Amy Alexander is a new media, audiovisual and performance artist
who has also worked in film, video, music and information technology. Her current research and practice focuses on how contemporary cinema (defined broadly) changes along with cultural and technological shifts. Much of Amy’s recent work is performance-based, often working at intersections of cinema, performing arts, software and popular culture. Amy’s projects have been presented on the Internet, in clubs and on the street as well as in festivals and museums. She has written and lectured on software art, software as culture, and audiovisual performance, and she has served as a reviewer for festivals and commissions for new media art and computer music. She is an Associate Professor of Visual Arts at the University of California, San Diego. During summer/fall of 2012, she was artist-in-residence at iotaCenter in Los Angeles. Amy has a Master of Fine Arts in Film/Video from California Institute of the Arts.
Amy – who has also worked under the names Cue P. Doll and VJ Übergeek – was a
dinosaur old codger pioneer in the development of software-based net art, beginning in 1996 with the Webby-nominated Multi-Cultural Recycler, a project that spoofed both net celebrity and faux multi-culturalism on the web. In addition to her art projects, she was also a co-founder and moderator of the Runme.org software art repository and has been active in software art curation.
Amy’s projects have been exhibited at venues ranging from The Whitney Museum, Prix Ars Electronica, Transmediale, SIGGRAPH, and the New Museum to club performances at Sonar (Barcelona), First Avenue (Minneapolis) and Melkweg (Amsterdam). She has performed on the streets of Los Angeles, San Diego, San Jose, Zürich, and Aberdeen, Scotland. Her work has been discussed in publications including Wired, The New York Times, Slashdot, Ecrans, Leonardo, The Boston Globe and the Washingon Post.
Amy’s work has been influenced by her background in musical performance. As part of her research into performative practices, she has studied and performed standup comedy. Besides continuing her own performances, she’s published texts on audiovisual performance history. Her current performance project is Discotrope: The Secret Nightlife of Solar Cells, a collaboration with Annina Rüst and composer Cristyn Magnus. She’s also doing research toward combining her visual performance work with her background as a percussionist in the not-too-distant future.