Judy Malloy, Introduction, Facebook Panel: Social Media Narrative:Issues in Contemporary Practice, Rutgers Camden Digital Studies Center
It's name was Penelope in the exhibition NL||LE at California College of the Arts, San Francisco, CA, through May 5, 2017.
A poet who writes about the lives of artists, Judy Malloy works at the conjunction of hypernarrative, magic realism, and information art.
Reviewed in Postmodern Culture, The New York Times Book Review, the Washington Post, Modern Fiction Studies (MFS), and The London Independent, among many others, Judy Malloy's work has been exhibited/published internationally including Eastgate, The Iowa Review Web, Blue Moon Review, Sao Paulo Biennial, School of the Art Institute of Chicago, Institute for Contemporary Art New Orleans, San Antonio Art Institute, P.P.O.W., St. Martin's Press, E.P. Dutton, SITE, The Los Angeles Institute for Contemporary Art, Heller Gallery at the University of California at Berkeley, the National Library of Madrid, Istanbul Contemporary Art Museum, The Houston Center for Photography, the Cleveland Institute of Art, Heresies, Seal Press, Franklin Furnace, Visual Studies Workshop, San Francisco Art Institute, Springer-Verlag, Tanam Press, Tisch School of the Arts, MIT Press, Target Video, FLEFF, San Francisco Center for the Book, the Richmond Art Center, and the National Endowment for the Arts website.
Her papers are being archived at The Duke University Rare Book, Manuscript and Special Collections Library.
As an arts journalist and arts advocate, Malloy has worked most notably as Editor of NYFA Current (formerly Arts Wire Current) an Internet-based National journal on social, economic, philosophical, and political issues affecting the arts and culture, sponsored by The New York Foundation for the Arts.
Her work as a pioneer on the Internet and in electronic literature began after cataloguing, designing and programming information systems in the late mid and late sixties, at the time when library information systems designers were among the first to utilize computers to access information, and futurists were envisioning their use in the humanities. She began creatively using narrative information in artists books in the late seventies and early eighties and then, with a vision of nonsequential literature, wrote and programmed Uncle Roger -- one of the first (if not the first) works of hypertext literature -- on Art Com Electronic Network in the Well. (1986-1988) In the following years, she created a series of innovative literary works that run on computer platforms and were published by Eastgate and on the Internet. In 1993, she was invited to Xerox PARC where she worked in CSL (Computer Science Laboratory) as the first artist in their artist-in-residence program. Judy Malloy created one of the first arts websites, Making Art Online, (1993-1994) originally commissioned in collaboration with the ANIMA site in Vancouver (CSIR/Western Front) and currently hosted on the website of the Walker Art Center. l0ve0ne, written and coded in 1994, was the first selection in the Eastgate Web Workshop.
My grandmother Ethel Hazen Lillard, (Smith College, class of 1904; wife of W. Huston Lillard, educator, United Nations refugee worker) her mother, Harriet Hurleburt Hazen (wife of John Vose Hazen, a professor of Engineering at Dartmouth), my mother, Barbara Lillard Powers, and me.
Childhood memories of making art form the background for my hypernarrative its name is Penelope. (Eastgate, 1993)
My Father, Wilbur Langdon "Ike" Powers
My father played football and hockey for Dartmouth and was on a Boston hockey team. Before he was wounded, he landed on the beaches of Normandy in the D-Day invasion, and he fought on the European front.
Home from the War, every evening he read the Odyssey and the Iliad to my brother and me. He was a trial lawyer as well as Assistant District Attorney, Middlesex County, MA; Assistant District Attorney, Suffolk County, MA; and Chief Assistant U.S. Attorney for Massachusetts.
In the summer we -- my parents and my two brothers, one of whom is autistic --
went to Cape Cod and to New Hampshire. There I wrote and drew the trees and rocks
and water, walked in the mountains, and paddled an old green canoe in the lake.
I still have a Bible that I received as a prize for telling a Bible story at summer camp in the Berkshires. And, following this path, I am currently reading Bible stories of miracles.
Some of the happiest moments I remember are the times I spent with my best friend Christie and her family. We both were artists, and we went on painting expeditions together, painting the ocean and harbors on the Cape. Her father was an MIT physics professor of German descent, who worked on radar for the US and England during World War II.
My mother, who had been a chauffer for composer Nadia Boulanger after she graduated from Radcliffe, became a newspaper editor. She was author of an award-wining series of articles in support of a program that gave African American inner city children the opportunity to attend suburban schools. Later she was Editor of the Somerville Journal, and then Managing Editor of the Somerville Journal; the Cambridge Chronicle; and the Watertown Press.
My grandfather, educator Walter Huston Lillard. After World War II, he served with the United Nations in Vienna as Chief of the Resettlement Division of the International Refugee Organization in Austria. (the photo is from Courage on the Danube by W. Huston Lillard)
My mother's father -- W. Huston Lillard -- told us stories of Vienna, Austria where after World War II, he had served with the United Nations as Chief of the Resettlement Division of the International Refugee Organization.
As Chief of the Resettlement Division of the International Refugee Organization in Austria. He helped resettle many thousands of refugees from Poland, Hungary, Russia, Greece, Spain and many other places, including and "Volksdeutsche" Christians from Russia, Yugoslavia, Rumania, and Bulgaria who refused to accept Communism, and thousands of Jewish refugees on their way to Israel.
In the early 1930's, "Cappy", who had been an educator, the head coach of the Dartmouth Football Team, and an advocate for American football, went to Germany when one of his friends in the German academic world was imprisoned. He contacted Himmler's office and after a visit to Magdeburg with an SS driver and 'escort' was instrumental in securing his friends release.
