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Lynn Hershman Leeson: Antibodies

George Church Rudolf Frieling Sabine Himmelsbach Thomas Huber



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Hatje Cantz
25 October 2019
Art & design styles: from c 1960; Installation art; Individual artists, art monographs
At the center of this publication is Lynn Hershman Leeson's installation The Infinity Engine, modeled after a genetics laboratory. The artist demonstrates that the boundaries between natural and artificial life are dissolving at an increasingly rapid pace in the age of synthetic biology, and that today life itself can be artificially shaped. This includes DNA manipulation, artificial human organs manufactured via 3-D-bioprinting, antibody research, and use of DNA as a biological storage medium. Leeson presents these achievements as works of art embedded in an inimitable aesthetic. Documenting these work cycles in photographs of the exhibition at the HeK Basel, this volume also contains numerous essays that offer both a scientific context and insight into this trailblazing media artist's oeuvre and her current focus on biotechnology.
Text by:   George Church, Rudolf Frieling, Sabine Himmelsbach, Thomas Huber
Imprint:   Hatje Cantz
Country of Publication:   Germany
Dimensions:   Height: 241mm,  Width: 171mm, 
Weight:   340g
ISBN:   9783775746113
ISBN 10:   3775746110
Pages:   120
Publication Date:   25 October 2019
Audience:   General/trade ,  ELT Advanced
Format:   Paperback
Publisher's Status:   Active

The artist and filmmaker LYNN HERSHMAN LEESON (*1941, Cleveland, Ohio) has been examining the interplay of technology, media, and identity since the 1960s. Her body of work includes photography, film, video, objects, and installations, computer-based art, software, and performance. Her work is on display in prominent museums around the world. Leeson divides her time between New York and San Francisco.

Reviews for Lynn Hershman Leeson: Antibodies

The artist Lynn Hershman Leeson has always been ahead of the pack in her fusion of art and science...[Anti-Bodies] offers a clear precis of her thinking. At a time when so much new art feels so old, this work feels like the future, which is now.--Holland Cotter New York Times

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