Perry Hoberman
Bibliography
- 2000
- Kim Levin, "Perry Hoberman", Voice Choices, The Village Voice, February 1, 2000
- "Perry Hoberman", The New Yorker, February 14, 2000
- Christian Viveros-Fauné, "Computer World", review, New York Press, Feb 2-8, 2000
- 1999
- Lisa Haskel, "The Accidental Tourist", Mute, Issue 13, London, 1999
- Anne Morgan Spalter, The Computer in the Visual Arts, Addison-Wesley, Reading, Mass, 1999
- "Crash landing: 54 unscheduled arrivals", Metropolis (page 62), volume 18 number 5, January 1999, New York
- 1998
- Myriam Boutoulle, "Art et nouvelles technologies: repères", Beaux Arts Magazine, Paris, 1998
- Perry Hoberman, "Mistakes and Misbehavior", The Art of the Accident, NAI Publishers/V2_Organisatie, Rotterdam
- Erkki Huhtamo, "Beams of Light in a Virtual Void", article, Artbyte, April-May 1998, Vol. 1 No. 1, New York
- "Un instalación propone en la Fundación Miró un baile virtual interactivo", El País, November 6, 1998, Madrid
- 1997
- Jule Caniglia, "Perry Hoberman", review, Artforum, September 1997
- Tim Davis, "Your Work Space", review, Resident, Vol. 5 No. 8, New York, May 6-12, 1997
- K.D. Davis, "Battery Included", article, World Art, No. 13, 1997
- Munro Galloway, "Perry Hoberman's Sorry We're Open", review, Rhizome Digest, online mail list, June 20, 1997, New York, http://www.rhizome.com
- Perry Hoberman, "Sorry We're Open 12 Month Calendar", Postmasters Gallery, 1997
- "Interactive Media Design Review", I.D., Vol. 44, No. 4, New York, June 1997
- Bibliography (continued)
- Robbin Murphy, "Coping with Technofatigue", Intelligent Agent, Fall 1997
- Stephen Pusey, "Perry Hoberman", review, Review, Vol. 2, No. 16, New York, May 15, 1997
- J. Schulz, "Password: Ferdydurke", review, World Art, 1/1997
- Paivi Talasmaa, editor, Unexpected Obstacles: The Work of Perry Hoberman, exhibition catalogue, Galleria Otso, Espoo, Finland, 1997
- 1996
- Cecelia Andersson, "Elektronisk konst gör åskådaren medskapande, Svenska Dagbladet, March 23, 1996
- Cecelia Andersson, "Nu sitter vi inne i datorenrna och tittar ut", Svenska Dagbladet, June 29, 1996
- Helen Cadwallader, "5th International Conference on Cyberspace", Mute, London, Issue 6, Autumn 1996
- Mark Francis Cohen, "Tools of the Trade: Art Sneaks Up on a Handyman's Haunt", The New York Times, May 26, 1996
- Joel Christian Enos, "Blasthaus: The Real Deal", MacHome Journal, Illinois, January, 1996
- Cynthia Goodman, editor, infoArt, CD-ROM, Rutt Video Interactive, New York, 1996
- Beryl Graham, "Playing With Yourself: Pleasure and Interactive Art", in Fractal Dreams: New Media in Social Context, edited by Jon Dovey, Lawrence & Wishart, London, 1996
- Perry Hoberman, "The Sub-Division of the Electric Light", interactive artwork, artintact 3, CD-ROM Magazine. With essays by Peter Lunnenfeld and Annika Blunck. ZKM Zentrum für Kunst und Medientechnologie Karlsruhe, Germany, 1996
- Perry Hoberman, "Cathartic User Interface", illustration, Electronic Culture, edited by Tim Druckrey, Aperture, NY, 1996
- Perry Hoberman & Victoria Vesna, "Webbed Spaces", panel abstract, Siggraph 96 Conference Proceedings, New Orleans, 1996
- Perry Hoberman, "Meme and Variations", essay, Memesis: The Future of Evolution, Ars Electronica Festival 96, edited by Gerfried Stocker and Christine Schöpf, Springer, Vienna/New York, 1996
- Perry Hoberman, "Free Choice or Control", essay, Prix Ars Electronica 96, edited by Hannes Leopoldseder and Christine Schöpf, Springer, Vienna/New York, 1996
- Perry Hoberman, "Bar Code Hotel", catalog statement, Electra Manaul, Electra 96, Henie-Onstad Art Center, Oslo, Norway, March/April 1996
- Margot Lovejoy, Postmodern Currents: Art and Artists in the Age of Electronic Media, Prentice Hall, NY, 1996
- Rafael Lozano-Hemmer, "Perverting Technological Correctness", Leonardo, Cambridge, MA, Vol. 29, No. 1, 1996
