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Kathleen
Ruiz is an internationally exhibiting media artist who creates interactive
simulations, games, installations, sculpture and photography. Her work
explores issues about perception, behavior, interaction and the confluence
of the imaginary and the real, inviting inquiry into how conceptual
constructs are built and how they serve to shape ethics and power.
Portraying the promise of technology as well as its frightening,
fascinating and humorous contradictions, Ruiz poses questions about the
oxymoron of virtual violence, catharsis, and desensitization in simulated
space. She builds simulated and physical places where multiple viewpoints
can be explored and expanded, while challenging us to simultaneously
perceive perspectives of the observer, the observed and the process of
observation.
Kathleen’s
recent scholarly and artistic work explores the innate, but oftentimes
overlooked, ability to use simulation to study intentionality, multiple
perspectives and potential non-colonizing approaches towards understanding
and acceptance of the “other”. Her work
considers games and simulations as cultural artifacts reflecting how
a society expresses gender, race, and behavior.
Kathleen’s work
is supported by grants from the Mid-Atlantic Arts Foundation Visual Arts
Residency Award, Connecticut Council on the Arts Award, the New York City
Department of Cultural Affairs Percent for Art Commission for permanent
public art, the New York State Council on the Arts Exhibition Grant, the
Experimental Television Center Grant, the National Science Foundation, the
National Endowment for the Humanities, and the New York State Council on
the Arts Individual Artist award. Recent work was also funded by Sony Computer
Entertainment, Europe.
She has exhibited at
numerous galleries, museums and alternative spaces in the United States,
Mexico, Europe, South America, and Asia and her work was reviewed/published
in the New York Times, Aperture, Art News, ARTI, Jornal do Brasil, The
College Art Journal, The MIT Press, Reuters Video News International,
Computer Graphics, Yale University Art Gallery, Wired, USA Today, arteTV,
Kultur:Deutsche Welle, TeknoKultura, and others.
Current Artistic Research
* Water
and especially plankton and the environment have been preeminent interests,
and the use of simulation media, vr, ar and 360 degree paintings to create
an approach of immersion, both blurring and highlighting difference and
other in an exploration of one as embedded in, by and of nature.
* The Other: an interactive 3D
simulation that explores the theme of multiple perspectives through
different characters, each with their own viewpoint, in a dynamic
environment showing how one’s actions and decisions affect others
environmentally, socially, and culturally.
* Telomere: a multimedia ballet
exploring conceptions of age and agelessness in a triumph of the human
spirit while the inevitable collapse of body occurs through time.
“Telomere” uses the biological process of cell division as a
metaphor for the life process of a prima ballerina. In an alchemic interweaving of art
and science, the many aspects of aging are experienced physically,
socially, psychologically, spiritually and emotionally.
* ErGoGenic Research Group: (co-founder), a trans-disciplinary team of artists,
composers, cognitive scientists, medical doctors, psychologists, and game
designers who are developing physical interfaces and bio-feedback to
directly affect gameplay and interaction in games/simulations to encourage
reaching and maintaining healthy levels of cardiovascular activity. This
group is also working on games which aim to approach satiation through
psycho/physio interaction.
* Capability Games and Simulation: (co-founder) an interdisciplinary group
of programmers, artists, engineers, and composers who are developing
interactive multimedia game simulation modules for differently abled people
to help in learning basic life skills for independence through fun,
repetition and engagement. Visual/auditory stimulation and memory systems
are being developed in conjunction with innovative interface modalities
tailored for individuals who have sustained brain injuries or who are
physically and/or mentally handicapped.
* Multi-Sensory Media Art expanding
beyond the eye/ear metaphor using olfaction, proprioception, EEG/EKG, and
other emerging interfaces/delivery systems.
* Nanosculptures: and the interplay of
macro and nano structures: The area of nanotechnology holds potential
creative territory for new kinds of artistic/scientific/philosophical/environmental/medical/ethical
discourse and collaboration. Evolving preliminary ideas for nano dimension
projects which consider physical phenomena and new perceptive environments
emerging from nanoscale research could include fascinating super-mini
objects, larger frameworks for virtual and physical three dimensional
“sculptures and terrains” which would act as catalysts for
opening much needed thoughtful and critical dialogues.
* Playable Art: physically and
environmentally stimulating fine art sculpture and environments for
touching, hearing, seeing, climbing, jumping, exploring, imagining, and
cooperating for fun, enjoyment and education.
Teaching Interests
* Experimental Game Design: a
multidisciplinary studio arts course focusing on the creation of innovative
workable game prototypes using a variety of multimedia approaches,
methodologies and materials. Games are analyzed as cultural artifacts
reflecting behavior, social formation, and the representation of gender, ethnicity
and identity. Alternate works that go beyond existing shooter-type
paradigms and emerging forms are encouraged.
* Advanced Integrated Arts: Open to
Institute-wide Ph.D. and graduate students, this course uses integrated
multidisciplinary inquiry and creative studio practice to expand
inventiveness and to explore the potentials and the impacts of our own
contemporary technological, scientific, social, and artistic research as it
unfolds in the context of the larger world and across Arts, Cognitive Science,
Science, Computer Science, Architecture, and Engineering.
* Advanced Digital Imaging: An upper level studio exploring individual
visual arts projects contributing to culminating experience, thesis or
dissertation development. Topics and projects in creative personal
expression in imaging, installation, and mixed media practices are explored
drawing from issues raised in class projects. Projects in high resolution
digital photography, painting, illustration, processing, printing, as well
as physical assemblage, and projection are conducted.
* Perception and Art (in formation)
* Nano Perspectives: Multidisciplinary
Explorations in Art and Nanotechnology (in formation)
* Advanced Topics in Simulation (in
formation)
* Multi-Sensory Media Art expanding beyond
the eye/ear metaphor (using olfaction, proprioception, EEG/EKG interfaces,
etc.) (in formation)
Teaching/Professional
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1997-present
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Rensselaer
Polytechnic Institute
Department of the Arts
Troy, N.Y.
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Associate Professor of Integrated Arts (2003-present)
(Assistant Professor 1997-2003)
Creating and developing undergraduate and graduate programs and curriculum
in the visual and integrated arts including studio and studio/seminar
courses in Advanced Integrated Arts, Experimental Game Design, Advanced
Digital Imaging, Intermediate Digital Imaging, Virtual Environments,
Advanced 3D Projects, Media Arts Studio, Cyberarts, Photography, Animation,
Creative Design in Information Technology, and emerging genres.
Undergraduate advising and research project supervision. Graduate and
doctoral thesis chairing and advisement, and co-ordination of graduate
teaching assistants. Artistic research in interactive simulation,
multisensory multimedia, motion capture, advanced digital
imaging/photography, motion tracking and critical trans-disciplinary
projects. Academic committee assignments within the department and in
university-wide interdisciplinary curriculum endeavors, faculty and
administrative searches, advisory panels and grant writing. Helped to
formulate the Visual Arts and Animation Working Group to help colleagues,
clinical faculty, graduate teaching assistants, and staff discuss issues
and ways to improve our programs using strengths in traditional fine arts practice,
digital arts practice, and emerging experimental genres.
Research and recommend hardware, software, cameras, printers and studio
design. Member, Gen/Net: A Gender, Science and Technology Group.
Co-authored the Minor in Game Studies at Rensselaer, and co-authored the
trans-disciplinary Major in Game Simulation Arts & Science (GSAS).
Recommend and co-ordinate symposia and visiting lecture series in
interdisciplinary studies in the arts. Founding member of the
multidisciplinary ErGoGenic Game Research Group and the CapAbility Games
Research Project.
