Prema Murthy

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Prema Murthy (born 1969 in Seattle, WA) [1] is an American, multi-disciplinary artist based in New York. Employing aesthetics, gesture, geometry and algorithmic processes, Murthy's work explores the boundaries between embodiment and abstraction, while engaging in issues of culture and politics. Her work has been exhibited nationally and internationally at MoMA PS1, the Whitney Museum of American Art, the New Museum of Contemporary Art, the Reina Sofia Museum, the Generali Foundation in Vienna, and the India Habitat Center-New Delhi.

Contents

Background

Murthy draws from a childhood surrounded by the natural beauty of the Pacific Northwest and a diverse ancestral background. Born to Filipino and Indian parents, her maternal grandfather was a medical professional in the Philippines, while her paternal grandfather served as a Hindu priest in a South Indian village temple. These natural and familial influences straightforwardly contribute to Murthy's artistic perspective. [2]

Education

Murthy pursued her formal academic journey in the realm of arts, earning a Bachelor of Arts degree with a focus on Art History and Women's Studies from the University of Texas at Austin. Her dedication to the craft led her to further enhance her artistic prowess, culminating in the achievement of a Master of Fine Arts from the prestigious Goldsmith's College, London. [3]

Additionally, Murthy was initiated into ancestral practices at the age of 11 in her grandfather's village near Bangalore, India. Murthy later underwent Sri Vidya diksha in adulthood. Her journey extended into the realm of physical discipline through training in Kalaripayattu, an ancient Indian martial art. In the pursuit of holistic understanding, her training encompassed the principles of healing and harmonious living with nature, delving into the science of Ayurveda. Furthering such studies, she also sought guidance from a traditional medicine healer and ceremonialist with roots in the Indigenous Bontoc and Ibaloi tribes of the Philippines, specifically the Igorot communities. This diverse training and exploration of cultural traditions continue to shape Murthy's artistic perspective and approach. [2] She has taught Digital Art at City College (CUNY) and Sarah Lawrence College.

Artistry Analysis

Murthy's artistic endeavors delve into the intricate interplay of beauty, femininity, and South Asian American culture, echoing broader discussions on identity and representation. In her installations and sculptures, Murthy provides a visual dialogue with the nuanced literary explorations of cultural symbols like the bindi and the sari. Murthy's artwork becomes a tangible response to questions posed by cultural theorists, [4] offering a unique visual language to express the complexities of identity and beauty. Her choices in aesthetics and symbolism can be seen as a form of visual activism, challenging and redefining perceptions within the broader discourse on femininity and beauty. By drawing from these general concepts and engaging with digital networked media, [5] Murthy's art becomes a rich exploration of cultural representation, identity, and the multifaceted nature of beauty within the South Asian American context. [6]

Career

Murthy's artistic portfolio encompasses a diverse array of works that showcase her distinctive exploration of themes and mediums. Murthy's early digital art works from the 1990s - such as Bindigirl and Mythic Hybrid - are considered pioneering examples of internet art from a feminist perspective. [7] These works explored the intersections of gender, race, and technology, while also utilizing the then-emerging tools of streaming media as a platform for performance art. [8] These works contributed to the cyberfeminist art movement, while also drawing inspiration from postcolonial studies and feminist science fiction. [9] In 2015 Murthy's work Bindigirl [10] was included in the group retrospective "Come As You Are: Art of the 1990s". [11]

Notable among her creations is "Fuzzy Logic," an installation that seamlessly blends handmade and digital elements, introducing the concept of imprecise precision. Crafted with simple black wool yarn, the three-dimensional structure of Fuzzy Logic extends into the space, evoking notions of crystals and geometric forms. Murthy's emphasis on exploring the interplay between minimalism and abundance, with a focus on lines and form over color, is noteworthy. "Fuzzy Logic" was later featured at MoMA PS 1 in New York City.

Another standout work is Murthy's wool sculpture, which is a two-dimensional drawing translated into a three-dimensional space installation. Executed with black wool yarn, the intricate structure extends beyond the designated space, resembling crystals and geodes. In her print series, including "Unfolding," "Dark Matter," "Emotional Precision," "Breaking the Grid," "Collide," and "Quiver," Murthy delves into mysterious processes, possibly depicting veins, nerves, or the aura. Despite appearing hand-drawn, these prints are computer-generated, showcasing her engagement with technology. [12]

In the 1990s Murthy also co-founded the artgroup known as Fakeshop, a collective that used early live video conferencing technologies, interactive video and music software, and digital animation to create large scale performative installations. [13] Fakeshop presented its work at venues such as Ars Electronica and SIGGRAPH, and was included in the 2000 Whitney Biennial, the first major American museum to include Internet art as a special category in its exhibition. [14] This work was written about in the New York Times, Art Asia Pacific Magazine, the Wall Street Journal, and Artforum.