- Jeanne Randolph, "A City for Bachelors", essay; Erkki Huhtamo, "Time Traveling in the Gallery", essay; and Perry Hoberman, "Bar Code Hotel", artist's statement, all in Immersed in Technology, edited by Mary Anne Moser, MIT Press, Cambridge, 1996
- Grahame Weinbren, "The Digital Revolution is a Revolution of Random Access", Telepolis, online journal, 1996, http://www.heise.de/tp/film/6113/fhome.htm
- Annette Weintraub, "Web Space is the Art Place", article, Intelligent Agent, NY, Vol. 1 No. 6, October 1996
- 1995
- Susan Bickelhaupt & Maureen Dezell, "Names & Faces", The Boston Globe, November 2, 1995
- Tessa DeCarlo, "Web Sightings: On Gallery Walls...", The Wall Street Journal, NY, July 12, 1995
- Scott Fisher & Perry Hoberman, "Chimerium", catalog statement, InfoART, Kim Hong-hee & Cynthia Goodman, editors, 95 Kwangju Biennale, Korea
- Anne Harnish, "Commissions", Sculpture, Washington, DC, Volume 14, Number 1, January-February 1995
- Amy Harmon, "Puttin' on a Natural Interface", Los Angeles Times, June 7, 1995
- Perry Hoberman, "Aesthetics & Tools in the Virtual Environment, abstract, Siggraph 95 Conference Proceedings, Los Angeles, August 6-11, 1995
- Perry Hoberman, "Bar Code Hotel", catalog statement, Interactive Media Festival 1995, LA, June 4-7, 1995
- Perry Hoberman, ""Bar Code Hotel: Diverse interactions of semi-autonomous entities under the partial control of multiple operators", paper, Stereoscopic Displays and Virtual Reality Systems, SPIE Proceedings,, 1995
- Erkki Huhtamo, "An Archaeology of Moving Image Media", Intercommunication, #14, ICC, Japan, Autumn 1995,
- Marguerite Lamb, "Where art meets state of the art", Boston University Today, October 20, 1995
- Kris Malden, "Checking into the Bar Code Hotel", The Independent Film & Video Monthly, NY, Vol 18, No 2, March 1995
- Craig Matsumoto, "Valley inspires more engineers, capitalists than artists", The Business Journal, San Jose, CA, May 15-21, 1995
- Pauline van Mourik Broekman, "V-Art", interview, Mute, Issue 3, London, Autumn 1995
- Bibliography (continued)
- Oliver Schwarz, "Am Anfang war der Code...", catalog essay, CeBIT 1995, Deutsche Telekom AG, Hannover, Germany, 1995
- Jolene Thym, "Trashin' technology", The Oakland Tribune, CA, September 7, 1995
- V2, "Perry Hoberman", catalog statement, DEAF95, Rotterdam, 1995
- 1994
- Peter Weibel, "Ars Electronica", interview, and Perry Hoberman, "Bar Code Hotel", artist's statement, both in Art & Design Magazine, London, Number 39, 1994
- Daniel Pinchbeck, "State of the Art", Wired, SF, December, 1994
- Michael Heim, "The Art of Virtual Reality", Virtual Reality Special Report, SF, Winter 1994
- Michael Snyder, "Naut Humon takes studio to streets", Datebook, The San Francisco Chronicle, Oct. 20, 1994
- "Raumbeschreitung per Computer", Kronenzeitung, Linz, Austria, June 24, 1994
- Irene Judmayer, "Wirklich Wirlkliche Wirklichkeit", Nachrichten, Linz, Austria, June 22, 1994
- "Erlebniswelten per Computer", Nachrichten, Linz, Austria, June 17, 1994
- Perry Hoberman, "Bar Code Hotel", catalog statement, Intelligent Ambiente, Ars Electronica Bande 2, Linz Austria, June 1994
- Tim Westbury, "Bar Code Hotel", catalog essay, Walter Phillips Gallery, Banff, Alberta, Canada, June 1994
- Amy Taubin, "Perry Hoberman/Tom Sherman", Voice Choices, Village Voice, NY, May 10, 1994
- Fredric Paul, "The Interactive Multimedia Festival", Electronic Entertainment, San Mateo, CA, May 1994
- Perry Hoberman, "Depth Painting", paper, Stereoscopic Displays and Virtual Reality Systems, SPIE Proceedings, Vol. 2177, 1994
- William Zimmer, "Making a Statement with Castoff Objects", The New York Times, March 6, 1994
- Kathryn Carroll, "'Resurrections: Objects with new souls' exhibit sheds a new light on the ordinary", The New London Day, CT, February 27, 1994
- Tom Patterson, "Kinetic exhibit at WFU gets viewers involved", Winston-Salem Journal, NC, February 27, 1994
- Kate Huyvaert, "New interactive art exhibit allows the viewer to become a participant", Old Gold & Black, Winston-Salem, NC, February 17, 1994