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1988
- 1997
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New
York University
Department of Art and Arts Professions
New York, N.Y.
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Associate Professor, part time
Helped to establish and develop the Art in Digital Media Program. Created curriculum
at the graduate and undergraduate level to explore the use of computers in
art making. The program is specifically designed to demystify the
technology and empower the artist with the necessary skills for: two
dimensional work including digital photography, painting, &
printmaking, three dimensional virtual sculptural works, animated
interactive installations, digital video, and innovative exploration of the
computer as a tool for augmenting creative thought. Courses created and
taught included: "Advanced Projects in Art and Media: Computer Art I
& II," "Projects in Art and Media: Computer Art I &
II," "Introduction to Computer Art", and "Digital
Photography I & II". Advising students on independent study
projects in digital media, Contributed on-going technical consultation for
software and hardware purchases, creating interdisciplinary bridges both
within the Department of Art and with other departments and schools within
the University, coordinated and conducted research and development for computers
in the arts, consulted in the recommendation of studio lab facilities,
coordinated the guest artist/critics program, designed materials, events
and web site art exhibitions to promote the work of the students of the Art
in Digital Media program throughout the department, the university, and the
local, regional and international community.
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1991
- 1997
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School
of Visual Arts
Master of Fine Arts, Computer Art Program
New York, N.Y.
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Member of MFA Faculty
Responsibilities included the creation of new curriculum, the teaching of
advanced studio/seminar courses at the graduate level for students
exploring digital media for artistic expression and visualization utilizing
computer technology to augment and expand artistic conceptualization.
Advisement and chairing of student MFA thesis projects.
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1990
- 1992
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Scholastic
Software Inc.
New York, N.Y.
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Artist, animator and interface designer Projects included Operation Frog (Mac based
interactive virtual dissection program), Timeline (an innovative interactive program of American history
from 1492 to the present), and others.
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1988
- 1991
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The
Hippocrates Project
New York University
School of Medicine
New York, N.Y.
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Design director of interactive
medical courseware for first and second year medical school curriculum and
for physician scholars including subjects ranging from EEG, psychology,
neurobiology, cell biology, molecular biology (the polymerase chain
reaction) and others. Research and development of animation and scientific
visualization systems. Created
and conducted seminars in the design and implementation of computer based
courseware.
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1986
- 1989
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N.Y.C.
Department of Health
Bureau of Public Health Education
Media Services Unit
New York, N.Y.
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Designer/Consultant for communications
promoting public health. Researched and purchased hardware and software for
computer imaging and trained art staff in the use of computer systems for
desktop publishing.
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1981
- 1997
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Multi-media
designer and consultant
for major corporate accounts and institutions
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Citibank
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Ford
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AT&T
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Wendy's
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Exxon
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Pantene
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The Library of Congress
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New York Telephone Company
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Deloitte & Touche
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NYNEX
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IBM
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Sony
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BMW
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Waterjel
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Mattel Toys, Inc.
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The Howard/Marlboro Group
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“Cooking with Jacques Pepin”
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Broadway Theater set design for Neil Simon's
"They're Playing My Song"
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Selected Exhibitions/Performances
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2016
– present
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The Aquatic Messenger
Kathleen Ruiz, abd
Ph.D. Associate Professor, Integrated Arts & GSAS
originator, project lead designer, director, producer
Large Scale VR Art Installation:
Continuing my long-term artistic exploration of water and the microscopic
life that lives in it, The Aquatic Messenger is my newest
work-in-progress. This is a major immersive virtual world that enables the
traversal of time and the scale at which you experience underwater
lifeforms. The work also has archival interactive ar murals and 3d print
sculptures of various plankton with table paintings that are both aesthetic
and informative.
The Aquatic Messenger is deeply connected to my background in
traditional and digital arts and is inspired by field and lab research. One
of the goals of the work is to inspire and acquaint people about the
abundant, but relatively unknown microscopic life indicators of freshwater
ecology. I am inspired, in part, by the micropaleontology and freshwater
plankton research being done on the Jefferson Project and at the DFWI
(Darrin Freshwater Institute) by Dr. Mimi Katz, Dr. Sandra
Neirswecki-Bauer, and graduate student, Krysia Kornecki who are studying
the deep past to learn about potential future environmental changes
Additionally, I draw
inspiration from my scholarly and artistic research centered on simulation,
perspective and empathy. Here I am exploring the possibilities for
simulation media to approach a non-colonizing understanding of “the
other”, whether that other is another person, or the environment. I
was inspired by the spirit of Galileo’s great treatise, The Starry
Messenger, (Sidereus Nuncius) where he revealed through his observation
and drawings of the heavenly bodies, that the earth was not
the center of the universe. Similarly, the phenomenological stance that The
Aquatic Messenger experientially conveys in the virtual, is that we are
part of this underwater world, but not its center.
Using advanced game
and simulation technology, I am working with trans-disciplinary teams of
scientists, students, programmers, artists and music composers in the
creation of an artwork that is both tactile and virtual. Experientially it aims to build a
critical awareness of the importance and complexity of freshwater
ecosystems and
their serious potentials for environmental impact.
In my customary
style, going back to my early VR works in 1995, The Aquatic Messenger
is experienced both digitally and in conjunction with physical interfaces
and sculptural objects, and it involves artistic and scientific “real
world” fieldwork experiences.
Recent lake coring
samples from the micro-paleontology research being done by my colleagues,
geologist Krysia Kornecki and micro paleontologist Dr. Mimi Katz are
revealing significant changes in three lifeforms: ostracodes, diatoms, and
testate amoeba, in addition to pollens, isotopes, phosphorus, nitrogen,
salinity and other indicators of human impact on the delicate balance of
phytoplankton and zooplankton.
This imbalance
greatly influences freshwater ecology and is responsible for algae blooms,
significantly effecting the quality of drinking water world-wide.
Especially in the
current world of “Fake News” and the annihilation of
environmental protections and funding, through The Aquatic Messenger
become “keepers” of the emerging environmental knowledge,
giving tiny plankton, who are vital to freshwater ecology, a voice and a
presence through virtual embodiment. The “Aquatic Messengers”
are sending us important messages from deep time. Using the virtual is a
radical act of preservation and transmission of this vital knowledge.
collaborators include:
Miriam (Mimi) Katz, Ph.D. Associate Professor, Paleoceanography and
Micropaleontology, Earth & Environmental Sciences, Rensselaer
Polytechnic Institute
Rick Relyea, Ph.D., Professor of Biology, Executive Director DFWI,
Director of the Jefferson Project
Nina C. Young, Ph.D. Assistant Professor of Music, music
composition
Krysia Kornecki, graduate student, Geology
Connor Fahy, GSAS/CS 2017: Lead Programmer
Eric Lujan, GSAS/CS 2019: Assistant Programmer, music composition
Jerry Huang, Architecture 2018: 3D Print Design and Production
Hongyang Lin, (Lion) GSAS/Earts 2020: Art/Modeling/Animation
Ian Stead, EMAC 2007: Environmental Art/Interface
Christina Chiusano, eARTS 2015: 3D modeling and animation
Harrison Essig, CS 2021: Assistant Programmer
Matthew Carlson, GSAS/CS 2020: Associate Programmer
Autumn Walters, eARTS?EE, 2021: Installation
Brendon Curson, Associate Programmer/UI/Web/Video
Hantian Jiang (Simon) GSAS/CS 2018: Associate Programmer
Exhibited and or presented at:
Echo Leahy Center for Lake Champlain visited Rensselaer to experience
installations of The World of Plankton tablet, The Aquatic
Messenger vr, Invert AR mural, plankton table art and 3d print
sculptures, Feb. 21, 2018 (Resulting in a planned exhibit Sept 2018-Jan
2019.)
