GROUND ABOVE GROUND

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(Current) An exploration into the material intersections of the terrestrial ground, Low Earth Orbit, and the asteroid belt bewteen Mars and Jupiter.
SPACE SONG FOUNDATION

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(Current) The Space Song Foundation is a non-profit based in Los Angeles, CA, founded by artist Julia Christensen and aerospace engineers and scientists. The organization’s mission is to center longevity-thinking at the intersection of science, art, and engineering, on Earth and in outer space.
www.spacesong.org
STARLINK LINK

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(2024-2025) Video installation comprised of five videos on small scientific monitors. Each video displays a software defined radio visualization of Starlink satellites in Low Earth Orbit. Each video demonstrates different characteristics of the Starlink network.
“Artist tracks Elon Musk’s Starlink Satellites” | Fusing Art & Science | PBS SoCal
TREE SONGS / ART CENTER

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(2024) Vinyl record with tracks composed by Tom Hall and Julia Christensen. Songs composed using data collected from three live trees in the gallery at Upgrade Available: Julia Christensen, the 2020 solo exhibition at ArtCenter.
Tree Songs / Art Center on Bandcamp
UPGRADE AVAILABLE

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(2020) This volume documents an ongoing investigation by artist Julia Christensen into how our relentless “upgrade culture”—the perceived notion that we need to constantly upgrade our electronics to remain relevant—fundamentally impacts our experience of time. In a personal narrative interspersed with related interdisciplinary artwork and conversations with experts from different fields (other artists, archivists, and academics), Christensen takes readers along a path from the international e-waste industry to institutional archives, eventually leading her to NASA’s Jet Propulsion Laboratory (JPL). At JPL, Christensen began a dialogue with a group of exo-planetary scientists, engineers, and machine learning experts to develop long-lived space mission concepts that include an update of the Voyager spacecrafts’ 1977 “Golden Record,” to be embedded on a hypothetical future interstellar spacecraft. In taking on this challenge, Christensen—a female pioneer redefining the intersection of art, technology, and outer space—must envision an artwork for an evolving, autonomously upgrading spaceship headed toward a potentially habitable planet in another star system. Her years-long investigation into upgrade culture leads to design concepts that potentially transcend technological obsolescence altogether.
Upgrade Available, Dancing Foxes Press
TREE OF LIFE

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(2020-ongoing) The Tree of Life is the primary project of the Space Song Foundation. The project is a 200-year global public art piece that harnesses trees as antennae in communication with satellites in Low Earth Orbit. The trees are outfitted with sensors that collect data about light, moisture, and temperature, which is saved every minute. The data is sonified by artists and scientists for various uses.
HARD COPY

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Hard Copy is a series of photographs of media collections stored in the basements and attics of friends and neighbors. Each media collection is obsolete, and will probably never be accessed again by the owners, and yet the collections persist.
TECHNOLOGY TIME

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Technology Time is a series of photographs taken in electronic waste processing centers across India. The term “technology time” refers to the short frames of time determined by planned obsolescence and forced upgrades. These short, false time frames restrict the public imagination, and ultimately generate an unfathomable aggregate of trash.
WE SHARE OUR PICTURES

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We Share our Pictures is a series of triptychs of drawings made on a plotter. Each drawing is derived from a 35mm slide. Christensen collected slide collections of deceased people on eBay, and pulled out archetypal triptychs across collections. For each grouping, she chose two slides from the anonymous collections, and one slide from her parents’ slide collections. Although her parents’ collections are personally relevant to her, they will also be part of the plane of anonymous vernacular photography one day.
BURNOUTS

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Burnouts is a series of self-designed video projectors that use obsolete iPhones as the sole light source. The iPhones display animations of retired constellations in the night sky; these constellations have been deemed no longer relevant to the study of celestial bodies, mostly due to light pollution. The constellations are still there, but have been deemed culturally obsolete, just like the iPhones that display them.
Burnouts 2.0 is a version of the installation in which the iPhones are displayed on the wall of the gallery, without the projector units.
WAITING FOR A BREAK

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Waiting for a Break was a live, months-long documentation of the ice on Lake Erie as it formed, froze, and eventually cracked in th winter of 2018. Live cameras were installed on islands across Lake Erie, streaming live footage of the surface of the lake 24/7. Christensen installed a large video monitor on Public Square in Cleveland to display the video feeds around the clock. SPACES gallery simultaneously produced a solo show of the project, which included time-lapse videos of the ice action, photographs, and documentation from the project.
PHONEY

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Phoney was commissioned by SPACES as part of the exhibition, The First 100 Days. The project uses augmented reality to obscure headlines, creating a commentary on how the public views the news through their phones and social media.
THE CHUCK CLOSE TAPES

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The Chuck Close Tapes is a video installation comprised of videos from a wily VHS collection that allegedly once belonged to Chuck Close. Three video streams include clips from major themes across the tapes, including New York City, Audience, and Event. The installation also includes the tapes themselves, in vitrines.
THE FUTURE IS IN THE LOBBY

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The Future is in the Lobby was commissioned by the Museum of Contemporary Art Cleveland for its opening exhibition at its current Euclid Ave site, “Realization is Better than Anticipation.” The piece is made of dozens of large 3D-printed “lego”-style blocks that spell out the words “THE FUTURE IS IN THE LOBBY.” The blocks are stored in glass vitrines in the lobby of the museum, and taken out and used by the public for live events throughout the exhibtion.
SURPLUS RISING

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Surplus Rising is a series of photographs related to HGR Industrial Surplus, an industrial surplus depot in Cleveland, OH.
THE SURVIVORS

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THE FUTURES CYCLE

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UNSUNG TORSOS: AN OPERA IN 13 PARTS

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RUST BELT / BAYOU

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UNBOX

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WIKIREUSE

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BIG BOX REUSE

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What happens to the landscape, to community, and to the population when vacated big box stores are turned into community centers, churches, schools, and libraries? America is becoming a container landscape of big boxes connected by highways. When a big box store upsizes to an even bigger box “supercenter” down the road, it leaves behind more than the vacant shell of a retail operation; it leaves behind a changed landscape that can’t be changed back. Acres of land have been paved around it. Highway traffic comes to it; local roads end at it. With thousands of empty big box stores spread across America, these vistas have become a dominant feature of the American landscape. In Big Box Reuse, Julia Christensen shows us how ten communities have addressed this problem, turning vacated Wal-Marts and Kmarts into something else: a church, a library, a school, a medical center, a courthouse, a recreation center, a museum, or other more civic-minded structures. In each case, what was once a shopping destination becomes a center of community life. Christensen crisscrossed America identifying these projects, then photographed, videotaped, and interviewed the people involved. The first-person accounts and color photographs of Big Box Reuse reveal the hidden stories behind the transformation of these facades into gateways of community life. Whether a big box store becomes a “Senior Resource Center” or a museum devoted to Spam (the kind that comes in a can), each renovation displays a community’s resourcefulness and creativity–but also raises questions about how big box buildings affect the lives of communities. What does it mean for us and for the future of America if the spaces of commerce built by a few monolithic corporations become the sites where education, medicine, religion, and culture are dispensed wholesale to the populace?
Big Box Reuse on the MIT Press Book Gateway