- Perry Hoberman, "I Walked with a Zombie", catalog statement, Sound and Motion, Wakeforest University Fine Arts Gallery, NC, February 1994
- Barbara Bliss Osborne, "Write on the Money", The Independent Film and Video Monthly, NY, January/ February 1994
- 1993
- Perry Hoberman, "Word of Mouth", statement, New Media, San Mateo, CA, October 1993
- John Larish, "Electronic Still Now- Siggraph, Montage, Everywhere", Advanced Imaging, Melville, NY, September 1993
- Perry Hoberman, "Faraday's Garden", catalog statement, Siggraph 93 Visual Proceedings, ACM, NY, 1993
- Luc Boulanger, "Images du Futur: Qui Dit Vrai?", Voir, Montreal, June 17-23, 1993
- N. Cusson, "Images du Futur 93: Plus Interactif Que Jamais!", Echos-Vedettes, Montreal, May 22-28, 1993
- Paul-Henri Goulet, "high tech à Images du Futur", Le Journal de Montréal, May 14, 1993
- Paul Delean, "Whimsical New Yorkers bring high-tech art to Old Port", The Gazette, Montréal, May 14, 1993
- Perry Hoberman, "Faraday's Garden", catalog statement, Images du Futur 93, Montreal, May14-Sept 19, 1993
- Susan Shapiro, "Caught up in a Time Warp", New York Post, April 15, 1993
- Stephane Baillargeon, "Le meilleur des mondes?", Le Devoir, Montreal, April 15, 1993
- Perry Hoberman, "Beyond Hope and Beyond Dreams: The Neo-Karaoke Story", Publicsfear, NY, No. 3, 1993
- Ian Grey, "Tweeking the Karaoke with Perry Hoberman, Breukelen, Brooklyn , NY, Vol. 1 Issue 2, 1993
- William Zimmer "Industrial-Strength Sculpture With Economy-Size Politics", review, New York Times, March 28, 1993
- Barry Rosenberg, "The world as we find it", catalog essay, and Perry Hoberman, "Faraday's Garden IV", catalog statement, both in Simply Made In America, Aldrich Museum, CT, 1993
- 1992
- Ken Johnson, "Perry Hoberman at Postmasters", review, Art in America, NY, October 1992
- Jim Higgins, "Kohler finds fool's gold in 'Folly'", Milwaukee Sentinel, WI, July 17, 1992
- "Cast-off appliances make comeback in 'Faraday's Garden'", The Sheboygan Press, WI, April 30, 1992
- "Perry Hoberman/Jack Risley", The New Yorker, April 20, 1992
- Kim Levin, Voice Choices, Village Voice, NY, April 8, 1992
- Dan Cameron, "In Praise of Smallness, Art & Auction, NY, April 1992
- Bibliography (continued)
- Perry Hoberman, "Revenge of Debris", catalog statement, Interferences VII, Museum Moderner Kunst, Vienna, Austria, June 1992
- 1991
- Susan Gerhard, "G-Spot", review, San Francisco Bay Guardian, December 11, 1991
- Julene Snyder, "Night + Day", SF Weekly, December 4, 1991
- Regina Cornwell, "Studio/Perry Hoberman", article, Sculpture, Washington, DC, May/June 1991
- Barry Rosenberg, "Faraday's Garden", statement, pamphlet, Museum of Contemporary Art, Dayton, OH
- Perry Hoberman, "Interstate", catalog statement, Art Futura 91, Barcelona, 1991
- 1990
- Nancy Grove, "Not So Still Lifes", review, Art & Antiques, NY, October 1990
- John Miller, "Perry Hoberman", review, Artforum, NY, September 1990
- G. Roger Denson, "Perry Hoberman", review, Contemporanea, NY, September 1990
- George Melrod, "Perry Hoberman", review, Sculpture, Washington, DC, September/October 1990
- Kim Levin, Voice Choices, Village Voice, NY, May 22, 1990
- Mark Dery, "Visual Improvisors", Elle, NY, May 1990
- Roberta Smith, "Perry Hoberman", review, The New York Times, May 18, 1990
- R.I.P. Hayman, "Springworks", review, Ear Magazine, NY, May 1990
- Regina Cornwell, "Christian Marclay/Perry Hoberman", review, Artscribe, London, March/April 1990
- "Springworks '90 at Hall of Science", Queens Ledger, NY, March 29, 1990
- "Technological Art", Weekender Guide, The New York Times, March 16, 1990
- "It's high-tech art", Daily News, NY, April 18, 1990
- Esther Iverem, "Science as Art at Springworks", Newsday, NY, March 16, 1990
- "Science SpringWorks 90", Queens Tribune, NY, March 15-21, 1990
- 1989
- Wif Stenber, "Cement Mixer", New York Press, November 3, 1989
- HGS, "Flucht aus Dezibel-Chaos", Kleine Zeitung, Graz, Austria, November 1, 1989