Radical Preservation and Aquatic Survival:
experiential transmission through art by becoming water, snorkeling with
plankton, and traveling through deep time, by Kathleen Ruiz, invited guest speaker for New
Perspectives: Innovations by women intersecting science, media and sonic
arts, at the University of California, Santa Barbara, AWMAT 2018
Alliance of Women in Media Arts and Technology, February 8-10, 2018
AWMAT Art Exhibition:
The World of Plankton touchscreen, curated by Lena Mathew &
Kathy Rae Huffman at University of California, Santa Barbara February,
2018
The Center for Holographic Arts solo art exhibition of The
Aquatic Messenger, at in NYC, on Governors Island, with over 500
attendees, July 14, 15, 16, 2017
Art Exhibition of The
Aquatic Messenger, at Curating Immersive Realties, a roundtable
screening of international VR and AR artists at Jump into the Light
Virtual Reality Lab, in conjunction with Martina Mrongovius, NYC, June
23, 2017
The Aquatic Messenger visited the Echo Museum for the
Environment, Spring 2017
Burlington Vt. (Currently in dialog for a possible exhibit in 2018.
World of Plankton presented at the Wild Center, Tupper
Lake, N.Y., 2017
The Aquatic Messenger presented
by Kathleen Ruiz & Krysia Kornecki at the IBM T. J. Watson Research
Center, Yorktown Heights, at the International Jefferson Project meeting,
Feb 1, 2017
Solo exhibition of,
“Invert”, interactive augmented reality mural at the Martin
Luther King Center in conjunction with the Fundación Antonio
Núñez Jiménez for Culture and the Environment,
Havana, Cuba January 4-11, 2017
Recent grants related to this
project include:
NYSCA (New York
State Council on the Arts) in Partnership with Wave Farm: Media Arts
Assistance Fund Grant, 2017 Funded
IBM and the Fund
for Lake George,
The Aquatic Messenger (vr) and The World of Plankton (tablet) 2017, Funded
MRI: A Smart
Sensor Web for understanding freshwater ecosystems
(Relyea, R., PI; Deborah McGuinness, Sandra A
Nierzwicki-Bauer, Kathleen Ruiz, Morgan F Schaller Co-PIs) The major
goals of this project are to acquire a single integrated platform of
sensors that will monitor regional weather, physical and chemical
parameters of the water, the circulation of water throughout Lake George,
and inputs from the major tributaries. These sensors will be positioned
throughout the lake and integrated using Smart Technology. National Science
Foundation MRI, National Science Foundation, 8011
runs 9/1/16 to 8/31/19, Funded
2015 - 2018
World of Plankton
Funded by part of a
Rensselaer KIP (Knowledge and Innovation Program Grant) for “Building
a Three-Dimensional Model of the Plankton Distribution in Lake George,”
2015, the Jefferson Project, and an additional extension KIP in
2016, with outside funding grants from an NVIDIA Academic Research Hardware
Grant
Kathleen Ruiz, Originator
and Lead
Artist, Designer, Director, Producer
The World of Plankton is an immersive, interactive, virtual 3D art
and science environment designed to viscerally engage the participant at
the micro-scale of unseen phytoplankton and zooplankton in order to gain
first-hand experience about the drama of underwater life and its potentials
for environmental impact.
The project is
designed to highlight the importance and complexity of freshwater
ecosystems as one is given choices to navigate, learn and envision what
this aquatic world might look like if conditions were to change - coming
face to face with a huge rendition of the invasive spiny water flea as it
eats other phytoplankton, or viscerally experiencing the unfolding events
of a large algae bloom. The project defines what plankton are, and sets the
scene to embark the user on an immersive under water journey akin to
snorkeling with large, mostly transparent, creatures that few have ever
seen at such large scale. The scenarios which take place include behaviors,
predations, invasives, and impacts on lake water which can be seen as one experiences
the various levels of the project. This work includes originally composed
music and spatialized sound shaped by sonification of lake and research
data. Additionally, there are large-scale physical 3D print sculptures of key
plankton models such as Dinobryon divergens, Fragilaria, Daphnia Pulicaria,
and Bythotrephes Longimanus (Spiny Waterflea). These sculptures can be
picked up, pulled apart, and studied. We are also experimenting with
ecological casting materials such as chitin, the organic glucose polymer
that makes up the exoskeletons of crustaceans and insects, and the radulae
of mollusks. We have plans for constructing overhead hanging sculptural
models of plankton blown hugely out of proportion that will be juxtaposed
with floor graphics of swimming fish below and interactive augmented
reality marker prints creating the total ambience of work. The project can
be experienced as a projected virtual artwork installation in a gallery, a
science or arts museum, or online.
http://www.arts.rpi.edu/~ruiz/WorldOfPlankton/WOP.htm
Exhibited and or presented at:
•
World
of Plankton • Echo Leahy Center for Lake Champlain—ECHO
Innovation Playground
1
College Street, Burlington, Vermont 05401
Opening
Friday, Oct. 5th, 5:30–7:30pm;
on
exhibit through January 6, 2019 www.echovermont.org
World
of Plankton touch pool installation
At
the confluence of game design, art, and science the World of Plankton touch
pool installation includes a virtual touch-pool aquarium that explains the
role of plankton in freshwater ecology. The installation consists of a
giant digital touch table where one can capture and explore zooplankton,
phytoplankton and fish species, surrounded by an original 32-foot digitally
painted mural and an animated Plankton Zoo featuring three-dimensional
print sculptures in resin. Visitors can bring the plankton sculptures to
life on their mobile devices by scanning QR codes found in the installation
to activate original animation and music.
•
Radical Preservation and Aquatic
Survival, experiential transmission through art by becoming water,
snorkeling with plankton, and traveling through deep time, by Kathleen
Ruiz, invited guest speaker for New Perspectives: Innovations by women
intersecting science, media and sonic arts, at the University of
California, Santa Barbara, AWMAT 2018 Alliance of Women in Media Arts and Technology,
February 8-10, 2018
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AWMAT Art Exhibition: The World
of Plankton prototype touchscreen, curated by Lena Mathew & Kathy Rae
Huffman at University of California, Santa Barbara February, 2018
•
World
of Plankton is featured in The ACM SIGGRAPH on-line exhibition,
Science of the Unseen: Digital Art Perspectives http://science-unseen.siggraph.org/
2016- currently on exhibit
Artworks
in Science of the Unseen: Digital Art Perspectives think creatively about
questions of scale and how unseen processes animate larger effects. By
using digital tools and computational programs, we see with new eyes as we
view visual material from the microscopic cell to the cosmic universe.
Technology increasingly alters the senses and our experience of the
biological, astrological, and geological landscape. From our new ways of
seeing, questions emerge such as: how does nano-technology mirror and
magnify the art of nature? How does visualizing insect burrows in trees
allow us to interpret a larger ecosystem? Or we can ask what still remains
unseen: how do organisms form new imperceptible habits in response to
technology?
Art
can be both inspired by and resistant to accepted scientific practices for
visualizing the world. Artworks in Science of the Unseen: Digital Art
Perspectives experiment with innovative research methods that also
critically examine what drives the disciplines of art and science. In this
exhibition, artistic interpretation of the unseen emphasizes the political
dynamic of both the human public and nonhuman ecologies. How does art
represent and empower the relationships between micro and macro, unseen and
seen, situated and global that would otherwise be invisible? What can art
see that science cannot see alone?
