Jeffrey Shaw
Jeffrey Shaw is a visual artist known for being a leading figure in new media art. In a prolific career of widely exhibited and critically acclaimed work, he has pioneered the creative use of digital media technologies in the fields of expanded cinema, interactive art, virtual, augmented and mixed reality, immersive visualization environments, navigable cinematic systems and interactive narrative.
Shaw's numerous internationally exhibited and critically acclaimed artworks are milestones of technological and cultural innovation that have had a seminal impact on the theory, design and application of digital media in art, society and industry, and his artistic achievements are amongst the most cited in new media literature. During his career, his works have been presented at leading public galleries museums including the Stedelijk Museum Amsterdam, Centre Georges Pompidou Paris, Kunsthalle Bern, Guggenheim Museum New York, ZKM Karlsruhe, Hayward Gallery London and Power Station of Art Shanghai. Shaw's career is also distinguished by his collaborations with fellow artists including Tjebbe van Tijen, Theo Botschuijver, Dirk Groeneveld, Peter Gabriel/Genesis, Agnes Hegedues, David Pledger, The Wooster Group, William Forsythe, Dennis Del Favero, Peter Weibel, Jean Michel Bruyere, Bernd Lintermann, :nl:Harry de Wit|Harry de Wit, John Latham and Sarah Kenderdine.
Biography
The son of Polish immigrants, Shaw was born in 1944 in Melbourne and studied at the University of Melbourne. Shaw left Australia in 1965 after two years of university studies in architecture and art history, and for the next 25 years he resided in Milan, London and Amsterdam. Shaw studied sculpture at Brera Academy, Milan and Central Saint Martins, London.Shaw was a founding member of Artist Placement Group in London and of the Eventstructure Research Group in Amsterdam. On : de :Heinrich Klotz|Heinrich Klotz’s invitation, he moved to Germany in 1991 to the take the position of founding director of the ZKM Center for Art and Media Karlsruhe. For the next 11 years he initiated and led a seminal artistic research, production and exhibition program at the ZKM that included residencies and the creation of new works by many of the most notable media artists of his time. He also curated ground breaking new media art exhibitions such as Bitte berühren, NewFoundLand, Future Cinema and the ArtIntAct series of digital publications. In 1995, Shaw was appointed Professor of Media Art at the Karlsruhe University of Arts and Design, Germany.
Shaw was awarded an Australian Research Council Federation Fellowship in 2003, and returned to Australia to co-found and direct the UNSW iCinema Centre for Interactive Cinema Research in Sydney. At iCinema he led a research program in immersive interactive post-narrative systems, which produced pioneering artistic and research works such as T Visionarium shown at the :es:Bienal Internacional de Arte Contemporáneo de Sevilla|Biennial of Seville in 2008.
In 2009 Shaw joined the City University of Hong Kong as Chair Professor of Media Art and until 2015 he was also Dean of the School of Creative Media. In 2010, together with Professor Sarah Kenderdine, he established the CityU Applied Laboratory for Interactive Visualization and Embodiment at the Hong Kong Science Park, a next-generation platform for interdisciplinary applications in digital cultural heritage that included Pure Land – Inside the Mogao Caves at Dunhuang shown at the Arthur M. Sackler Gallery, Smithsonian Washington in 2012. Over the last years, this research trajectory includes projects relating to Chinese martial arts and the Confucian Rites.
Currently Shaw is Yeung Kin Man Chair Professor of Media Art at City University Hong Kong, Director of the CityU Centre for Applied Computing and Interactive Media, Visiting Professor at Central Academy of Fine Arts, Beijing, Honorary Professor at the Danube University Krems, Austria, University Distinguished Professor at UNSW Australia and Visiting Professor at the Institute of Global Health Innovation, Imperial College London.
Awards and honours
Shaw's awards and honours include: Immagine Elettronica Prize, Ferrara, Italy, 1990; Oribe Award, Gifu, Japan 2005; Honorary Doctorate in Creative Media, Multimedia University, Malaysia, 2012; Lifetime Achievement Award, :fr:Société des arts technologiques|Society of Art and Technology, Montreal, Canada, 2014; Ars Electronica Golden Nica for Visionary Pioneer of Media Art, Linz, Austria, 2015.Curation
- 2018 - ANiMAL: Art Science Nature Society Exhibition, CityU Exhibition Gallery, City University of Hong Kong, Hong Kong, China.
- 2018 - Safeguarding the Community: An intangible Cultural Heritage New Media Exhibition, Hong Kong City Hall, Hong Kong, China.
- 2018 - Kung Fu Motion EPFL, ArtLab, Ecole polytechnique fédérale de Lausanne, Lausanne, Switzerland.
