Faith Wilding

Faith Wilding is a multidisciplinary artist, writer, and educator; she received a B.A. (1968) in comparative literature from the University of Iowa and an M.F.A. (1973) in performance/installation/feminist art from the California Institute of the Arts. Currently, Ms. Wilding is a Professor of Performance at the School of the Art Institute of Chicago, and a member of the graduate faculty at Vermont College of Fine Arts.

Ms. Wilding was a cofounder of the feminist art movement in southern California, which she chronicled in By Our Own Hands (Los Angeles, 1976). Her work addresses the recombinant and distributed bio-tech body in various media, including 2-D, video, digital media, installations, and performances. She also cofounded and collaborates with subRosa, a reproducible cyberfeminist cell of cultural researchers using BioArt and participatory performance in the public sphere to explore the intersections of information and biotechnologies in women’s bodies, lives, and work.

She has exhibited in solo and group shows for over thirty years in the United States, Canada, Europe, Mexico, and Southeast Asia, at such venues as the Vancouver Art Gallery; P.S.1, Bronx Museum, Whitney Museum of Art, the Drawing Center, and the Bronwyn Keenan Gallery, all in New York City; Museum of Contemporary Art, Los Angeles; Riverside Museum of Art; Ars Electronica Center, Linz, Austria; Documenta X, Kassel, Germany; The Next Five Minutes Festival, Amsterdam; the Singapore Art Museum; and others. Recent performances/exhibitions with subRosa include “U-GEN-A-Chix,” in Ljubljana, Slovenia; “A Week With/Out Women,” in Zagreb, Croatia; “Yes Species” NGBK, in Berlin; the “BioDifference” Biennial of Electronic Arts in Perth; and “Welcome to the Revolution,” in Zurich; among many others. For more information on subRosa, see www.cyberfeminism.net.

Faith Wilding lectures widely both in the United States and abroad, and is the author of Domain Errors! Cyberfeminist Practices (Autonomedia, 2003) among many other publications; her essays have been appeared in The Power of Feminist Art (Abrams, 1995) and other collections. In addition to her Guggenheim Fellowship, her work has been supported by grants from the NEA (1987, 1995), NEH, NYSCA, PCA (1996, 2001), and Creative Capital (2002-05).