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World
of Plankton presented at the HASS Humanities Roundtable: Developing
a Digital Infrastructure for Humanities Research and Collaboration at
Rensselaer, Sage 3205, 12-2PM, November 11, 2016
•
World
of Plankton presented to Kirk Schell, an RPI alumn and senior VP of
Commercial Client Solutions for Dell, Alumni House, 9:30- 11:30AM, November
11, 2016
•
World
of Plankton presented by Kathleen Ruiz at meeting with Kirk
Johnson, Ph.D., Sant Director of the Smithsonian National Museum of
National History, Washington D.C., with Deepak Vashishth, PhD., Director,
Center for Biotechnology & Interdisciplinary Studies, Professor of
Biomedical Engineering, Rensselaer Polytechnic Institute; Prabhat Hajela
Ph.D., Provost, Rensselaer Polytechnic Institute; and Mimi Katz, Ph.D.,
Associate Professor, Earth and Environmental Sciences, Rensselaer
Polytechnic Institute, CIBIS September 1, 2016
•
World
of Plankton presented by Kathleen Ruiz, Ian Stead and Christina
Chiusano at the Margaret A. and David M. Darrin ’40 Fresh Water
Institute Open House, Saturday, August 20, 2016
•
World
of Plankton presented at the Revolutionary Learning 2016
Conference, by Kathleen Ruiz, Evan Gonzalez, and Jerry Huang, Grand
Ballroom, Roosevelt Hotel, 45 East 45th Street, N.Y.C., August 18, 2016
•
World
of Plankton presented at the international ACM SIGGRAPH conference,
Anaheim, California, July 24 - July 28, 2016.
•
World
of Plankton presented by Kathleen Ruiz at the NYSCA Electronic
Media/Film & Visual Art (New York State Council on the Arts) and G4C
(Games for Change) Match Up, at Parson School of Design, Sheila C. Johnson
Design Center, Parsons School of Design, 2 West 13th Street, NYC. June 22,
2016
•
World
of Plankton prototype presented at Gamefest, at Curtis R. Priem
Experimental Media and Performing Arts Center (EMPAC), Rensselaer
Polytechnic Institute April 29 – 30, 2016
•
World
of Plankton was presented by Ben Chang at the international Game
Developers Conference (GDC), Moscone Center, San Francisco, California
March 14-18, 2016
•
World
of Plankton research was presented by Kathleen Ruiz, Justin
Cirigliano, Leo Antelyes, Christiana Chiusano, and Domenic Cristaldi at the
Jefferson Project meeting at Lake George Feb. 3, 2016
•
World
of Plankton, presented by Kathleen Ruiz in Professor Jefferson
Kielwagan’s sculpture class to inspire the creation of 4 to 5’
physical hanging sculptural zooplankton paper prototype models for the
World of Plankton installation, Feb., 2016
•
World
of Plankton prototype presented by Kathleen Ruiz at TVGScog (Tech Valley Game Space Center of Gravity), Troy,
N.Y. Feb., 2016
2014
Project: The Other
Funded with hardware support
from 1St Playable Productions
Kathleen Ruiz, Originator and Head Creative Artist,
Director, Producer
Project: The Other is a research project investigating
virtual space with an entirely new approach to what can occur in
interactive experiences. Light Up My World (in conjunction with
students Andrew Morris: programmer and Evan Gonzalez: music and sound) is a
pilot world of this research. Here the project team (consisting of
marginalized and underrepresented individuals in the world of games and
simulation) is exploring networked Unity 3D worlds that use two Oculus Rift
VR headsets with spatialized sound and music with programmed atmospheric
effects to illuminate revelations of co-existence.
Exhibited at EMPAC,
Nov., 2014
2014- present
Telomere
pending funding and
residencies
Kathleen Ruiz, Originator
and Lead
Designer, Director, Producer
A multimedia ballet
which uses the process of biological cell division as a metaphor for the
life process of a prima ballerina.
In an alchemy of art and science the diverse aspects of the body and
its journey through time are revealed.
2012-2013
Flo: The Watershed Project
Funded by grants from
the Catskill Watershed Corporation in cooperation with the New York City
Department of Environmental Protection, the Watershed Agricultural Council
and the U.S. Forestry Service.
Kathleen Ruiz, Originator and Head Creative Artist, Director, Producer
A physically interactive
3D virtual environment artwork installation 8' x 10' x 10', and an online art
game and an educational web portal. In addition, there is an upload
calculator for a dynamic “Your Stream,” segment that calculates
a personalized flow path based on user input parameters.
"Flo"
continues my artistic research in using simulation technology to explore
first person experience, intentionality, and empathy. Here one experiences
what it may be like to "be" water. An artwork that has educational
components in the form of mini-games that address issues about climate
change and flooding by reducing sediment and turbidity, altering conditions
of development impacts, implementing storm water control systems, reducing
farm pollutants, preventing pharmaceutical and personal care products
(PPCPs) pollution, and reducing heat pollution. Sustainable and ecofriendly
practices which are incorporated throughout the game simulation project
include:
* Alternate forms of
energy such as wind, solar, hydro, and geothermal heating/cooling
* Transportation
alternatives such as electric, hybrid cars, bikes, walking, public
transportation, and emerging new ideas such as nitrogen cars
* New forms of
clustered housing and villages
* Better agricultural
practices and food production
“Flo”
creates a unique bridge between the digital and natural worlds. Digital
natives “play” the simulation, but to complete the highest
quest, one must go out into the field, conduct scientific water testing
(both observational and chemical), in addition to artistic observations and
impressions, and upload their results to our server.
This project has a
dedicated team of educators and environmental consultants including Kate
Van Baren; Amber Bennett; Katie Palm; research scientists including Elliot
Schneiderman, Ph.D., Senior Research Scientist, NYC Environmental
Protection, Watershed Science Modeling; and Kerissa Fuccillo, Ph.D. abd Green
Infrastructure Science Consultant and Director of Education & Research,
The Ashokan Center, and an outstanding production team of Rensselaer
students including Evan Minto: CS/EMAC; Beth Werbaneth: CS/ GSAS; Beth
Towns: CS/GSAS; Colin Neville: CS/GSAS; Rosa Tung: EArts/GSAS; Randy
Sabella: HCI/GSAS; Anthony Szymczyk: EArts/GSAS; Gabriella Ciavardoni:
EMAC/CS; Dan Hawkins: Cog-Sci/GSAS; and music composition by Evan Gonzales:
EArts/GSAS.
