and Berkeley Art Museum- Pacific Film Archive. 
Public collections of her work include New Museum of Contemporary Art-Rhizome 
Artbase; Whitney Museum of American Art-Artport; Colorado Springs Fine Arts 
Center/Taylor Museum;  Kemper Museum of Contemporary Art, Thresholds New Media 
Collection, Scotland; and the United States Department of State Art in 
Embassies.  She is a MAP Fund for Performance grantee (2012) with Pamela Z for 
Carbon Song Cycle, a performance work for chamber ensemble, voice, electronics 
and video (2013), which premiered at Berkeley Art Museum in April 2013.. Other 
awards and support include Turbulence/NY State Foundation for the Arts with GH 
Hovagimyan for “Plazaville” (2009) Documenta 12 Magazine Project (travel and 
participation support) (2007); American Scandinavian Foundation (exhibition 
support), 2006;  Experimental Television Center, New York (production support); 
 HUMLab visiting artist residency, Umea Universitat, Sweden (2005);  Lounge|lab 
residency and exhibtion support, Bauhaus-Universitat, Weimar (2003), and Banff 
Center for the Arts (residency, Media and Visual Arts, 2000).

 



Begin forwarded message:

> From: naxsmash <naxsm...@mac.com>
> Date: June 18, 2013 11:21:04 AM PDT
> To: empyre@lists.cofa.unsw.edu.au
> Cc: christ...@christinamcphee.net
> Subject: re: bio / Christina McPhee
> 
> hi -empyreans- 
> it's nice to be back in touch and thanks, Renate, for suggesting we pitch in 
> our bios.  Here'a a recent highlights bio, see below.  Greatest hits or 
> something.  I tried to write a more personal account than I usually do. 
> I'm very glad to hear back via private email if any of you would like more 
> info on my projects.   
> 
> very best regards
> 
> Christina
> 
> 
> http://www.christinamcphee.net/about/
> 
>  
> Christina McPhee is a media and visual artist whose work is involved in the 
> ‘deep ecology’ of topologic mark-making, abstraction, and illumination.  Her 
> work often engages site and territory, integrates scientific data into 
> sonified, time-based and visual images, and reflects on excess and beauty at 
> the edges of architecture and natural science.
> 
> Christina McPhee was born in Los Angeles in 1954.  Her family moved to 
> Nebraska when she was seven and she grew up on the edge of a small prairie 
> town,  and taught herself drawing. A voracious reader, she was also 
> influenced by an intense involvement in piano and classical music,  and,  via 
> minimal contact with the media culture of the period, a childhood of making 
> things. She returned to Los Angeles with a full scholarship at  Scripps 
> College, Claremont, then transferred to Kansas City Art Institute to study 
> painting (BFA 1976 valedictorian).  She worked at Carpenter Center for the 
> Visual Arts, Harvard, then studied at Boston University School for the Arts. 
> She was a student of Philip Guston during his last two years of teaching, and 
> graduated with the MFA in painting in 1979.  Throughout the eighties she 
> pursued landcape and topologic large scale drawing studies of 
> archeological-architectural studies in the American West. She raised two 
> children in Kansas City, Missouri, taught drawing at the Kansas City Art 
> Institute, and organized exhibitions in the region and mountain west.   In 
> the late nineties she started to do remote performance and video projects 
> using nascent desktop editing software, and from 2002 on become a pioneer in 
> new media arts internationally.  She moved to California to continue work in 
> media  and drawing at remote technological landscapes, involving abstraction 
> and montage around her documentary shots of ecological crisis at energy 
> producing sites.  Her projects on seismic memory and on sonification of 
> carbon sink data were among the first media projects to dwell in a discourse 
> between architectural space, performance,  science and early modernist 
> abstraction. She curated and moderated the Sydney-based -empyre- list serv 
> for digital medi arts and culture from 2003-2008, and was participating 
> editor on behalf of -empyre- when it was invited to contribute and exhibit at 
> Documenta 12 (Halle), Kassel 2007.  She taught for several years in the  new 
> media graduate program at UC Santa Cruz; then left academia to concentrate 
> full time on production.  She shot and edited a series of short films on 
> deepwater life in the Gulf of Mexico after the BP oil spill, at the 
> invitation of biologists at the University of Louisiana.  Her newest projects 
