Jeffrey Shaw

Jeffrey Shaw (born 1944) is a beat new media artisan and researcher. From 1965 to 2002 he lived in Milan, London, Amsterdam and Karlsruhe, and alternate to Australia in 2003 to accept the Directorship of the iCinema Research Centre at the University of New South Wales. Starting from September 2009, Shaw is the Dean of School of Artistic Media, City University of Hong Kong.

Shaw has been a arch amount in new media art back its actualization from the performance, broadcast cinema and accession paradigms of the 1960s. He is internationally acclaimed for beat the artistic use of agenda media in the fields of basic and aggrandized reality, immersive visualization, accessible accurate systems and alternate narrative. His plan includes performance, sculpture, video and abounding alternate installations.

Biography

Shaw was built-in in Melbourne, Australia and advised at the University of Melbourne, Brera Academy, Milan and St. Martins School, London. He was the co-founder the Artist Placement Group in London (1966–1989), of the Eventstructure Analysis Group in Amsterdam (1969–1979), and founding administrator (1991–2003) of the ZKM Institute for Visual Media in Karlsruhe. in 1976, he advised the inflatable pig, aureate over Battersea Power Station, and acclimated by Pink Floyd on the awning of their Animals anthology and consecutive tour.12 At the ZKM, he accomplished and led a seminal artful research, assembly and exhibition affairs that included residencies and the conception of new works by abounding of the a lot of notable media artists of our time. In 1995, Shaw was appointed Professor of Media Art at the Staatlichen Hochschule für Gestaltung, Karlsruhe.

Shaw’s career is aswell acclaimed by his collaborations with adolescent artists including Tjebbe van Tijen, Theo Botschuijver, Dirk Goeneveld, Peter Gabriel, Agnes Hegedues, David Pledger, The Wooster Group, William Forsyth, Dennis Del Favero, Peter Weibel, Jean Michel Bruyere, Bernd Lintermann, and Sarah Kenderdine.

Shaw was awarded an Australian Analysis Council Federation Fellowship in 2003, and alternate to Australia to co-found and absolute the UNSW iCinema Centre’s analysis affairs in immersive alternate anecdotal systems for broadcast and anchored intercommunication, area apple arch artful and abstruse analysis into immersive alternate post-narrative systems is getting undertaken.

Curation

2002 Future Cinema (co-curated with Peter Weibel), ZKM, Karlsruhe, KIASMA Museum of Contemporary Art, Helsinki and NTT InterCommunication Centre, Tokyo

1998 Surrogate, Karlsruhe, ZKM

1997 Current, Karlsruhe, ZKM

1995 NewFoundland II, Karlsruhe, ZKM

1993 NewFoundland, Karlsruhe

1992 Bitte berühren, Karlsruhe

Selected works

T_VISIONARIUM, 2007 (with Neil Brown, Dennis Del Favero, Peter Weibel), Biennale of Seville 2008

PLACE-HAMPI, 2006 (with Sarah Kenderdine, John Gollings, and Paul Doornbusch), Lille 3000, Lille, France

EAVESDROP, 2005 (with David Pledger), Sydney Festival, Powerhouse Museum, Sydney, Australia

CUPOLA, 2004, European Cultural Capital of Europe 2004, Eurolille, Lille, France

FUTURE CINEMA, 2003, Exhibition co-curated with Peter Weibel, ZKM Centre for Art and Media, Karlsruhe, Germany; InterCommunication Centre, Tokyo, Japan; KIASMA, Helsinki, Finland

WEB OF LIFE, 2002 (with Michael Gleich, Bernd Lintermann, Lawrence Wallen, Torsten Belschner, Manfred Wolff-Plottegg), Museum für Kommunikation, Frankfurt, Germany

PLACE- RUHR, 2000, Vision Ruhr, Dortmund, Germany

conFIGURING the CAVE, 1997 (with Agnes Hegedues, Bernd Linterman and Leslie Stuck), NTT InterCommunication Center, Tokyo, Japan

PLACE - A USERS MANUAL, 1995, Neue Galerie Graz, Austria

THE GOLDEN CALF, 1994, Ars Electronica, Linz, Austria

EVE MultiMediale 3, 1994, ZKM Center for Art and Media, Karlsruhe, Germany

THE VIRTUAL MUSEUM, 1991, Das Belebte Bild, Art Frankfurt, Frankfurt, Germany

REVOLUTION, 1990, Imago, KunstRai, Amsterdam, Netherlands

THE IMAGINARY MUSEUM OF REVOLUTIONS, 1989 (with Tjebbe van Tijen) Brucknerhaus, Linz, Austria

THE LEGIBLE CITY, 1988 (with Dirk Groeneveld), Bonnefanten Museum, Maastricht, Netherlands

