{"id":375,"date":"2009-05-07T19:31:10","date_gmt":"2009-05-08T02:31:10","guid":{"rendered":"http:\/\/jamescoupe.com\/?page_id=375"},"modified":"2020-04-20T22:41:46","modified_gmt":"2020-04-21T05:41:46","slug":"cv","status":"publish","type":"page","link":"http:\/\/jamescoupe.com\/?page_id=375","title":{"rendered":"CV"},"content":{"rendered":"

Selected Solo Exhibitions <\/strong>
\n2020: International Center of Photography, New York, \u201cWarriors\u201d
\n2019: Jacob Lawrence Gallery, University of Washington, \u201cExercises in Passivity\u201d
\n2018: University of Aarhus, Denmark, \u201cAmazon Basics\u201d
\n2015: Aktionsart, Seattle, \u201cGeneral Intellect\u201d, 10 single-channel; 3 three-channel video installations.
\n2015: Bath Spa University, UK, \u201cGeneral Intellect\u201d, 30-channel public video installation.
\n2013: Henry Art Gallery, Seattle, USA, \u201cSanctum\u201d, interactive public video\/sound artwork (with Juan Pampin)
\n2013: Phillips Museum of Art, Franklin and Marshall College, Lancaster, PA, USA: \u201cOn Observing the Observer of the Observers\u201d, real-time video installation
\n2009: Lanternhouse, Ulverston, UK, artist residency
\n2007: The Junction, Cambridge, \u201c[re]collector\u201d, commissioned public AI video installation
\n2002: Artsadmin, London, UK, I, Robot (Phase One), intelligent telerobotic installation <\/p>\n

Selected Group Exhibitions <\/strong>
\n2017: Out of Sight, 115 S. Jackson St., Seattle, \u201cEat-Pray-Exercise (three times a day)\u201d, video installation
\n2017: The New Observatory, FACT, Liverpool, \u201cWatchtower (A Machine for Living)\u201d, mixed media installation
\n2015-16: Global Control and Censorship, ZKM, Karlsruhe, Germany, \u201cSwarm\u201d
\n2014: Tracing Data, Connecting Spaces Gallery, Hong Kong: \u201cJalousie Room\u201d, real-time video installation.
\n2014: Cyberarts, OK Museum of Contemporary Art, Linz, Austria: \u201cSwarm\u201d, real-time video installation.
\n2013: Transformations, Museum of Contemporary Canadian Art, Toronto, Canada: 2013: \u201cSwarm\u201d, real-time video installation.
\n2013: The Public Private, Kellen Gallery, Parsons\/New School, New York City: \u201cPanoptic Panorama #2: Five People in a Room\u201d, real-time video\/social media installation
\n2012: The Neddy, Cornish College of the Arts, \u201cPanoptic Panorama #1: I am standing in an empty room\u201d, real-time video installation
\n2012: Undercover, Maryland Institute College of Art, Baltimore, USA, \u201cPanoptic Panorama #1: I am standing in an empty room\u201d, commissioned real-time video installation
\n2011: Current, Harris Museum, Preston, UK, \u201cThe Lover\u201d, commissioned surveillance video installation.
\n2010: Abandon Normal Devices, Manchester, UK, \u201cToday, too, I experienced something I hope to understand in a few days\u201d, commissioned auto-generated video \/ Facebook application.
\n2010: Folly, Lancaster, UK, \u201cToday, too, I experienced something I hope to understand in a few days\u201d, auto-generated Facebook video installation.
\n2008: 911 Media Center, Seattle, USA, \u201c(re)collector\u201d, real-time AI video installation
\n2006: Lee Center for the Arts, Seattle, \u201cThe Difference Engine\u201d
\n2005: Stills Gallery, Edinburgh, UK, \u201cLow-Fi Commissions 04\u201d, The Difference Engine, commissioned real-time AI Internet installation
\n2005: Aspex, Portsmouth, UK, \u201cDay-to-Day Data\u201d, 9PIN++, blueprints and documentation
\n2005: Lighthouse, Poole, UK, 9PIN++, commissioned telematic AI network project
\n2004: Aspex, Portsmouth, UK, 9PIN++, commissioned telematic AI network project
\n2004: Artsway, Sway, UK, 9PIN++, commissioned telematic AI network project
\n2004: Folly Gallery, Lancaster, UK, \u201cVirtual Storey Project\u201d, call_centre, commissioned autonomous call centre
\n2003: Space Studios, London, UK, \u201cSpace Open\u201d, call_centre diagrams, blueprints
\n2003: Custard Factory, Birmingham, UK, \u201cMetapod\u201d, I, Robot (Phase Two)
\n2003: FACT, Liverpool, UK, \u201cBitparts Superchannel\u201d, I, Robot Channel, live telerobotic Internet TV broadcast
\n2001: Camden Arts Centre, London, UK, \u201cNew Contemporaries 2001\u201d, Digital Warfare Network (Project Phase Two), networked parasitical cellular phone installation
\n2001: Northern Gallery of Contemporary Art \/ Sunderland Museum, Sunderland, UK, \u201cNew Contemporaries 2001\u201d, Digital Warfare Network (Project Phase Two), networked parasitical cellular phone installation
\n2000: IDEA, Manchester, UK, \u201cSUCT\u201d, Digital Warfare Network (Project Phase One), networked parasitical powerline installation
\n1999: Edinburgh Castle, Edinburgh, UK, The Edinburgh Castle Tourist Event, temporally displaced tourist attraction project
\n1999: Royal Scottish Academy, Edinburgh, UK, In the Event of an Emergency, interactive installation <\/p>\n

