Lynn Hershman Leeson

  • PERSONAE OF INTEREST:

    FOR THE PAST fifty years, LYNN HERSHMAN LEESON has explored identity’s fluid mutations, creating a pioneering body of work that has presciently engaged questions of subjectivity in an era of artificial intelligence, surveillance, the cyborg, and genetic engineering. Hershman Leeson sat down with fellow artist JULIANA HUXTABLE, whose own shape-shifting work investigates similar issues in the millennial generation, to discuss the ways in which technology both abets essentialism and creates possibilities for its evasion and subversion.

    LYNN HERSHMAN LEESON: When I was starting out as an artist, people were just beginning to unwrap their identities, just beginning to reclaim their histories. Since then, it seems to have gone from an unwrapping to an unraveling. I think there’s a different urgency now, as well as new possibilities for incorporating mutations and transgressions that weren’t technologically possible earlier. And your generation was born in the midst of this flux.

    JULIANA HUXTABLE: Yes—I was in college right at the moment when the celebration of the posthuman was at its height. At the time, I felt we were

  • LIGHT REPAIRS: A ROUNDTABLE ON THE RESTORATION OF MARK ROTHKO’S HARVARD MURALS

    WHEN IS A PAINTING not a painting anymore?
     
    In 1962, Mark Rothko created the Harvard Murals, a set of six monumental paintings, five of which were displayed in the penthouse dining room of the university’s Holyoke Center, a windowed perch with stunning views. Deeply and delicately hued expanses, the canvases ranged in color from searing orange-red to light pink to dark purple. But in the decade that followed, continual exposure to daylight drastically changed the works, fading them so that some areas lightened to near white while others turned a dull black. Languishing in storage for many years, the works were thought to be beyond repair. But recently, a team of conservators and scientists made a new and unprecedented attempt to restore the pictures—not with pigment or chemicals but with light: For each canvas, they devised a highly complex colored-light projection that, when shone on the work, returns it to its original coloration. What we see is what was meant to be seen, ostensibly. But what are the risks of such an approach? Does the use of light open the door to virtual reality, to smoke and mirrors, turning the paintings into something else altogether? Or does it constitute a brilliant way of making the paintings viewable again, without so much as touching a thread of canvas?
     
    Conservator CAROL MANCUSI-UNGARO, who worked on the project; curators HARRY COOPER and JEFFREY WEISS; art historian YVE-ALAIN BOIS; Artforum editor MICHELLE KUO; and artists LYNN HERSHMAN LEESON, DAVID REED, KEN OKIISHI, and R. H. QUAYTMAN peer into the void.

    CAROL MANCUSI-UNGARO: Rothko’s Harvard Murals were installed in 1964, but after suffering differential damage, they were put in storage in 1979. They were included in a few exhibitions, two at Harvard and one traveling exhibition, but basically they hadn’t been seen or studied for decades.

    The murals are one of only three commissions that Rothko made. Scholars studied the Seagram paintings, and they studied the Rothko Chapel, but they largely skipped the Harvard Murals because hardly anyone had seen them. Most only knew the story about their fading and being removed from view. The works