- Klaudia Reichenbacher, "Futurischer Erguß", review, Neue Kronen Zeitung, Graz, Austria, November 1, 1989
- John Rockwell, "Marclay, Hoberman, Sound and Fury", review, New York Times, October 22, 1989
- Perry Hoberman, catalog statement, Signals, QCC Art Gallery, NY, March 12-April 27, 1989
- David Reisman, "Perry Hoberman", review, Artscribe, London, January/February 1989
- 1988
- John Miller, "Perry Hoberman", review, Artforum, NY, December 1988
- Robert Morgan, "Poetic Justic", review, Artscribe International, London, November/December 1988
- 1987
- Morrie Warshawki, "Bill Obrecht & Perry Hoberman", review, High Performance, Los Angeles, Issue 37, 1987
- Kathryn Brew, "Perry Hoberman", catalog essay, and Perry Hoberman, "Dead Space/Living Rooms", catalog statement, both in Capp Street Project 1985 1986, San Francisco, 1987
- Patricia C Phillips, "Art on the Beach", review, Artforum, NY, October 1987
- Stephen Westfall, "Perry Hoberman", review, Arts, NY, February 1987
- Wayne Johnson, "Critic's Choice", The Seattle Times, WA, February 6, 1987
- "It Can Make You a Little Light-Headed", Datebook, San Francisco Chronicle, January 25, 1987
- Steven Winn, "Special Effects and Then Some", San Francisco Chronicle, January 23, 1987
- Allan Ulrich, "3-D 'Sender' falls flat in Gallery Run", San Francisco Examiner, January 22, 1987
- 1986
- Bob Riley, "Notes on New Media Theatre", catalog essay, Endgame, ICA, Boston, 1986
- George Melrod, "Luminous Noir", review, East Village Eye, NY, December 1986
- Kim Levin, Voice Choices, Village Voice, NY, September 1986
- Patty Harris, "Perry Hoberman", review, 108 East Village Review, NY, September 1986
- Diana Rico, "TV-generation artists have their own vision", L.A. Daily News, March 9, 1986
- Perry Hoberman, catalog statement, TV Generations, Los Angeles Contemporary Exhibitions, February-April 1986
- 1985
- Dinah Prince, "Downtown", Daily News, NY, December 6, 1985
- Kim Levin, "Voice Choices", Village Voice, NY, November 5, 1985
- Dan Cameron, "A Whitney Wonderland", Arts, NY, Summer 1985
- John Howell, "Perry Hoberman", review, Artforum, NY, September 1985
- Perry Hoberman, catalog statement, New Langton Arts 1985, San Francisco, 1985
- Bibliography (continued)
- Andy Grundberg, "Beyond Still Imagery", The New York Times, April 7, 1985
- John Hanhardt, "Re-forming Cinema: Film as Installation", Dark Rooms, Artists Space, NY, January 1985
- Perry Hoberman, "Out of the Picture", catalog images, 1985 Biennial Exhibition, Whitney Museum, NY, March-June 1985
- 1984
- Perry Hoberman, "Excerpt from Smaller Than Life", Tellus - The Audio Cassette Magazine, #5 & #6 (special double audio visual issue), C. Gould, J. Nechvatal, C. Parkinson, editors/publishers, New York, 1984
- Larry List, "Found Language", essay, pamphlet, Franklin Furnace, May 1984
- Tom Strini, "3D show stands Out with depth of images", Milwaukee Journal, WI, April 5, 1984
- Tom Strini, "Cutting up in 3-D', The Milwaukee Journal, WI, April 1, 1984
- "Hoberman's 3-D works at Brooks", The Marquette Tribune, Milwaukee, WI, March 30, 1984
- 1983
- Noel Carrol, "Semiotics in 3D", The Village Voice, NY, December 27, 1983
- Amy Virshup, "Live Acts", New York Beat, December 1983
- Faith Heller, "A Season of Unorthodox Art", Winston-Salem Journal, NC, September 18, 1983
- Cynthia Rose, "Out of the Picture", New Musical Express, London, September 3, 1983
- Jo Comino, "Out of the Picture", City Limits, London, August 18-24, 1983
- John Gill, "Out of the Picture", Time Out, London, August 11-17, 1983
- Anthony Bannon, "Works by Six Artists Are Provocative", Buffalo Evening News, May 26, 1983
- Perry Hoberman, catalog images, Independent Study Program 15th Anniversary, Whitney Museum, NY, 1983
- 1982
- "Art Present", Artistes, Paris, August/September 1982
- Robert Taylor, "Colorists, dadaists, contrast at MIT gallery", Boston Sunday Globe, March 14, 1982