Education <\/strong>
\n2009: PhD Digital Art and Experimental Media, University of Washington, Seattle, USA
\n2000: MA Creative Technology, University of Salford, Manchester, UK
\n1999: M.A.(Hons.) Fine Art (Sculpture), 1st Class, University of Edinburgh, Edinburgh, UK <\/p>\n

Awards and Honors <\/strong>
\n2017: Surveillance Studies Network Arts Fund Award (for Watchtower)
\n2017: House of Electronic Arts Basel (HeK) Net-based Audience Award (for General Intellect)
\n2016: Bergstrom Award, University of Washington
\n2014: Honorary Mention for Swarm, Interactive Art Category, Prix Ars Electronica
\n2014: Bergstrom Award, University of Washington
\n2013: Donald E. Petersen Endowed Fellowship, University of Washington
\n2011: Mellon Faculty Fellowship, Franklin & Marshall College, Lancaster PA
\n2010: Fellowship, Phillips Museum of Art, Franklin & Marshall College, Lancaster PA
\n2010: CityArtists Projects Individual Artist Award
\n2009: Creative Capital Grant: Emerging Fields
\n2008: Artist Trust Fellowship: Cross-Disciplinary\/Emerging Forms
\n2008: Washington State Public Art Roster
\n2008: 4Culture Individual Artist Grant
\n2008: Paul Allen Foundation, commission for Boise Art Museum (Summer 2010)
\n2006: Arts Council of England, Enter_ Festival commission
\n2005: Arts Council of Scotland, Low-Fi commission
\n2004: Arts Council of England, SCAN commission
\n2004: Lancaster City Council, UK, Virtual Storey Project Commission
\n2004: London South Bank University, UK, Research Grant
\n2003: Arts and Humanities Research Board, Innovation Award
\n2003: Resfest, Art Centre Nabi, Korea, Festival Shortlist
\n2003: Thames Valley University, UK, Research Grants
\n2002: Thames Valley University, UK, Research Grant
\n2002: Artsadmin, London, UK, Residency\/Artist Bursary
\n2001: New Contemporaries, UK, Commission
\n1999: Edinburgh College of Art, UK, Andrew Grant Prize <\/p>\n

Publications (selected) <\/strong>
\n2020: \u201cShort Circuits\/Closed Circuits\u201d in Surveillance and Society, Vol. 18, No. 1
\n2016: \u201cArt, Surveillance and Metadata\u201d in M-D. Hosale (ed.), Worldmaking as Techn\u00e9: Exploring Worlds of Participatory Art, Architecture, and Music (Riverside Press)
\n2006: “Art, Representation and Responsibility: towards a system aesthetic” in D.Sutton (ed.), The State of the Real (I. B. Tauris)
\n2005: A Review of Open Systems: Rethinking Art c. 1970 in Drain #5 (October 2005)
\n2003: Art, Computers, Systems and Parasites in E. Posey (ed.), Remote (Bloc Press, Cardiff, 2003) <\/p>\n