For more information please see: http://homepages.rpi.edu/~ruiz/projects.html
and http://watershed.hass.rpi.edu/
Exhibited and presented at:
* EMPAC ArtGames Arcade, Arts@40 October 4-7, 2012 at
Rensselaer Polytechnic Institute to over 400 alumni, students, faculty,
administrators, parents, children and the media
* Onteora Middle
School, Watershed Area, Boiceville, N.Y. October 19, 2012
* PS 551,
New York City, N.Y., October 15, 2012
* The
Ashokan Center, a nature, history, and arts center, Olivebridge, N.Y., April 5 & 6, 2013
* The
Brooklyn Arts Council, Sandylore
Symposium: Cultural Knowledge as a Resource for Disaster Response,
sponsored by a grant from the New York Council for the Humanities held at
The Actors Fund Arts Center, Brooklyn, N.Y., curated by Kate Turner, June
13, 2013
|
|
2008
- 2009
|
·
“Simulation One” by the CapAbility Games Research
Group, exhibited in the State Capitol Building at the New York State Senate
Disabilities Awareness Day Tech Fair, Albany, N.Y., May 6, 2009
·
Opus Igor, Albany, NY. invited artist, December 2008
to March 2009
|
|
2006
- 2007
|
- "Seminci
Valladolid Film Festival”, curated by Juan Carlos Frugone, Museo
de la Ciencia, Valladolid, Spain,
October 20 to 27
- “Creative
Demolition: Reconstructing Culture through Innovation in Film and
Video” curated by Ariella Ben-Dov and Steve Seid, with Eddo
Stern and Greg Niemeyer, Vassar College Art Gallery, New York, June 17
to 24
- "Camargo Cibernético", Camargo, Cantabria,
Bilbao, Spain, May 29 to June 2
- "Codes
of Culture: Video Art from 7 Continents", ArteBA, Contemporary
Art Fair, Buenos Aires,
Argentina,
curated by Nina Colosi, (Founder of The Project Room, New York), May
19 to 24
- “FILE-RIO”, Telemar Cultural Center, Rio de
Janeiro, Brazil, March 20 to April 20
|
|
2005
|
- "FILE
2005", The International Electronic Language Festival Sao Paulo, Brazil,
at the SESI
Art Gallery,
October 31st to November 20th
- "Cinematic
or Videomatic?", The Rhode Island School of Design Museum, 224
Benefit Street, Providence, RI., Oct. 4 to Nov. 6
- "Stunt
Dummies", Interactive Multimedia Culture Expo, curated by James Tunick & Nina Colosi, The Chelsea
Art Museum, 556 West 22nd St. and 11th Ave, New York City, April 14 to
23
- "This Is
Not An Archive", curated by Monserrat Albores Gleason, Anna Gray,
Mariangela Mendez, Center for curatorial Studies, Bard College, Feb. 6
to 20
- "Sputnik:
Silent Sound", part of The Uglybeautycage project (Dialogue with
John Cage) by German composer, Ralph Lichtensteiger Silence/Stories
Project Feb. Uglybeautycage project (Dialogue with John Cage) performed
as a concert/reading event with visual projections in Frankfurt,
Germany.
|
|
2003
- 2004
|
- "GameArt",
curated by the Institut für Kulturaustausch and sponsored by Sony
Computer Entertainment, Völklinger Hütte, European Zentrum
für Kunst und Industriekultur, Völklingen, Germany,
November 21, 2003 to April 18, 2004
- InteractivA'03,
Biennale of New Media and Electronic Arts, curated by Raul Ferrera-Balanquet, The Museum of
Contemporary Art of Yucatan, Mexico, July 10 to September 28, 2003
- "Maniquí
Marioneta", Digital Sur: Muestra y Encuentro de Art Digital
Latinoamericano curated by Adolfo Schneidewind, Rosario, Argentina,
August 22 to September 5, 2003
|
|
2002
|
- "File
2002: The International Festival of Electronic Art", Sao Paulo, Brazil, August 2002
- "The AVA
Project: Terra Incognita", Designer, Producer, Director, The Arts
Center of the Capital Region, Troy, N.Y., May 25
- "The
Open Museum Net.Art @ The Irish Museum of Modern
Art" curated by Arthur X. Doyle
|
|
2001
|
- "Virtual
Shooter", USM Art Galleries,
(solo exhibition) curated by Carolyn Eyler,
Director, University of Southern Maine Art Galleries, Gorham, Me.
- "Bang,
Bang (you're not dead?)", online exhibition, The Samuel Dorsky
Museum of Art, State University of New York, New Paltz, N.Y.
- "Seizure",
The Permanent Collection, The Phoebe & Belmont Towbin Wing, The Woodstock Artists Association, Woodstock, N.Y.
|
|
2000
|
- "Bang,
Bang (you're not dead?)", The Phoebe & Belmont Towbin Wing,
The Woodstock Artists Association, Woodstock , N.Y.
Solo exhibition of multiple installations, large scale
photogaphy, video, sculpture and interactive website, July 29-October
16
|
|
1999
|
- Cut &
Paste," The International Festival for Film, Video and New Media
- 99, Lucerne, Switzerland
- "Toys'n'Noise,"
The Center for Contemporary Art, Linz
, Austria
curated by Margarete Jahrmann & Georg Weckwerth
- "Metamorphoses:
Photography in the Electronic Age," Aperture, Dubuque
Museum of Art, Dubuque,
IA.
- The Rondout
Biennial, curated by Christopher Gonyea, Kingston N.Y.
|
|
1998
|
- "Sequence,"
permanent art commission for the NYC Department of Cultural Affairs,
Percent for Art Program, The Queens Borough Public Library, Flushing, N.Y.
- "Millennium
Capsule," Trans Hudson Gallery, (solo show) 416 West 13th Street, N.Y.C.
- "TechnoPassion",
iEAR Exhibition & Performance, The Kitchen, New York, N.Y.
- "Balance"
Interactive Virtual Environment & Sound Performance, iEAR at The
Chapel/Cultural Center, Troy,
N.Y.
|
|
1997
|
- "Beyond
Shelter: The Architecture of the Future" School of the Art
Institute, Department of Interior Architecture, ISEA, Chicago, IL.,
curated by Anders Nereim and Sally Levine.
- "Digital
Works", Contemporary Arts Collective, Las Vegas, NV.
- "Metamorphoses:
Photography in the Electronic Age," Aperture, The Ackland Art Museum,
Chapel Hill, N.C.
- “Technoseduction,"
School of Art, The Cooper Union, curated by Robert Rindler &
Deborah Willis, (Holly Block, Deborah Bright & David Deitcher),
New York, N.Y.
- Faculty/Student
Exhibition, iEar Gallery, Rensselaer, Troy, N.Y.
- Studio Art
Faculty, New York University, 80 Washington Sq. East Galleries, New
York, N.Y.
|
|
1996
|
- "Mental
Picture," The Sandra Gering
Gallery, (solo show) New York,
N.Y., June 13- July31
- "VIDEO:
Sans Titre," Galerie Froment & Putnam, (Marina Ulay, Tom
Burr, Willie Cole, Ann Hamilton, Matthew McCaslin, Inigo Ovalle, Linda
Post) Paris, France , Sept. 17 - Oct. 26
- "Faculty
Art Show," College Art Gallery,
SUNY New Paltz, New Paltz,
N.Y.
- "Metamorphoses:
Photography in the Electronic Age," Aperture, The Philadelphia
Museum of Art, Philadelphia, Pa., The Tampa Museum of Art, Tampa,
Florida, The San Jose Museum of Art, San Jose, Ca. Kemper Museum of
Contemporary Art & Design, Kansas City, Ms.
- "The
Machine Stops," curated by Brian Wallace, The Brush Art Gallery, Lowell, Mass.
|
|
1995
|
- "The
Lost Dimension," The Art Gallery of Ramapo College, (solo show), Mahwah, N.J.
- "Summer
Outdoor Sculpture Show," Elena Zang Gallery, Shady (Woodstock), N.Y.
- "Diverse
Group/One Direction," Apex
Gallery, New York,
N.Y.
- "Metamorphoses:
Photography in the Electronic Age," Aperture, Blaffer Gallery, University of Texas,
Houston, Texas
- "Art as
Signal: Inside the Loop," @art/ Leonardo web gallery, and the University of Illinois,
Urbana-Champaign, Ill.
- "Re-inventing
the Emblem," Yale University Art
Gallery, New Haven, Ct.
- "Group
Selections," Satellite deCompression Gallery, The Arizona Center,
Phoenix, Arizona
- "Breaking
Ground: Images for the New Millennium," Ramapo College
of N.J.
- "Nature
and Technology," Shirley Fiterman Gallery, City University of New
York, N.Y.