> (2013) involve painting and drawing conceptually driven ‘carbon cycle 
> models.’ She  works with layered, linear sequences and formal structures, 
> often interpolating poetic, political, and scientific data within topologic 
> glyphs.   She is based in San Francisco and the central coast of California.
> 
> Solo museum exhibitions include American University Museum, Washington, DC 
> and Bildmuseet, Umea, Sweden, and Freies Museum, Berlin (video 
> retrospective). Recent group exhibitions include Bucharest Biennial 3, Museum 
> of Modern Art Medellin; Headlands Center for the Arts, and Los Angeles County 
> Museum of Art (with Center for Visual Music), and Berkeley Art Museum- 
> Pacific Film Archive. Public collections of her work include New Museum of 
> Contemporary Art-Rhizome Artbase; Whitney Museum of American Art-Artport; 
> Colorado Springs Fine Arts Center/Taylor Museum;  Kemper Museum of 
> Contemporary Art, Thresholds New Media Collection, Scotland; and the United 
> States  Department of State Art in Embassies.  She is a MAP Fund for 
> Performance grantee (2012) with Pamela Z for Carbon Song Cycle, a performance 
> work for chamber ensemble, voice, electronics and video (2013), which 
> premiered at Berkeley Art Museum in April 2013.. Other awards and support 
> include Turbulence/NY State Foundation for the Arts with GH Hovagimyan for 
> “Plazaville” (2009) Documenta 12 Magazine Project (travel and participation 
> support) (2007); American Scandinavian Foundation (exhibition support), 2006; 
>  Experimental Television Center, New York (production support);  HUMLab 
> visiting artist residency, Umea Universitat, Sweden (2005);  Lounge|lab 
> residency and exhibtion support, Bauhaus-Universitat, Weimar (2003), and 
> Banff Center for the Arts (residency, Media and Visual Arts, 2000).
> 
>  
> Christina McPhee’s time based work on Vimeo including clips from Shed Cubed, 
> Carbon Song Cycle, Tesserae of Venus and Naxsmash projects is accessed at 
> https://vimeo.com/christinamcphee
> 
> Her artist’s site, including a catalog raisonnee of works on paper, 
> photomontage and painting, together with writings and reviews is 
> http://christinamcphee.net
> 
>  
>  
> Artist’s Resume  // recent highlights 2007 to the present
> 
> June 2013
> 
>  
> RECENT  EXHIBITIONS  + SCREENINGS
> 
> “Carbon Song Cycle,” immersive 12 channel live video installation by 
> Christina McPhee,  in collaboration with Pamela Z (musical performance0,  
> Berkeley Art Museum and Pacific Film Archive, L@TE series, April 2013.
> 
> “Thirty Something”, Storefront for Art and Architecture, curated benefit 
> exhibition, Beekman Place, New York, March 2013.
> 
> SHED CUBED, 4 channel /Dolby 5.1 sound video installation with related 
> photographs and drawings by Christina McPhee, in Markers:  Christina McPhee 
> and Ryan Chard Smith, KROWSWORK project space, Oakland, California, September 
> 7 – October 13, 2012
> 
> De-Mobbing: Language, Structure, Bioform. Headlands Center for the Arts, 
> Sausalito, California, January 22-March 4, 2012
> 
> Collections III : Works by Women Artists at Thresholds Artspace, Horsecross, 
> Perth, Scotland, 23 October – February 2012
> 
> Expanded Abstraction, Los Angeles County Museum of Art, July 28, 2011 – 
> January 31, 2012
> 
> Liquid Assets: Perspectives on Water. Crocker Museum of Art, Sacramento, 
> California,  October 16 – January 8, 2012
> 
> A Delicate Landscape of Crisis, solo retrospective screening of a decade of 
> short films, Freies Museum  Berlin, April 13, 2011
> 
> Teorema Drawings, solo exhibition, Cara and Cabezas Contemporary, Kansas 
> City, March 23 to May 7, 2011.
> 
> Domains, Parameters, Wanderings. Acadiana Center for the Arts, Lafayette, 
> Louisiana, January 8 to February 28, 2011.
> 
> La Conchita Paradise, video screening, Cinéphémère in the Tuileries Garden, 
> the 37th edition of FIAC, Paris, October 21- October 24, 2010.
> 
> Deep Horizon, video screening,  Hurricane Season,  Issue Project Room, 
> Brooklyn, September 15, 2010.   With films by Robert Flaherty (excerpts from 
> “Louisiana Story”), Courtney Egan and Helen Hill, Pawel Wojtasik, Lisa 
> Johnson, Christina McPhee, Tony Oursler, Ghen Dennis, and Gretchen Skogerson.
> 
> Canyon Variation 4. in Hot and Cold: Abstractions from Nature, group 
> exhibition with work by Julie Mehretu, Christina McPhee, Jasper Johns, 
> Suzanne Caporeal,  John Buck, and Alan Gussow, Kemper Museum of Contemporary 
> Art, Kansas CIty, April 20 to October 22, 2010.
> 
> La Conchita N=Amour (2008), video installation, Silent City, The Rag Factory, 