Presentations (selected) <\/strong>
\n2016: On the Image Conference, Liverpool John Moores University, \u201cMetadata as Medium\u201d, Plenary speaker.
\n2016: Northwest Film Forum, Seattle, \u201cChatroom: Labor and Value\u201d, panelist
\n2015: University of Washington, \u201cArt World Systems: Francis Halsall, Kris Cohen, Johanna Gosse\u201d, chair
\n2015: University of Utah, Art and Technology Lecture Series, invited lecture
\n2015: Keynote Lecture, Skill Share Symposium, Northern Lights, Minnesota
\n2015: Artist Lecture, Art and Technology Lecture Series, University of Utah
\n2014: Panelist, Surveillance and Privacy symposium, Henry Art Gallery, Seattle
\n2014: Panelist, Creative Time Summit discussion, Henry Art Gallery, Seattle
\n2014: Panelist for Art, Cinema and Code, SIFF Film Center
\n2014: Lecture for ‘Pirate Cinema’ screening at Northwest Film Forum.
\n2013: Phillips Museum, Lancaster, USA, \u201cOn the observing of the observer of the observers\u201d, artist lecture
\n2011: ISEA, Istanbul, Turkey, \u201cSurveillance as Panacea\u201d, paper
\n2011: Henry Art Gallery, Seattle, USA. James Coupe: Surveillance Cinema, lecture and screening.
\n2010: Olympia Film Society, USA. James Coupe: Recent Videos, screening
\n2010: Franklin & Marshall College, Lancaster, USA, \u201cConvergence, Divergence, Multiplicity\u201d, keynote.
\n2010: College Art Association Conference, Chicago, USA, Pioneering a PhD in Creative Research, panelist.
\n2010: Surveillance Suite, UW School of Law, panel discussion
\n2009: Abandon Normal Devices, Liverpool, UK, invited lecture
\n2009: ISEA, Belfast, UK, \u201cMechatronic Art: Beyond Craft Fetishism\u201d, paper
\n2008: ISEA, Singapore, Artist Presentation
\n2008: Henry Art Gallery, Artist Presentation for \u2018Projections\u2019 talk series
\n2006: SLSA Conference (with S. Brixey), New York, USA, \u201cFrom Simulation to Emulation, New Frontiers of Telematic Art in the 21st Century\u201d, Paper for Leonardo Panel.
\n2006: Hunter College, New York, USA, invited lecture.
\n2006: Rutgers University, New Jersey, USA, invited lecture.
\n2006: 911 Art Centre, Seattle, \u201cTranscontinental\u201d, Panelist
\n2006: College Art Association Conference (with S. Brixey), Boston, USA, \u201cFrom Simulation to Emulation, New Frontiers of Telematic Art in the 21st Century\u201d
\n2006: Tufts University (with S. Brixey) , Boston, USA, \u201cThe Difference Engine\u201d, IEEE guest lecture
\n2005: On the Boards Theatre, Seattle, USA, \u201cThe Impact of New Technologies upon Performance\u201d, invited lecture
\n2005: University of Maine, Orono \u201cArt as Research\u201d Telematic Symposium, invited speaker
\n2005: Intel Research, Seattle, USA, \u201cSystem Aesthetics | Ubiquitous Absence\u201d, lecture
\n2004: Dorkbot, Center on Contemporary Art, Seattle, USA, \u201cNon-Corporeal Robotics\u201d, invited presentation
\n2004: Machinista, Glasgow Science Centre, Glasgow, UK, AI, A-Life & Artistic Practices, Panelist
\n2004: Machinista, Centre for Contemporary Art, Glasgow, UK, Art from the Machine: Gleams of the Inhuman, Keynote
\n2004: Pixelraiders 2, Sheffield Hallam University, \u201cI, Project\u201d, Paper
\n2004: College Art Association Conference, Seattle, USA, \u201cSculptural Consciousness: Recontextualizing the System Aesthetic\u201d, Paper
\n2003: The State of the Real, Glasgow School of Art, Glasgow, UK, \u201cArt, Representation and Responsibility: towards a system aesthetic\u201d, Paper
\n2003: CHArt (Computers and the History of Art), Birkbeck College, University of London, UK, \u201cFrom Sculptural Consciousness to the Digital Sublime: Understanding the System Aesthetic\u201d, Paper
\n2003: People vs. Programming, Artsway, Hampshire, UK, \u201cJames Coupe, Hedley Roberts and Nick Webb in conversation\u201d, Paper
\n2003: New Media \/ Old Media, Millenium Point, Birmingham, UK, \u201cI, Robot (Phase Two)\u201d, Paper
\n2002: ISEA (International Symposium of Electronic Art), Nagoya, Japan, \u201cI, Robot (Phase One)\u201d, Paper
\n2002: Remote II, University of Wales, Lampeter, UK, \u201cArt, Computers, Networks and Parasites\u201d, Paper <\/p>\n