- "Enumerated
Repositories", Parco Gallery, Kichijoji, Tokyo, Japan
|
|
1994
|
- "InsideOut,"
deCompression Gallery, (solo show) Phoenix, Arizona
- "Metamorphoses:
Photography in the Electronic Age," Aperture, The Museum at
Fashion Institute of Technology, New
York, N.Y.
- "The
Great Linear Space Mystery," Mills Pond Estate Gallery, Smithtown
Arts Council, St. James,
N.Y.
- "From
Drawing to Montage," The Computer
Museum, Boston, Mass.
- "Page
4", 450 Broadway Gallery, New
York, N.Y.
- "The
Nielsens Don't Live Here Anymore," Central Arts Collective, Tuscon, Arizona
- "From
Drawing to Montage," The Museum at Parson's School of Design, New York,
N.Y.
|
|
1993
|
- "1,000
Drawings," Artists Space, New
York, N.Y.
- "New
Directions '93," Barrett House Gallery, Poughkeepsie, N.Y.,
curated by Adam Weinberg of the Whitney Museum of American Art
- "SculptureFest
1993," Woodstock,
Vermont
- "Summer
Salon Show," Robert
Morrison Gallery, New York,
N. Y.
- Socrates Sculpture Park,
NY92/50 Long Island City,
N.Y.
- "No
TV/Movies," Visual Studies Workshop, Rochester, N.Y.
- "Axelgrease,"
Squeaky Wheel, Buffalo Media Resources,
Buffalo, N.Y.
|
|
1992
|
- "Selected
Group Works," Robert
Morrison Gallery, New York,
N. Y.
- "Day
Without Art," photoprojections, Lehman College Art Gallery, New
York, N. Y.
- "Interplay:
Dissolving the Boundaries," Rosenberg
Gallery, New York
University, N.Y.
- "Multi
Media Grunderzeit," University Wuppertal, Germany (traveling to Offenbach, Braunschwieg, Kassel,
Karlsruhe, Stuttgart,
Munchen, Leipzig, Berlin,
& Hamburg)
- "16th
Annual Small Works," juried by Arnold Glimcher director of Pace
Gallery, 80 Washington Square East
Galleries, New York, N.Y.
|
|
Presentations/Interviews/Reviews/Journal Articles/Curatorial
|
|
“Cyberfeminism: ethics of our
technologies: HIS-tory, HIS-toy”, by
Kathleen Ruiz
College Art Association, New Media Caucus, in “Feminism and New
Media Art: Hot or Not?”, Moderators: Katherine Behar & Silvia
Ruzanka, Featured Speakers: Terry Berkowitz, Jillian Hernandez, Diane
Ludin, Jillian McDonald, Prema Murthy, Stephanie Rothenberg, Kathleen Ruiz,
and Miriam Tola. Hunter College, MFA Studio Building 450 West 41 Street,
N.Y.C., February 12, 2011
“Conceptual Constructs: Creative Collaborators as
Philosopher Scholars ” by Kathleen
Ruiz, at CASE (Center for Architecture Science and Ecology) in conjunction
with Associate Professor Anna Dyson, Skidmore, Owings and Merrill, 14 Wall
Street, New York, NY., November 19, 2010
Invited
member of the Advisory Board for the Center for Children and Technology,
Education Development Center in New York City. 2010
“Intermingling of Creative
Cross Disciplinary Endeavors in Arts and Cognitive Science” by Kathleen Ruiz, with Assistant Professor of Cognitive Science Mei Si, Ph.D., in
Advanced Integrated Arts, West Hall 210, Nov 11, 2010 and Dec 2, 2010
“The Task of the
Artist/Philosopher/Scholar: Contributing to the Cultural Imagination”
presentation to Microsoft Research Team” by Associate Professor of Integrated Arts, Kathleen Ruiz, abd Ph.D.
in conjunction with John Kolb and Rensselaer Science researchers 8:00am
CIBS, Oxbridge Room in BioTech November 2, 2010.
“Kathleen Ruiz: Artistic
Research and Applied Socially Oriented Research and Relevant Selected
Student Research”, by Kathleen
Ruiz, presentation to Craig Mundie, CEO of Microsoft Research 1:30pm EMPAC
November 2, 2010.
“Intermingling of Creative
Cross Disciplinary Endeavors in Arts and Computer Visualization” by Kathleen Ruiz, presentation and workshop in Professor Barb
Cutler’s Visualization class, Amos Eaton Hall, Rensselaer, Oct. 6,
2010.
“Students of Advanced
Integrated Arts Trans-disciplinary Endeavors” by Associate Professor of Integrated Arts, Kathleen Ruiz.
Presentation at CASE / Center for Architecture Science and Ecology, NYC,
Oct. 15, 2010.
Ruiz, Kathleen.
Consuming and Archiving in Conservación del
Arte Electrónico ¿Qué Preservar y Cómo
Preservarlo? Hofman, V. and Rozo, C. eds., Apuntes Taxonomedia,
Buenos Aires, Argentina, pgs. 71-73, 2009. (An essay re-contextualizing
Digital Art from within a culture of consumption, including the consumption
of culture itself.)
Ruiz,
Kathleen. Philosopher Artists,
a blog for doctoral
students and Ph.D.s in the arts to discuss issues, ideas and processes in
artistic research leading to innovative contributions to knowledge. The
dialogs will explore the ability of advanced artist-scholars to uniquely
and simultaneously explore poiesis (making), techne (craft), and episteme
(knowledge). 2009- present
Wands, Bruce. "Art in the
Digital Age". Thames and Hudson
Ltd., UK., 2007
"Physically Interactive Gaming: What Appeals to Adolescent and
Undergraduate Women?” by Julie G. McIntyre , Sybillyn
Jennings (The Sage Colleges) and Kathleen
Ruiz (Rensselaer Polytechnic Institute) at the Interacting with Immersive Worlds
Conference in Brock University, St. Catharines, Ontario, June 4-5, 2007
"Simulation and Empathy”
invited guest artist/ lecturer at the Games-Simulation-Conflict, Tech/Action Conference Bard College, Annandale-on-Hudson, May 19,
2007
"Flash
Stories", co-curated an international on-line exhibition of short
study flash projects from my Rensselaer Intermediate Digital Imaging
students and students at the University of Zhaoqing, Guangdong Province, China.
From China: http://zquart.tomrchambers.com/flash_stories.html
From the US: http://www.arts.rpi.edu/~ruiz/IDIflashstoriessp07/idi/index.htm May 2007
"Video Juegos y El Cine”", invited artist and panelist, Seminci Valladolid Film Festival,
Valladolid, Spain with Roman Gubern, Professor of Cinema History at the
UCLA and University of Madrid;
Margarita de la Vego-Hurtado, Director of the Robert Flaherty Film
Festival; Hipolito Vivar Zuirita, Professor of New Technologies at the
Complultense University of Madrid; Eusebio Sanchez Blanco, Professor of
Fine Arts at the University of Salamanca, and Luis Marin Arias, Chair of
Cinema at the University of Valladolid, October 24, 2006
"Camargo Cibernético", invited artist/panelist, Camargo, Cantabria, Bilbao, Spain,
May 29 to June 2, 2006
"Impressions of China", co-curated an international on-line
exhibition of Rensselaer and University
of Zhaoqing students, http://www.arts.rpi.edu/public%5Fhtml/ruiz/public%5Fhtml/IDI%2Dspring2006/ss6.html May 2006
Heartney, Eleanor and Gopnik, Adam.
Heiferman, Marvin, ed. "City
Art: New York's Percent for Art Program". Merrell Publishers,
2005, pgs. 78-79.
