JULIA CHRISTENSEN is an artist and writer whose work explores systems of technology, consumerism, landscape, and memory. Her work has been in solo and group exhibitions at venues such as the Walker Art Center (Minneapolis, MN), Ronald Feldman Fine Arts Gallery (NYC, NY), Eyebeam (NYC, NY), Museum of Contemporary Art Cleveland (Cleveland, OH), and Carnegie Museum of Art (Pittsburgh, PA). Her work has been exhibited internationally in France, Greece, Finland, Croatia, Serbia, and beyond. Christensen is the author of Big Box Reuse, published by MIT Press in 2008. Big Box Reuse won several book awards and received reviews and features in publications such as The New York Times, New York Magazine, Bookforum, The New York Review of Books, and The Washington Post. Her writing has appeared in a range of publications, such as Print, Architect, Hyperallergic, and Cabinet magazines. She has been an invited guest on many radio shows featuring her artwork, such as All Things Considered (NPR), On Point with Tom Ashcroft (NPR), and Marketplace (CBC). She has spoken widely about her work at a range of venues, including Yale University, Columbia University, Carnegie Mellon University, Idea Festival, National Arts Club, and Machine Project. Christensen is a recipient of the Creative Capital Fellowship (Emerging Fields, 2013), MacDowell Fellowship (2015), the Ohio Arts Council Individual Excellence Award (2015), and commissions from Turbulence and New Radio/Performing Arts. She has been awarded artist residencies at the MacDowell Colony, Wexner Center for the Arts, and the Experimental Television Center. Christensen received her BA in Integrated Art at Bard College, MFA in Electronic Music and Recording Media at Mills College, and MFA in Integrated Electronic Arts at Rensselaer Polytechnic Institute. She is Associate Professor of Integrated Media in the Studio Art Department at Oberlin College.
Julia Christensen’s work has been included in the “Highbrow and Brilliant” quadrant of New York Magazine’s “Approval Matrix”; Make Zine recently said that “Christensen’s work is a stunning demonstration of the tremendous potential for creative expression using technologies we might otherwise throw away,”; The Washington Post once said that “Christensen has seen the future.”
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