HEAVENS GATE, 1987 (with Harry de Wit), Shaffy Theater, Amsterdam, Netherlands

INVENTER LA TERRE, 1986, La Villette, Paris, France

THE NARRATIVE LANDCSAPE, 1985 (with Dirk Groeneveld), Amsterdam, Netherlands

POINTS OF VIEW, 1983, Mickery Theater, Amsterdam, Netherlands

THE LAMB LIES DOWN ON BROADWAY 1975, (Eventstructure Research Group) Genesis World Tour

VIEWPOINT, 1975, (Eventstructure Research Group) 6th Biennale de Paris, Musee d'Art Moderne, Paris, France

WATERWALK, 1970, (Eventstructure Research Group) Brighton Festival, Brighton, England

MOVIEMOVIE, 1968 (with Eventstructure Research Group) 4th Experimental Film Festival, Knokke le Zoute, Belgium

CORPOCINEMA, 1967 (Eventstructure Research Group) Sigma Projects, Museumplein, Amsterdam, Netherlands

CONTINUOUS SOUND AND IMAGE MOMENTS, 1966 (with Tjebbe van Tijen and Willem Breuker) Netherlands Film Museum, Amsterdam, Netherlands

Selected bibliography

Castelli, R., (Ed) Cinemas of the Future, Lille 2004 Capitale Europeenne de la Culture, 2004, pp. 50–53, 56-57, 78-79.

De Mèredieu, F., (Ed) Histoire de l’Art Moderne. Matérielle et immatérielle, Larrouse, Paris, 1994, pp. 303–305.

Dinkla, S., Pioniere interaktiver Kunst von 1970 bis heute: Hatje Cantz Ostfildern, 1997, pp. 97–146.

Druckery, T., Weibel, P. (Eds.) Net Condition, MIT Press, Cambridge, 2001.

Duguet, A-M., Klotz, H., Weibel, P., Jeffrey Shaw – a user's manual. From Expanded Cinema to Virtual Reality, Hatje Cantz, Ostfildern, 1997.

Evenstructure Research Group: Concepts for an Operational Art, in: Art and Artists, London, January 1969.

Grosenick, U., and Riemschneider, B., (Eds), Art at the Turn of the Millennium, Taschen Verlag, Cologne, 1999, pp. 462–465.

Hansen, M. B. N.,Framing the Digital Image: Jeffrey Shaw and the Embodied Aesthetics of New Media, in: New Philosophy for New Media, MIT Press, Cambridge 2004.

Gleich, M., Shaw, J., The Web of Life – Linking Art and Science, Aventis Foundation and ZKM Karlsruhe, 2004.

Oliver Grau: Virtual Art: From Illusion to Immersion, MIT-Press, Cambridge 2003, pp 240–243.

Huhtamo, E., Jeffrey Shaw's EVE and the Panoramic Tradition, in: ICC InterCommunication, No. 14, Tokyo, Autumn 1995, pp. 138–139.

Kenderdine, S., Shaw. J., Del Favero, D. and Brown, Place-Hampi: Co-Evolutionary Narrative & Augmented Stereographic Panoramas, Vijayanagara, India in: New Heritage, New Media And Cultural Heritage, Kalay, Y. E., Kvan, T., and Affleck, J.,(Eds.) Routledge, Oxfordshire, 2008.

Manovich, L., The Language of New Media, MIT Press, Cambridge, 2001, pp 226, 260-261, 282-285.

Margaret Morse, M., (Ed) Hardware, Software, Artware - Art Practice at the ZKM Institute for Visual Media, 1992–1997, ZKM Karlsruhe, 1997.

Paul, C., Digital Art, Thames & Hudson Ltd. 2003.

Popper, F., Art of the Electronic Age, Thames & Hudson, 1997.

Popper, F., From Technological to Virtual Art, MIT Press, Cambridge, MA, 2007.

Rötzer, F., Jeffrey Shaw: "Reisen in virtuelle Realitäten" in: Kunstform, Vol. 117, 1992.

Rush, M., New Media in Late 20th-Century Art, London, New York, 1999, pp. 210–212.

Schwarz, H. P., Media Art History, Prestel-Verlag, Munich 1997.

Shaw, J., Movies afterwards Film – The Digitally Expanded Cinema, in: New Screen Media. M. Rieser, M., and Zapp, A., (Eds) British Film Institute, London 2002.

Shaw, J: Der entkörperte und wiederverkörperte Leib (The Dis-Embodied Re-Embodied Body), in: Kunstforum. Die Zukunft des Körpers I, 1996, pp132.

Shaw, J., Weibel, P., Future Cinema. The Cinematic Imaginary afterwards Film, MIT Press, Cambridge, 2003.

Thomson, C. W.m, Visionary Architecture. From Babylon to Virtual Reality, Prestel, München/New York, 1994.

Topham, S., Blow Up. Inflatable Art, Architecture and Design. Prestel, Munich, 2002 pp. 86–90.

Wilson, S., Information Arts. Intersections of Art, Science, and Technology, MIT Press,Cambridge, 2002, pp. 709–712, 760-761.