Langston, Bonnie. "Thinking Inside the Box", (review of
"This is Not an Archive," exhibition at Center for Curatorial
Studies at Bard College) The Kingston
Freeman, Feb.11, 2005, Living, pg. 1.
Work featured in the ACM SIGGRAPH, panel "Audio for Animators:
A Sound Production and Editing Panel", by music composer, Sarah Plant, Oct 18, 2005.
"Future Applications of Immersive Displays, 3D Visualizations, & Live Image Processing"
Keynote panelist with Michael Naimark, Luke DuBois, & Jaanis Garancs at
the Interactive Multimedia Culture Expo at The Chelsea Art Museum, April, 16, 2005
"Interactive 3D works for the Arts & Scientific Visualization", featured artist in the panel
discussion at the Interactive Multimedia Culture Expo at The Chelsea Art Museum with fellow
artist, Jean-Marc Gauthier. April 15, 2005
Freudenberger. Sylvia. ArteTV, "GameArt" (in the
arts-series Metropolis), European culture television. Jan.10, 2004
"Blended Realities: Creativity, Simulation, & Art", guest
artist/lecturer, the University of Richmond. sponsored by the Mathematics and
Computer Science Department, and the University of Richmond
Museums, Marsh Gallery, Richmond,
Va., September 14, 2004
Kolb, Bettina. Deutche Welle Kultur DW-TV, television interview, "Stunt
Dummies", Volklinger, Germany, Nov. 21, 2003
Brienschenk, Astrid, SWR
Sudwesterundfunk, television interview, "Stunt Dummies",
Volklinger, Germany, Nov. 21, 2003
“Conditions of Engagement in Game Simulation: Contexts of Gender,
Culture and Age” by Ralph Noble, Kathleen Ruiz, Marc Destefano,
Jonathan Mintz. Published in print and on the web and presented at Level Up, the 1st International
Conference of the Digital Games Research Association (DiGRA), the
University of Utrecht, The Netherlands November 4 – 6, 2003.
Verwirrung zum Mitmachen, Kultur, Deutsche Welle, November 25, 2003
Figueroa, Heidi Sarriena, Ph.D.
"Lo politico en Interactiva '03", TeknoKultura, Ciencias Sociales de la Universidad de Puerto
Rico, Recinto de Rio Piedras, Puerto Rico. August 1, 20003,
Navas, Eduardo, "InteractivA", NetArtReview, August 7, 2003
LatinArt.com, InteractivA'03, July, 2003
Whitney ArtPort, The Whitney Museum Portal to Net Art, InteractivA http://artport.whitney.org/resources/netartexhibitions.shtml
Ruiz, Kathleen. "Imaginary Homelands: Reconstituted Narratives in the
Digital Landscape", The Photography Quarterly, #85, Vol. 20,
No.4. 2003. http://www.rpi.edu/~ruiz/essays/imaginary_homelands/index.html
"The
Significance of Game Art in Contemporary Culture", guest artist/
lecturer, European Zentrum für
Kunst und Industriekultur, Völklingen, Germany, November 20, 2003
"Stunt Dummies and Hieronymus Bosch's, The Seven Deadly Sins",
Guest Artist/ Lecturer, the Museum
of Contemporary Arts Yucatan, Merida, Mexico, July 14, 2003
New York Foundation for the Arts,
Selection panelist 2003
Nanda, Samira. "The Ava Project" Reuters
Video News interview June 28, 2002, Reuters, 3 Times Square, New York
City.
Gitahy, Ana Carolina. "Dancando com um
avatar", Jornal do Brasil, June 24, 2002, pg. 1-3
"Interacão entre real e virtual", Jornal do Brasil,
June 24, 2002, pg. 3.
"Uma bailarina feita de bits ENTREVISTA / Kathleen
Ruiz", Jornal do Brasil, June 24, 2002.
Dean,
Katie. "May I Have This Avatar?" Wired, June 14, 2002. http://www.wired.com/news/culture/0,1284,52986,00.html
Curated "Imaginary Homelands: Reconstituted Narratives in the Digital
Landscape", The Center for
Photography, Woodstock, N.Y., November 2 to Dec.22, 2002. Presented
associated lecture series.
"The AVA Project: the Camaraderie of Invention", Guest
Artist/Scholar, Bridges II: Collaboration, Communication, Convergence, The Banff Centre, Banff New Media
Institute, and The University of Calgary in collaboration with the
Annenberg Center for Communication at the University of Southern
California, October 4, 2002
File 2002: The International
Festival of Electronic Language, Guest Artist/Scholar, Sao Paulo,
Brazil, "Terra Incognita: Human Nature/Technology, The AVA
Project", August 10, 2002
The Kaatsbaan International Dance
Center, Tivoli, N.Y. Residency April, 2002
"Virtual Shooter", All Things Considered, Maine Public
Radio interview with Charlotte Renner, Portland, Maine, March 15-16, 2001
"Digital Art/changing Paradigms" Guest Artist/Scholar, University of Southern Maine Art
Gallery, Gorham Me., March 15, 2001
"Virtual Violence: Does our recreation re-create us?", Panelist, University of Southern Maine, Luther
Bonney Auditorium, Portland, Me., March 14, 2001
"Alternative Gaming Paradigms: Redefining Design, Theory, and Gaming
for OnlineGames", Panelist, The
International Web3D Conference, Heinz-Nixdorf Museumforum, Paderborn,
Germany, Feb 22, 2001
"Blown Away: Seduced by Video Games", Allen Dammann, Casco Bay
Weekly, March 8, 2001, Portland, Me.
"Multimedia Installation Blurs Line Between Virtual and Real", Rensselaer Campus News, October 2,
2000.
Kornblum, Janet. "'Bang' offers not too violent alternative",
eBriefing, USA Today, Sept. 19, 2000, pg. 3D.
"Bang, Bang (You're Not Dead?)", Electronic Arts at Rensselaer, Rensselaer Magazine, Sept. 2000,
pg. 5.
Brown, Steven, PC Gamer, Eyewitness News, "But is it
Art?", Aug 31, 2000
World OnLine, "Een pacifictische 3D-shooter?", Aug 8, 2000
Pisani, Francis, "Disparar para resucitar", ElPais Digital,
August, 2000
Dean, Katie. "Bang Bang you're not dead", Wired, Aug. 30,
2000 http://www.wirednews.com/news/culture/0,1284,38314,00.html
Wilson, Beth
Elaine, "The Mind's Eye", Chronogram, 8/2000, pgs. 28-29.
Gray, Andrew. "New Fashioned Shoot 'em Up", Chronogram,
8/2000, pg. 63.
Stoeva, Petia. "Media artist targets violence", The
Poughkeepsie Journal, July 28, 2000, pgs. 4F-5.
Piperato, Susan. "Artist Takes on Culture of Violence", The Woodstock Times,
July 27, 2000, Vol. 27, no. 30.
The Saugerties Post Star, "Bang, Bang, (you're not dead?) Art
Display at WAA", July 7, 2000.
The Ulster County Townsman, "Bang, Bang, (you're not
dead?)", July 6, 2000, Vol.XLVII, no.27, pg 9.
Ruiz, Kathleen. "Virtual Environments/3DWeb", Computer
Graphics Focus: Web3D, ACM SIGGRAPH, May, 2000, vol. 34, no.2, pgs 60-61.
