Table of Contents
Images projected onto small white boxes and a tabletop shift in response to participants manipulation of the boxes, representing and misrepresenting their virtual labels and contents.
Systems Maintenance (1998)
Sorry, Were Open (1997)
The Sub-division of the Electric Light (1996)
Bar Code Hotel (1994)
Faradays Garden (1990)
Exhibitions: Wood Street Galleries, Pittsburgh, 2002; National Museum of Film, Photography and Television, Bradford, England, 2001; Postmasters Gallery, New York, 2000; Zentrum für Kunst und Medientechnologie, 1998; Otso Gallery, Espoo, Finland, 1997; Boston University, 1995; Walter Phillips Gallery, Banff Centre for the Arts, Canada, 1994; Museum of Contemporary Art, Dayton, OH, 1991
Awards and Grants: Bradford Fellowship, National Museum of Film, Photography & Television, Bradford, England, 2001; Grand Prize, ICC Biennale, Tokyo, 1999; Award of Distinction in Interactive Art, Prix Ars Electronica, Linz, Austria; First Place, arts_edge Multimedia Competition, Western Australian Academy of Performing Arts, Mount Lawley, 1998
Teaching: School of Visual Arts, New York, 1996-2002; Adjunct Faculty, Cooper Union, New York, 1992-1994; Visiting Faculty, San Francisco Art Institute, 1991
Artist-In-Residence, Xerox PARC PAIR Project, 1995
Independent Study Program, Whitney Museum, New York, 1978
1977 BA, Bennington College, Bennington, VT
1973 Pennsylvania Academy of Art, Philadelphia
July - August 2005
Perry Hoberman exhibited two digital prints and an installation at SIGGRAPH 2005 in Los Angeles this summer: My Life in Spam: One Week (November 1-30, 1998) and My Life in Spam: One Day (December 11, 2002), which consist of superimposed images of every spam email message Hoberman received over a given period of time, and Art Under Contract (End User License Agreement), which satirizes the endless attempts to price and profit from what has become known as "intellectual property.
Perry Hoberman's Timetable, an installation that undergoes constant transformation as it is used, exhibited at the Courtyard Gallery in New York in May.
Perry Hoberman's installation Accept, which explores the digital intimacy of spam, intellectual property and the exchange of personal information for goods and services, was at the Postermasters Gallery in New York in January.