- 2017 - Kung Fu Motion, Asia-Pacific Triennial of Performing Arts Festival, Immigration Museum, Melbourne, Australia.
- 2017 - Lingnan Hung Kuen Across the Century: Kung Fu Narratives in Cinema and Community, Hong Kong Visual Arts Centre, Hong Kong, China; CityU Exhibition Gallery, City University of Hong Kong, Hong Kong, China.
- 2017 - Sincerely Yours: Personal Letters from Tsinghua Scholars, CityU Exhibition Gallery, City University of Hong Kong, Hong Kong, China.
- 2017 - Giuseppe Castiglione – Lang Shining New Media Art Exhibition, Magong Jinguitou Fortress Cultural Park, Penghu, Taiwan.
- 2016 - 300 Years of Hakka Kungfu , Hong Kong Heritage Museum, Hong Kong, China; Academic 3, City University of Hong Kong, Hong Kong, China.
- 2016 - POST PiXEL.: Animamix Biennale 2015-16, Chief Curator, CMC Gallery, Run Run Shaw Creative Media Centre, City University of Hong Kong; MoCA Shanghai.
- 2016 - Rebuilding the Tong-an Ships New Media Art Exhibition, Songshan Feng-Tian Temple, National Palace Museum, Taipei, Taiwan.
- 2016 - Giuseppe Castiglione – Lang Shining New Media Art Exhibition , Opera di Santa Croce, Florence, Italy; Academic 3, City University of Hong Kong, Hong Kong, China.
- 2016 - Trans>Formations, Hong Kong - Macau Visual Art Biennale, Beijing Minsheng Art Museum, Beijing 2016, Silk Road International Convention and Expo Center, Dunhuang 2016, Henan Art Museum, Zhengzhou 2016.
- 2015 - Giuseppe Castiglione – Lang Shining New Media Art Exhibition , National Palace Museum, Taipei, Taiwan.
- 2015 - Rebuilding the Tong-an Ships New Media Art Exhibition, Academic 3, City University of Hong Kong, Hong Kong, China.
- 2014 – Fleeting Light 4th Large Scale Interactive Media Art Exhibition, Hong Kong.
- 2012 - PLACE - Hampi Museum, Kaladham, Vidyanagara Museum, Karnataka, India.
- 2012 - Run Run Shaw Creative Media Centre Grand Opening Festival, City University of Hong Kong, Hong Kong, China.
- 2002 – Future Cinema, Center for Art and Media Karlsruhe, Karlsruhe; Kiasma, Helsinki and NTT InterCommunication Center, Tokyo
- 2000 – Net_Condition, Center for Art and Media Karlsruhe, Karlsruhe, Germany.
- 1998 – Surrogate, Center for Art and Media Karlsruhe, Karlsruhe, Germany.
- 1997 – Current, Multimediale 5, Center for Art and Media Karlsruhe, Karlsruhe, Germany.
- 1995 – NewFoundland II, Multimediale 4, Opelgelände, Karlsruhe, Germany.
- 1993 – NewFoundland, Multimediale 3, Karlsruhe, Germany.
- 1992 – Bitte berühren, Drei Projekte, Unterkirche der Ev. Stadtkirche Karlsruhe am Marktplatz, Karlsruhe, Germany.
Selected works
- Recombinatorial Poetry Wheel, 2018, DIA-LOGOS: Ramon Llull & the Ars Combinatoria, ZKM, Karlsruhe, Germany; Thinking Machines: Ramon Llull & the Ars Combinatoria, ArtLab, Ecole polytechnique fédérale de Lausanne, Lausanne, Switzerland
- Kung Fu Visualization, 2016, 300 Years of Hakka Kung Fu, Hong Kong Heritage Museum, Hong Kong, China
- IN_SIDE VIEW, 2016, DIGITAL SYNESTHESIA, Angewandte Innovation Laboratory, University of Applied Arts Vienna, Vienna, Austria
- Look Up Mumbai, 2015, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, India
- mArchive, 2014, Museum Victoria, Melbourne, Australia
- Remaking the Confucian Rites, 2014, Third International Symposium on Ritual Studies, China Academy of Art, Hangzhou, China
- Fall Again, Fall Better, 2012, 9th Shanghai Biennale, Power Station of Art, Shanghai, China
- Pure Land AR, 2012, Art HK 2012, Hong Kong Convention and Exhibition Centre, Hong Kong, China
- ECLOUD WWI, 2012, Europeana Awareness Day, Brussels, Belgium
- Pure Land 360, 2012, Run Run Shaw Creative Media Centre, City University of Hong Kong, Hong Kong, China
- UNMAKEABLELOVE, 2008, eArts Festival: eLandscapes, Shanghai Science and Technology Museum, Shanghai, China
- T_Visionarium II, 2006, Biennial of Seville 2008
- PLACE – Hampi, 2006, Lille 3000, Lille, France
- Eavesdrop, 2004, Sydney Festival, Powerhouse Museum, Sydney, Australia