>  London, May 7-10, 2010
> 
> Tesserae of Venus – Ghostdance (2009), video installation,  Open Space Art 
> Cologne, curated by Heinrich Schmidt,  April  20-23, 2010
> 
> Tesserae White Cloud (2010),  invitational screening, Crossroads Festival, 
> San Francisco Cinematheque,  Victoria Theatre, April 20, 2010
> 
> SALT, video installation, “Because the Night”, curated by LIVEBOX, Aurora 
> Picture Show, DiverseWorks Artspace,, Houston, February 6, 2010
> 
> Tesserae of Venus, solo exhibition, photomontage and drawings,  Silverman 
> Gallery, San Francisco, October 23 to December 5 , 2009
> 
> SALT video installation “Because the Night,” Chapman College – Guggenheim 
> Gallery, curated by LIVEBOX,  Los Angeles, October 19 – November 13, 2009
> 
> Screening, Recipe (evacuee cake), short film, VIBA Festival, Buenos Aires,  
> November 27-29, 2009.
> 
> Screening, Seven after Eleven, short film, Cinema by the Bay Festival, 
> Invitational, curated by Sean Uyehara, San Francisco Film Society, Clay 
> Theatre, San Francisco, October 22-25, 2009.
> 
> Tesserae of Venus, video installation, ISEA Festival, exhibition, Belfast,  
> August 23 to September 1, 2009, curated by Kathy Rae Huffman
> 
> Plazaville, variable cinema installation remake of Godard’s Alphaville, by GH 
> Hovagimyan and Christina McPhee, produced with Artists Meeting and 
> Turbulence.org commission-NY State Foundation for the Arts, Pace Digital 
> Gallery, New York, April 7 – May 15, 2009.
> 
> Recipe (evacuee cake)/Recette-Gâteaux_à_évacués invitational screening, 
> VIDEOFORMES 09, Clermont-Ferrand, March 10-14, 2009
> 
> 47REDS, drawing installation, in “Twice Upon a Time,” Galerie Andreas Huber, 
> Vienna, November 18 2008 – January 10, 2009. Group show with Carla Åhlander, 
> Kaucyila Brooke, Tammy Rae Carland, Carola Dertnig, Desiree Holman, Judith 
> Hopf, Christina McPhee, Susanne Winterling and  Ginger Wolfe-Suarez.
> 
> Recipe (Evacuee Cake), video installation, In Transition Russia 2008, 
> National Centre for Contemporary Art, Moscow, -December 2008.
> 
> Carrizo Topologies, Bucharest Biennial 2008, curated by Jan-Erik Lindstrom 
> and Johan Solstrom, May-June 2008, Bucharest; and Bildmuseet Umea, Sweden, 
> October-November 2008 (catalog).
> 
> Carrizoprime, First Sight Scene, LA Film Forum, Egyptian Theatre, January 27, 
> 2008
> 
> La Conchita N=amour, 22 screen, 3 channel video installation, Horsecross. 
> Commission for Threshold Wave, Perth, Scotland, October 2007 – April 2008
> 
> RECENT PRESS / REVIEWS / BOOKS
> 
> Ella Mudie, “The Spectacle of Seismicity,” Leonardo (MIT Press Journals), 
> volume 43, issue 2, April 2010.
> 
> Representations of earthquakes in visual art have the potential to function 
> as spectacles (defined as striking or dramatic public displays); this in turn 
> provokes consideration of how viewers construct meaning from such 
> representations. The author examines the work of a number of artists arguably 
> concerned with going beyond spectacular representations in their portrayals 
> of earthquake activity. Particular focus is placed upon performative 
> techniques meant not only to engage audiences with the properties of seismic 
> phenomena but also to stimulate reflection on the complex psychological 
> responses they may trigger, as well as their analogous relationships to 
> conditions of environmental and cultural crisis. Reviews of work by Natalie 
> Jeremijenko, DV Rogers, Christina McPhee, et al. With cover art by Christina 
> McPhee, video still from SALT (2004) .  Abstract and citations.
> 
> Melissa Potter, “Interview: Christina McPhee.” 
> http://bombsite.powweb.com/?p=5307 BOMB Magazine,Bomblog, New York. First 
> release online (ongoing) from October 26, 2009.
> 
> Sharon Lin Tay, PhD, Women on the Edge:Twelve Political Film Practices. New 
> York: Macmillan/ London: Palgrave Macmillan, 2009. ISBN 978-0-230-21776-8
> 
> Women on the Edge re-envisions women’s cinema as contemporary political 
> practices by exploring theworks of twelve filmmakers: Hollywood cinema (Sofia 
> Coppola), European arthouse fare (Sally Potter, Liv Ullmann), the political 
> documentary (Jill Craigie, Kim Longinotto, Liz Miller), world cinema (Guo 
> Xiaolu, Deepa Mehta), the video essay (Ursula Biemann), as well as 
> independent and multi-platformed works (Lynn Hershmann-Leeson, Christina 
> McPhee and Gisela Sanders Alcántara)..
> 
> Leigh Markopoulos, “Iraqi Eye”, SF Camerawork JOURNAL, vol 36, no. 1, 2009.
> 

http://christinamcphee.net



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