Murthy's recent work includes the use of 3D modeling tools to create large scale drawings, digital prints, and installation. These works make reference to the art of Futurism, Minimalism, and the Baroque. [10] In 2010 Murthy used these techniques for her animated short "Monster," produced in collaboration with singer/songwriter Miho Hatori. [15]

Murthy's conceptual exploration extends to the realm of minimalism, where she contemplates identity and networks. Her works in this domain focus on form and line, addressing fundamental questions about individuality and human connections. [16] Additionally, she offers subtle observations on pornography, viewing it as a commentary on power dynamics and unkindness.

Awards and Commissions

See also

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References

  1. ↑ Fuzzy Logic exhibit, MoMA PS1.
  2. 1 2 "Artist Statement". Prema Murthy. Retrieved 2023-12-19.
  3. ↑ "Bio". Prema Murthy. Retrieved 2020-03-14.
  4. ↑ REDDY, VANITA (2016-02-01). Fashioning Diaspora. Temple University Press. ISBN   978-1-4399-1156-3.
  5. ↑ Sollfrank, Cornelia (May–June 2015). "Revisiting CaberFeminism". Art Papers Magazine. 39 (3): 29–33.
  6. ↑ Dennis, Kelly (2009). "Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy". pp. 79–86.
  7. ↑ Rachel Greene, Internet Art (World of Art) (Thames & Hudson, 2004), pp. 212-14; Kelly Dennis, "Gendered Ghosts in the Globalized Machine: Coco Fusco and Prema Murthy," Paradoxa: International Feminist Art Journal, Vol. 23 (2009): pp. 79-86.
  8. ↑ "Bindigirl - Interview with Prema Murthy," Rhizome.org (2 June 1999); González, Jennifer. "Morphologies: Race as a Digital Technology," in Re:Skin, ed. Mary Flanagan and Austin Booth (MIT Press, 2009), pp. 346-48; Andrea Grobler and Ingrid Stevens, "Pornography, Erotica, Cyberspace and the Work of Two Female Artists," South African Journal of Art History vol. 25 (2010): pp. 17-28.
  9. ↑ Josephine Bosma, "Interview: Prema Murthy," Old Boys Network Reading Room (January 2001); Christopher L. McGahan, "Re-Posing Porn and the Racialized Subject in Cyberculture: Prema Murthy's Bindigirl, Cyberfeminism, and the Culturalist Politics of Orientalized Pornography on the Internet," Racing Cyberculture: Minoritarian Art and Cultural Politics on the Internet (Routledge, 2013), pp. 123-161. See also Murthy's essay "Ito Ay Panaginip Sa Ibang Pangungusap" (This is a Dream Not of a Common Language) in Cyberfeminism: Next Protocols, edited by Claudia Reiche and Verena Kuni (Autonomedia, 2004).
  10. 1 2 Helena Reckitt, "From Bindi Girls to Space Invaders: Prema Murthy," ArtAsiaPacific, vol. 39 (2004): 34-35.
  11. ↑ Come As You Are: Art of the 1990s, Montclair Art Museum.
  12. ↑ "Swapna Vora on Prema Murthy". www.asianart.com. Retrieved 2023-12-20.
  13. ↑ Catherine Bernard, "Bodies and Digital Utopia," Art Journal 59.4 (2000): 26-31; Jay David Bolter and Diane Gromala, Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency (MIT Press, 2005), pp. 96ff.; Bosma, "Interview: Prema Murthy."
  14. ↑ Ars Electronica 1999; SIGGRAPH 2000; Whitney Biennial Art Port. See also "Now Anyone Can Be in the Whitney Biennial", The New York Times (23 March 2000).
  15. ↑ Saltworks Gallery.
  16. ↑ Grice, Helena; Parikh, Crystal (2015-08-20), "Feminisms and Queer Interventions into Asian America", The Cambridge Companion to Asian American Literature, Cambridge University Press, pp. 169–182, ISBN   978-1-316-15501-1 , retrieved 2023-12-20
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