George Legrady is an artist in the field of interactive media arts. He received his MFA in photography from the San Francisco Art Institute, and is one of the first generation of artists in the 1980’s to integrate computer processes into their artistic work, producing pioneering prizewinning projects in the early 1990’s that include the “Anecdoted Archive from the Cold War” (1993), “Slippery Traces” (1995), “Sensing Speaking Space” (2002), and the internationally traveling “Pockets Full of Memories” (2001-2008). Legrady’s early artistic work focused on a conceptual and semiotic analysis of the photographic image. His contribution to the digital media field since the early stages of its formation into a discipline in the early 1990’s has been in intersecting cultural content with data processing as a means of creating new forms of aesthetic representations and socio-cultural narrative experiences. His commission for the Seattle Public Library is one of the few digital artworks to collect and parse data continuously until 2014.
Projects & Exhibitions Recent interactive installation exhibitions include the “Blink” installation at Foundation Ahlers, Hanover, Germany (2009); the Santa Barbara Museum of Art (2007); Pari Nadimi gallery, Toronto (2006); ISEA 06, San Jose (2006); 3rd Beijing New Media Festival (2006); BlackBox Invitational at the International ARCO Art Fair, Madrid (2006); Telic Gallery, Los Angeles (2006); the 8th realization of the “Pockets Full of Memories” data visualization installation at the Museum of Contemporary Art, Taipei (2007), previously presented at Frankfurt Museum of Communication (2006), Cornerhouse Gallery, Manchester, UK (2005), the Museum of Contemporary Art Kiasma, Helsinki (2004), Aura by c3 Media Center, Budapest, (2003); Ars Electronica Festival, Austria (2003); Dutch Electronic Arts Festival DEAF03 Festival, Rotterdam (2003); the Centre Pompidou Museum of Modern Art, Paris (2001). Other exhibitions consist of a solo exhibition of algorithmically generated still and real-time animated images at the Philbrook Museum of Art, Tulsa, Oklahoma (2004-2005); ISEA Conference in Nagoya, Japan, [Sensing Speaking Space] (2003), and the San Francisco Museum of Modern Art, (2002); “Future Cinema” exhibition, ZKM, Karlsruhe, Germany (2002); [Transitional Spaces] the Rotunde at the Siemens World Headquarters in Munich, [Transitional Spaces], (1999-2000); the Museum of Contemporary Art, Los Angeles, [Tracing], (1998); the Kunst und AustellungHalle der Bundes Republik in Bonn, [Tracing], (1997-1998); the National Gallery of Canada and the Canadian Museum of Contemporary Photography, (1997-1998); the Palais des beaux-arts, Brussels, [An Anecdoted archive from the cold War], (1997); [Slippery Traces] in the Siemens curated "Deep Storage" exhibition at the Haus der Kunst, Munich, (1997); the Kunstforum, Berlin, (1997); the kunstmuseum, Dusseldorf, Spring (1998); Projects Studios One, New York, (1998), and the Henry Art Gallery, Seattle, (1998).