- Cupola, 2004, European Cultural Capital of Europe 2004, Eurolille, Lille, France
- Web of Life, 2002, Museum für Kommunikation, Frankfurt, Germany
- PLACE - Ruhr, 2000, Vision Ruhr, Dortmund, Germany
- conFiguring the CAVE, 1996, NTT InterCommunication Center, Tokyo, Japan
- PLACE – a user's manual, 1995, Neue Galerie Graz, Austria
- Golden Calf, 1994, Ars Electronica, Linz, Austria
- Virtual Museum, 1991, Das Belebte Bild, Art Frankfurt, Frankfurt, Germany
- Revolution, 1990, Imago, KunstRAI, Amsterdam, Netherlands
- Imaginary Museum of Revolutions, 1988 Brucknerhaus, Linz, Austria
- Legible City, 1989, Bonnefanten Museum, Maastricht, Netherlands
- Heaven's Gate, 1987, Shaffy Theater, Amsterdam, Netherlands
- Inventer la Terre, 1986, La Villette, Paris, France
- Narrative Landscape, 1985, Amsterdam, Netherlands
- Points of View, 1983, Mickery Theater, Amsterdam, Netherlands
- The Lamb Lies Down on Broadway, 1975 Genesis World Tour
- Viewpoint, 1975 6th Biennale de Paris, Musee d'Art Moderne, Paris, France
- Waterwalk, 1969 Brighton Festival, Brighton, England
- MovieMovie, 1967 4th Experimental Film Festival, Knokke le Zoute, Belgium
- Corpocinema, 1967 Sigma Projects, Museumplein, Amsterdam, Netherlands
- Continuous Sound and Image Moments, 1966 Netherlands Film Museum, Amsterdam, Netherlands
Representative recent publications
- Kenderdine, S. & Shaw, J., ‘Archives in Motion: Motion as Meeting’, in Museum and Archive on the Move: Changing Cultural Institutions in the Digital Era, Grau, O., Coones, W., Rühse, V., De Gruyter, pp. 211–233
- Shaw, J. ‘Collaborative Models for AVIE’, in Sanderson, E. Unfolding Space and Time, Jeffrey Shaw and Hu Jieming Twofold Exhibition, Shanghai, China Academy of Art Press, pp. 22–25 and 44-85
- Kenderdine, S and Shaw, J ‘A Cultural Heritage Panorama: Trajectories in Embodied Museography’, in H Din and S Wu, Digital Heritage and Culture – Strategy and Implementation, Singapore: World Scientific Publishing Co, pp. 197–218
- Chan, L, Kenderdine, S and Shaw, J ‘Spatial User Interface for Experiencing Mogao Caves’, in Proceedings of the 1st Symposium on Spatial User Interaction, New York: ACM, pp. 21–24.
- Kenderdine, S.and Shaw, J. and Gremmler, T. ‘Cultural Data Sculpting: Omnidirectional Visualization for Cultural Datasets’, in FT Marchese and E Banissi, Knowledge Visualization Currents: From Text to Art to Culture,London: Springer-Verlag, pp. 199–221
- Shaw, J. and Kenderdine, S. ‘Making UNMAKEABLELOVE: The Relocation of Theatre’, in R Vanderbeeken, B de Backere, D Depestel and C Stalpaert, Theater Topics: Bastard or Playmate? Adapting Theatre, Mutating Media and Contemporary Performing Arts, Amsterdam: Amsterdam University Press, pp. 102–120.
- Shaw, J., Kenderdine, S. and Coover, R., ‘Re-Place: The Embodiment of Virtual Space’, in T Bartscherer and R Coover, Switching Codes: Thinking Through Digital Technology in the Humanities and the Arts, Chicago: Univ. of Chicago Press, pp. 218–238.
Selected bibliography
- Castelli, R., Cinemas of the Future, Lille 2004 Capitale Europeenne de la Culture, 2004, pp. 50–53, 56–57, 78–79.
- De Mèredieu, F., 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. 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.,, 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., Routledge, Oxfordshire, 2008.
- Manovich, L., The Language of New Media, MIT Press, Cambridge, 2001, pp 226, 260–261, 282–285.
- Margaret Morse, M., 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 after Film – The Digitally Expanded Cinema, in: New Screen Media. M. Rieser, M., and Zapp, A., British Film Institute, London 2002.
- Shaw, J: Der entkörperte und wiederverkörperte Leib, in: Kunstforum. Die Zukunft des Körpers I, 1996, pp132.
- Shaw, J., Weibel, P., Future Cinema. The Cinematic Imaginary after 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.