Jennifer Steinkamp

Jennifer Steinkamp (born December 22, 1958) is an American installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception.

Rock Formation by Jennifer Steinkamp, Denver Art Museum, Colorado.
Jennifer Steinkamp
Born (1958-12-22) December 22, 1958
NationalityAmerican
Known forInstallation art, Media Art

Life and career

Born in Denver, Colorado in 1958, Steinkamp is the eldest of five children, three girls and two boys. Her family lived in a number of areas before settling in Edina, Minnesota. In 1979, Steinkamp moved to Los Angeles to attend Art Center College of Design in Pasadena, studying with Mike Kelley, Gene Youngblood, and Jeremy Gilbert-Rolfe. She then transferred to the California Institute of the Arts, where she studied experimental animation. Steinkamp returned to Art Center to earn her BFA in 1989 and her MFA in 1991.[1] In 2011, Art Center recognized Steinkamp with an Honorary Doctorate. She is currently a professor in the department of Design Media Arts at UCLA.

Steinkamp uses digital projection to transform architectural space, providing the viewer with a synaesthetic experience, often working in collaboration with musicians Jimmy Johnson and Andrew Bucksbarg to integrate sound into her work. While her career began with brightly colored abstract projections, since 2003 she has increasingly incorporated nature-based imagery into her work — gnarled trees that twist, turn, and change seasons; rooms filled with undulating strands of flowers. In doing so she has brought digital art into the mainstream of contemporary art. Her use of vernacular imagery and embrace of beauty result in environments that reference the sublime, as did the Hudson River School painters. Like her art historical precedents, Steinkamp conveys the magnitude and power of nature—a nature that is not always benign. Premature, a series first displayed in 2010, shifts the focus of Steinkamp's subject to life and death. She explores this topic with projections of slithering veins and arteries that evoke the eerie inspiration of her work.[2] Her work has the power to communicate to a broader public, to “convert” a more traditional art audience, familiar with the use of computer graphics for video games but unaware of other creative applications.

Steinkamp has exhibited her work internationally in a variety of venues and contexts, but her work is still difficult to categorize. She is often described as a video artist although her work is not photo or video-based; her recent inclusion in the California Video exhibition at the Getty Museum suggests that her connection to the genre is unlikely to change. The media art world has a two-sided relation with Steinkamp, since her work is not technically interactive and she uses the computer not as a tool to comment on technology, but rather one to create imagery.

In 2008, Steinkamp was selected as the United States representative in the 11th International Cairo Biennale. In 2009, she was commissioned to make Hollywood and Vine, a permanent outdoor installation in Hollywood, California. The Valentino 2010 Spring/Summer couture show featured projections of Steinkamp's trees against the walls of the runway.[3] In 2011, Jennifer Steinkamp exhibited at Prospect. 2 New Orleans, the second biennial of Prospect New Orleans curated by Dan Cameron. Stephanie Hanor and Lucia Sanromán also curated a solo show of her work at the Museum of Contemporary Art, San Diego the same year.[4] In 2013, Steinkamp projected her work 6EQUJ5 on the central dome of the Minneapolis Institute of Art, in Minneapolis, Minnesota.[5] Her work was also installed at the American Consulate in Guangzhou, China as part of Art in Embassies, curated by Virginia L.Shore. In 2020, Landmarks, the public art program of The University of Texas at Austin, commissioned Steinkamp to create a video installation inside Welch Hall. The work, titled EON, was celebrated with a virtual opening and panel discussion with the artist.[6]

Jennifer Steinkamp, EON, 2020. Photo by Christina Murrey. Courtesy of Landmarks, the public art program of The University of Texas at Austin