Selected Bibliography <\/strong>
\n2020; \u201c15 Perspective-Altering Shows to See in New York City in 2020\u201d, Sarah Cascone, ArtNet News, January 2020.
\n2017: \u201cThe New Observatory at FACT\u201d, Daniel Rourke, Furtherfield.org, July 2017
\n2015: \u201cThe Future is Round\u201d, Steve Rose, The Guardian, November 2015
\n2015: \u201cMeet the New Boss: You\u201d, Jen Graves, The Stranger, October 2015
\n2015: \u201cThe Fussy Eye\u201d, Brian Miller, Seattle Weekly, October 2015
\n2015: \u201cOnly Human\u201d, Ellie Dicola, City Arts, October 2015
\n2013: Maria Walsh, \u2018Oscillations Between Disciplinary and Productive Subjectivity in James Coupe\u2019s Auto-Generative Online Film Project Today, too, I experienced something I hope to understand in a few days (2010)\u2019, Rubinstein D. Golding J and Fisher A. (eds.) On the Verge of Photography: Imaging Beyond Representation, (Birmingham: Article Press, 2013), pp. 171-190.
\n2013: \u201cWe went to Toronto\u201d, Paddy Johnson, ArtFagCity, 11\/13
\n2013: \u201cProjecting Ourselves\u201d, Rosemay Ponnekanti, News Tribune, 8\/13
\n2013: \u201cIs it safe?\u201d, Jen Graves, The Stranger, 5\/13
\n2013: \u201cWaiting to be Seen\u201d, Johanna Gosse, catalogue essay for On the Observing of the Observer of the Observers exhibition catalogue, 2\/13.
\n2012: \u201cSearching for the Real in Automated Self-Presentation: James Coupe\u2019s Today, too, I experienced something I hope to understand in a few days\u201d, Maria Walsh,
\nBeyond Representation: Photography, Humans and Computers conference, London South
\nBank University, UK, 5\/12
\n2012: \u201cVirtual Panopticons: The Ethics of Observation in the Digital Age\u201d, Johanna Gosse, College Art Association Conference, Los Angeles, USA, 2\/12
\n2011: \u201cSearching for the Real in Automated Self-Presentation: James Coupe\u2019s Today, too, I experienced something I hope to understand in a few days\u201d, Maria Walsh,
\nTechnologies of the Self: New Departures in Self-inscription conference, University College Cork, Ireland, 9\/11
\n2011: “Currently hanging: The Lover”, Jen Graves, The Stranger, 5\/11
\n2010: \u201cJames Coupe: Today, too, I experienced something I hope to understand in a few days\u201d, Maria Walsh, Art Monthly, 10\/10
\n2010: \u201cToday, too, I experienced something I hope to understand in a few days\u201d, Ceci Moss, Rhizome, 3\/10
\n2010: \u201cToday, too, I experienced something I hope to understand in a few days\u201d, Net-Art.org, 3\/10
\n2010: \u201cAccidental Narratives and Facebook Artworks\u201d, Ryan Chapman, ChapmanChapman, 3\/10
\n2010: \u201cGround-breaking Barrow video project on Facebook\u201d, North-West Evening Mail, 3\/10
\n2009: \u201cAND Festival Report\u201d, Peter Merrington, Rhizome, 10\/09
\n2009: \u201cAlain Badiou, Multiplicity and Contemporary Art\u201d, David Brancaleone, Stimulus->Respond, Summer 2009
\n2009: \u201cCreative Capital Roundup: James Coupe\u201d, Ryan Chapman, ChapmanChapman, 8\/09
\n2008: \u201cWhat are you F#&%ing Looking at?\u201d, Francis DeVuono, ArtWeek, December 2008
\n2008: \u201cThere\u2019s more than one way to stare down a camera\u201d, Jen Graves, The Stranger, October 2008
\n2007: “Putting the Art in AlgoRiThm”, Rachel Hazelwood, Aesthetica #19, October 2007
\n2006: “Difference Engine, extracting the metaphysics from the net”, Vito Campanelli, neural.it, May 2006
\n2005: “The Art of the Stars”, Carrie Scott, The Stranger, December 2005
\n2005: “Low-Fi Gets Physical at Stills”, Marc Garrett, furtherfield.org, September 2005
\n2005: “The Triumph of the Unexpected”, Samson Spanier, Financial Times, August 2005 <\/p>\n","protected":false},"excerpt":{"rendered":"\"\"<\/a>

Selected Solo Exhibitions 2020: International Center of Photography, New York, \u201cWarriors\u201d 2019: Jacob Lawrence Gallery, University of Washington, \u201cExercises in Passivity\u201d 2018: University of Aarhus, Denmark, \u201cAmazon Basics\u201d 2015: Aktionsart, Seattle, \u201cGeneral Intellect\u201d, 10 single-channel; 3 three-channel video installations. 2015: Bath Spa University, UK, \u201cGeneral Intellect\u201d, 30-channel public video installation. 2013: Henry Art Gallery, Seattle, […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-375","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/pages\/375","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/jamescoupe.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=375"}],"version-history":[{"count":14,"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/pages\/375\/revisions"}],"predecessor-version":[{"id":2700,"href":"http:\/\/jamescoupe.com\/index.php?rest_route=\/wp\/v2\/pages\/375\/revisions\/2700"}],"wp:attachment":[{"href":"http:\/\/jamescoupe.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=375"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}