| Judy Malloy | |
|---|---|
| Born | Judith Ann Powers January 9, 1942 Boston, Massachusetts |
| Residence | El Sobrante, California[1] |
| Alma mater | Middlebury College |
| Children | Sean Langdon Malloy |
| Parents | Barbara Lillard Powers Wilbur Langdon "Ike" Powers |
| Relatives | Walter Powers (cousin) |
| Website | |
| http://www.well.com/user/jmalloy/ | |
Judy Malloy is a poet whose works embrace the intersection of hypernarrative, magic realism, and information art. Beginning with Uncle Roger in 1986,[2] Malloy has composed works in both new media literature and hypertext fiction. She was an early creator of online interactive and collaborative fiction on The WELL and Arts Wire.
Malloy has served as editor and leader for books and web projects. Her literary works have been exhibited worldwide.
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Born as Judith Ann Powers in Boston a month after Pearl Harbor, Malloy was raised in Massachusetts. Her mother was a writer and editor and her father, a Normandy veteran, worked as assistant district attorney in two Massachusetts counties and then as Chief Assistant US Attorney for Massachusetts. Malloy skied and played tennis, summering in New Hampshire, Cape Cod and the Berkshires. Malloy felt an early calling to the visual arts and began painting and sketching as a child.[3]
After graduating from Middlebury College with a degree in literature and work in studio art and art history, Malloy took a job at the Library of Congress and also traveled in Europe.[3]
In the next few years, while writing and making art, Malloy worked as a technical information specialist at the NASA contractor Ball Brothers Research Corporation, running their technical library and learning FORTRAN programming in order to identify relevant content for research.[3]
Moving to the East Bay in the early 1970s, Malloy lived in Berkeley where, in addition to installations and performances, she developed a series of artists books that incorporated non-sequential narratives driven by words and images.[3] She currently resides in El Sobrante, California.
In 1986, Malloy wrote and programmed Uncle Roger, the first online hyperfiction project with links that took the narrative different directions depending on the reader's choice. Uncle Roger was mentioned as the start of a future art form by the Wall Street Journal in their 1989 centennial publication.[4] It was a three part hypertextual "narrabase" (narrative database) that used keyword searching including Boolean operators appeared on Art Com Electronic Network on the WELL.[5]
In 1988, Malloy became the coordinating editor of FineArt Forum under the Leonardo publishing umbrella, and developed F. A. S. T. (Fine Art Science and Technology), a resource on the Whole Earth 'Lectronic Link (The WELL) bulletin board.[6] Malloy was the initial editor of Leonardo Electronic News, 1991–1993, now Leonardo Electronic Almanac.[7] For Leonardo, she worked to make the work of new media artists more visible, creating the artist's "Words on Works" (WOW) Project, published in Leonardo Electronic News and Leonardo.
In 1989, Malloy's hyperfiction work its name was Penelope was exhibited at the Richmond Art Center, gaining publication in 1993 by Eastgate Systems. Also in 1993, Malloy was invited to XEROX PARC as artist-in-residence, where she developed Brown House Kitchen, an online narrative written in LambdaMOO.[8] Malloy then wrote l0ve0ne, published in 1994 by Eastgate Web Workshop as their first work.[9] Malloy created Making Art Online] in 1994.[10] One of the first arts websites, Making Art Online is currently hosted by the Walker Art Center.
Between 1993 and 1996, while working with PARC, Malloy and Cathy Marshall (hypertext developer) collaborated on "Closure Was Never a Goal in this Piece", an article published in the book Wired Women which documented their experiences working on their other project, Forward Anywhere: Notes on an Exchange between Intersecting Lives, a hypernarrative work based on electronic communication that passed between the two in which they sought "to exchange the remembered and day-to-day substance of our lives".[11]
Malloy worked for Arts Wire, a program of the New York Foundation for the Arts (NYFA) from its early origins in 1993. She began serving as editor of the online periodical Arts Wire Current in March 1996.[12] She continued as editor through the periodical's name change to NYFA Current in November, 2002, until March 2004.[13][14]
Malloy is the editor of Women, Art & Technology, a documentation on the central role of female artists in the development of new media. The book lays out a historical outline of the female influence in art and technology including papers written by notable members of the field. Published in 2003 by MIT Press in 2003. Her most recent work is the new media poetry trilogy Paths of Memory and Painting which she finished in 2010.
Her work has been exhibited and published internationally including the 2008 Electronic Literature Conference, San Francisco Art Institute, Tisch School of the Arts, New York University, São Paulo Art Biennial, the Los Angeles Institute for Contemporary Art, Boston Cyberarts Festival, the Walker Art Center, Visual Studies Workshop, Berkeley Art Center, Finger Lakes Environmental Film Festival, Centenary of Carmen Conde, Cartagena, Spain, Istanbul Contemporary Art Museum and the Hellenic American Union in Athens, Houston Center for Photography, Richmond Art Center, San Antonio Art Institute, A Space, Toronto, Canada, National Library of Madrid, Eastgate Systems, E. P. Dutton, Tanam Press, Seal Press, MIT Press, The Iowa Review Web, and Blue Moon Review. Malloy's where every luminous landscape (2008) was exhibited at The Future of Writing, University of California, Irvine, November, 2008 and the E-Poetry Festival, Barcelona, May, 2009. In May 2009 it was a finalist in the prix poésie-média 2009 hosted by the Biennale Internationale des poetes (BIPVAL) in Val de Marne, France.[15]
Malloy is the host of the Art California Web, in partnership with the California Studies Association. The website is a portal to information regarding artist and art organizations in California. The primary focus is to encourage California art, with a list of over 6,000 mainstream and non-profit artists and organizations.[16]