Representation in museum collections

Steinkamp has been featured in numerous other exhibitions and her work is in the permanent public collections of the Los Angeles County Museum of Art, the Staples Center, the Hammer Museum, and the Museum of Contemporary Art, Los Angeles, as well as the San Jose Museum of Art, the Experience Music Project (Seattle), the Henry Art Gallery (Seattle), the Fremont Street Experience (Las Vegas), the Phoenix Art Museum, the Denver Art Museum, the Minneapolis Institute of Art,[7][8] Madison Museum of Contemporary Art (Wisconsin), the Progressive Corporation (Cleveland), the West Collection (Pennsylvania), the Albright–Knox Art Gallery (Buffalo, New York), the Weatherspoon Art Museum (Greensboro, North Carolina), the Vero Beach Museum of Art (Florida), the Museum of Contemporary Art, North Miami (Florida), Museo de Arte Contemporáneo de Castilla y León (León, Spain), CAC Museum of Malaga (Spain), Autostadt Collection (Wolfsburg, Germany), İstanbul Modern (Turkey), and the Towada Center (Japan).

Steinkamp is represented by ACME in Los Angeles, greengrassi in London and Lehmann Maupin Gallery in New York.

References
  1. Northrup, JoAnne (2006). Jennifer Steinkamp. Germany: Prestel.
  2. Lehmann Maupin Press Release. (2010.)
  3. Gordon, Amanda. (April 2010.) 'Branching into Couture',ARTnews.
  4. Jennifer Steinkamp
  5. j, j. "Steinkamp_art". jsteinkamp.com. Retrieved 2018-02-17.
  6. "EON". LANDMARKS. 2020-09-03. Retrieved 2020-10-02.
  7. "6EQUJ5, Jennifer Steinkamp ^ Minneapolis Institute of Art". collections.artsmia.org. Retrieved 2018-02-17.
  8. "Hurdy Gurdy Man (Chrysanthemums), Jennifer Steinkamp ^ Minneapolis Institute of Art". collections.artsmia.org. Retrieved 2018-02-17.

Further reading
  • JoAnne Northrup. Jennifer Steinkamp Prestel; 2006. ISBN 3-7913-3592-8.
  • Kimberli Meyer and Nizan Shaked. Jennifer Steinkamp: United States Presentation 11th International Cairo Biennale, MAK Center for Art and Architecture; 2008. ISBN 0-9774558-1-5.
  • Douglas Dreishpoon, Louis Grachos, and Heather Pesanti. Decade: Contemporary Collecting 2002-2012, Albright Knox Art Gallery; 2012. ISBN 9781887457132.
  • Jill Desmond. Companion to Light, Sound and the Moving Image, Denver Art Museum; 2011.
  • David S Rubin. Psychedelic: Optical and Visionary Art Since the 1960s, The MIT Press; 2010. ISBN 9780262014045.
  • Lene Burkard and Yvette Brackman. Wild Things, Kunsthallen Brandts; 2010.
  • Denise Markonish. Badlands: New Horizons in Landscape The MIT Press; 2008. ISBN 0-262-63366-3.
  • Glenn Phillips. California Video: Artists and Histories Getty Publications; 2008. ISBN 0-89236-922-1.
  • Mark Getlein. Living with Art McGraw-Hill Higher Education; 2007. ISBN 0-07-319076-4.
  • John Huston. OPTIC NERVE: Perceptual Abstraction of the 1960s Columbus Museum of Art; 2007. ISBN 1-85894-389-2.
  • Gail Swanlund. Jennifer Steinkamp Soledad Lorenzo Gallery; 2006.
  • Kerry Brougher, Jeremy Strick, Ari Weisman, Judith Zilczer. Visual Music: Synaesthesia in Art Since 1900 Thames & Hudson; 2005. ISBN 0-500-51217-5.
  • Marilyn Stockstad. Art History 2nd edition, Prentice Hall; 2005. ISBN 0-13-145529-X.
  • Dave Hickey. Beau Monde: Toward a Redeemed Cosmopolitanism SITE Santa Fe; 2002.
  • Rochelle Steiner. Wonderland Saint Louis Art Museum; 2000.
  • Peter Lunenfeld. Snap to Grid: A User's Guide to Digital Arts, Media, and Culture The MIT Press; 2000. ISBN 0-262-62158-4.
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