Bang, Bang (you're not dead?), Gallery lecture, The Phoebe &
Belmont Towbin Wing, The Woodstock Artists Association, Woodstock, N.Y.,
August, 2000
VRML Art/Web3D 2000, ACM SIGGRAPH,
Guest Artist/Scholar, Monterey, California, 2000
NYC Department of Cultural Affairs, New
York Hall of Science Art Commission, Panelist, 1999
SIGGRAPH 99, Juror, Sketches
Panel of emerging artistic research in VR, 1999
VRML Art 99, Heinz-Nixdorf
Museumforum, Guest Artist/Scholar, Paderborn, Germany, 1999
Spalter, Anne M. The Computer in the Visual Arts, Addison Wesley,
1998, pgs. 106,108, 212, 467, color plate 18.
NYFYI, New York Foundation for the
Arts, "Sequence", Recent New
York City Percent for Art Projects", Jan.,
1998.
PANYC, Percent for Art of New
York City Public Arts Projects, October 1998.
Art Journal, College Art Association, Spring 1997 vol. 56, no.1, pg.
26.
Cotter, Holland
"Techno Seduction," Art in Review, The New York Times,
Feb. 7, 1997, pg. C26.
Mirapaul, Matthew, "Techno Seduction: Artists Encounter the
Computer", The New York Times, CyberTimes, Arts@Large,
Jan. 16, 1997.
Technoseduction, curated by Robert Rindler & Deborah Willis,
catalog published by The Cooper Union, New York, N.Y. 1997, pg. 45. http://cooper.edu/legacy/art/techno/artists/ruiz2.html
"Technoseduction", The
Cooper Union, Panelist, New York, N.Y., Jan. 23, 1997
Sozanski, Edward J., Art Museum Exhibit Examines Photographs in the
Computer, The Philadelphia Inquirer, July 7, 1996.
Hirsch, Robert. Exploring Color Photography. 3rd Edition, Dubuque,
Ia.: Brown & Benchmark, 1997, pg. 151.
"Imaging the Self: Art & Medicine", Panelist, Womens' Caucus for Art, Philadelphia,
Pa. Feb., 1997
The New Museum of Contemporary Art,
N.Y. studio lecture at VOID, Nov. 2, 1996
Photography Department, Bard College,
Visiting Professor/Artist, Annandale-on-Hudson, N.Y., 1996
"Postmodernism & Technology", The Cooper Union, Guest Artist/Lecturer, New York, N.Y., 1996
The School of Visual Arts,
N.Y.C. Guest Artist/Lecturer, MFA Photography, 1996
Shine, James G. "Enticing Faculty Show at College Gallery," Kingston Daily Freeman, Kingston, N.Y.,
September 6, 1996, pg. 5-7.
Lehrer, Leonard. "Pluralism and the Tower of
Babel," Jornadas Internacional de la Crítica -
Diálogo Europa - América, Museo de las Bellas Artes,
Buenos Aires, Argentina, Oct., 1996.
Norman,
Julyan. "The Computer as Artist's Tool: An Example from the Visual
Arts Residency Program," ArtsInk, Mid Atlantic Arts Foundation,
Winter 1996, Volume 7, Number 1, pg. 4.
Hall, Ann. "At Brush Gallery, Step into Virtual Reality," The Boston Globe, Feb.
1, 1996.
Weintraub, Annette. "Artifice, Artifact, The Landscape of the Constructed
Digital Environment," Leonardo,
The MIT Press, 1995, Volume 28, Number 5, pgs. 365 & 366.
Watkins, Eileen. "Clinically Inspired Creativity", The
Star-Ledger of N.J., Art, Dec. 1, 1995, pg. 24.
Chmelewski, Kathleen, & Goggin, Nan,
& Squier, Joseph. "Art as Signal: Inside the Loop," Leonardo,
The MIT Press, The Leonardo
Gallery, 1995, Volume
28, Number 2, pgs. 85-86.
Field, Richard S. Director of
Drawings, "Contemporary Emblems," Reinventing the Emblem, Yale University Art
Gallery, 1995.
Lipkin, Jonathan. "Breaking Ground: Images for the New Millennium,"
Ramapo College of N.J., 1995.
Dashkin, Michael. "From Drawing to Montage," Leonardo, The MIT
Press, The Leonardo
Gallery, 1995, Volume
28, Number 1, pgs. 6, & color plate A.
Spalter, Ann, & Weintraub, Annette. "The Computer & the Visual
Arts - a Revolution in Process," College Art Association, 1995.
"The Possibilities for Art & the WWW: Past, Present &
Future," National Endowment for
the Humanities, NSF Capstone Seminar Guest Speaker, The Cooper Union,
1995
Ramapo College, Visiting Artist
Lecture, Fall 1995
Hagen, Charles."Metamorphoses," Art in Review, The New York
Times, Oct. 21, 1994.
Charbeneau, Travis. "Living in Apocutopia," The Soho Journal, Special Edition, Autumn, 1994.
Sand, Michael. "Metamorphoses: Photography in the Electronic
Age", Aperture, August, 1994, pgs. 1, 52, 53.
"Not Painting by Numbers," Newsweek, ART, July 25, 1994.
Panorama, Boston,
Mass., July 4, 1994.
"From Drawing to Montage," Panelist, Parson's School of Design, New York City, 1994
Roberts, Paul. "The Digital Aesthetic: Where is Photography headed in
the Age of the Computer?," Aldus Magazine, Volume 5, Number 3,
Jan. / February, 1994, pg. 28-29.
Hagen, Charles. "Photography, The Dawn of a New Age?", Art
News, March, 1993, pg. 75.
Montage 93, Panelist/Juror, Eastman
House, Kodak, Rochester, N.Y.1993
"Material Obsessions: Artists Using Unusual Materials," Panelist,
Artists Speak on Art, N.Y.C.,
1992
Randolph Macon Womens' College, Visiting Professor/Artist, Lynchberg,
Virginia, 1992
Denton, Monroe. "Socrates
Park: 93NY50," ARTI,
Volume 16, 1993, pgs. 160-62, 164-65.
Kerlow, Isaac Victor. Computers in Art and Design, ACM SIGGRAPH,
1991, pgs 27 & 111.
Kerlow, Isaac Victor. "The Year of the Photo," Computer Graphics,
July, 1991, pg. 89.
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Education
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European Graduate School of
Interdisciplinary Studies, EGS, Media and Communication, Switzerland, abd
Ph.D., (est. 2012)
New York University, Studio Art/Digital Media, Master of Arts, 1988
State University of New York at New Paltz, Bachelor of Science cum laude,
1974
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Awards/Commissions
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• “CapAbility Games
Grant from The Center for Disability Services, Albany, N.Y., 2008
• National Endowment for the
Arts, The Arts on Radio and Television Grant Co PI, Arts section with Linda
Lewit and Film Arts Foundation 2007
• National Science
Foundation, “Acquisition of System for Multi-Site Networked Motion
Capture and Visually Immersive Laboratory for Social and Behavioral
Research.” Senior Project Personnel, award number 0521297, 2005
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Sony Computer Entertainment, Europe, 2004
• New York State Council on the Arts, Individual Artist Grant, 2002
• Experimental Television Center Finishing Funds Grant, 2002
• New York State Council on the Arts, Electronic Media and Film
Exhibition Grant, 2001
• University of Southern Maine, Visiting Artist Grant,2001
• Robert & Barbara L. Bachner Grant, 2000
• Percent for Art, New York City Department of Cultural Affairs,
Department
of Design and Construction, 1998
• The State of Connecticut, Commission on the Arts, 1998
• Mid Atlantic Arts Foundation Visual Arts Residency Program Grants
Award, 1995
• Vermont Council on the Arts, 1993
• Experimental Television Center Residency, 1992
• Artist Space, Artists Grant, 1991
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