I was on the ski team at Middlebury my freshman year, but I think this photo was taken at Cannon Mountain in the White Mountains of New Hampshire.
my passport photo
The Riviera - 1967 or 68
In the sixties I worked at the Library of Congress as an editor/searcher for the Union Catalog and later camped in Europe, worked as a maid, worked in a cafeteria, returned home where I did temp work graphing info for A.D. Little in Cambridge, MA, and then returned to Europe in the late sixties where I worked for Special Services libraries in the Nürnberg area.
1964 (at Middlebury College)
One spring I went to New York City with the Middlebury tennis team. I played at Forest Hills, and then I went into the city by myself. I remember seeing an exhibition of (I think) Leonard Baskin's work, walking up the spiral ramp of the Guggenheim, and then somehow I found a studio where two artists were playing chess and drinking whiskey from tin cups. They offered me some whiskey. I drank it, missed the station on my way back to Forest Hills, and chose the path that led to an artist's life.
It began with a dual career as artist/writer and as editor/information specialist working at jobs that included Union Catalog editor for the Library of Congress, Technical Librarian for Ball Brothers Research Corporation in Boulder, Colorado, where in 1969 I designed and worked as a programmer for an innovative computer catalog of the library's holding; cataloging for J. Walter Thompson (circa 1967 on a contract for the Goddard Space Center Library's computer catalog) and in phytopathology at the University of California, where I catalogued books and documents.
Initially, there was no relationship between these jobs and the work that I created in my studio, but gradually the idea of the structures of information systems as shaping narrative began to seep into my work.
with Jim Malloy in Nürnberg, Germany
I worked for an Army base library and lived in Dürerplatz in the old walled city of Nürnberg, near the home of the artist Albrecht Dürer. Jim Malloy and I explored the countryside in an ancient Volkswagon, went camping in the Alps and the Riviera, drank beer in outdoor cafes.
Colorado, New Mexico, California, Massachusetts -- and Back to California
In Colorado, we lived first in a former pickle factory in Boulder and then in a cabin at 7,000 feet in the mountains where we could see the snow on the Continental Divide from our windows. Under the house was a cistern where water for household tasks was stored. In the Winter, water froze on the pump at the spring where we got our drinking water. We plowed the access road ourselves with an old jeep or parked at the foot of the road and skied home up the hill. I studied creative writing at Extension, took a graduate seminar in systems analysis, typed stories on an old typewriter, made art. I also learned to program in FORTRAN, headed the team that created a computerized library database (in 1969) and did professional literature searching for NASA contractor Ball Brothers Research Corporation. At BBRC, I worked with Jose Villarreal, one of the pioneers of Chicano literature, who was BBRC's Technical Publications Supervisor.
My son Sean Langdon Malloy, (born in Albuquerque) is a professor of history at UC Merced and my Latina/Korean daughter-in-law is a professor of Latino studies at Sonoma State
In the ensuing years, in Berkeley, I developed a series of artists books that combined words and images to create nonsequential narratives. These works that merged visual art and literature were exhibited internationally. They formed the basis for the electronic literature that is now my primary work. I also created artists books as part of a series of landscape documentation projects.
In addition to being an artist, writer, and single parent, I was the Union rep for my Department and was a core negotiater in winning a departmental right to organize victory for AFSCME. I believe that Unions are important in making life better for people of all kinds and am currently a member of the National Writers Union, UAW Local 1981/AFL-CI0.
Collecting Information for OK Research
In 1986, with a vision of creating nonsequential literature that was influenced both by my work with artists books and my library information work, I began writing and programming Uncle Roger, the first online hyperfiction. Uncle Roger was published online by Art Com Electronic Network,
In the first version of Uncle Roger, I wrote narrative poetry without visual imagery because at that time, (before the World Wide Web) graphics were not widely supported on the Internet. It was a shift in primary focus that -- because I saw so clearly the potential for creating a new kind of narrative -- would continue to shape my work.
In 1989, Uncle Roger was mentioned as a new art form for the future in the centennial issue of The Wall Street Journal. (Michael Miller, "A Brave New World: Streams of 1s and 0s", June 1989) Later that year, my hyperfiction its name was Penelope was included in the exhibition Revealing Conversations at the Richmond Art Center. its name was Penelope was published by Eastgate in 1993. As an artist-in-residence at Xerox PARC in Palo Alto, I developed Brown House Kitchen, an innovative online narrative, and PARC researcher Cathy Marshall and I wrote a hyperfictional narrative about our lives.
I also continued to work on a series of information art installations and performances that examined R&D and the genetic engineering industry.
In 1993, I began working for Arts Wire, an online communications system for the arts. Eventually, I became Network Coordinator for Arts Wire, and for eight years I edited Arts Wire Current, (that became NYFA Current) an Internet-based National journal on social, economic, philosophical, and political issues affecting the arts and culture, sponsored by The New York Foundation for the Arts. I have also been an Editor for Leonardo and Leonardo Electronic News. A book I conceived and edited on Women, Art & Technology was published by MIT Press. It has been called an essential reference by many reviewers.
Collaborative works include Judy Malloy and Sonya Rapoport, Objective Connections, created for Generations: The Lineage of Influence in Bay Area Art, a celebration of the Richmond Art Center's 60th Anniversary; and Making Art Online, currently hosted on the website of the Walker Art Center, that includes Pauline Oliveros, Howard Rheingold, Kit Galloway and Sherrie Rabinowitz, Anna Couey, Michael Joyce, Randy Ross, Lucia Grossberger Morales, Sonya Rapoport, Tim Perkis, Jeff Mann, Fred Truck, John Quarterman, Pavel Curtis, Richard Lowenberg, and Carolyn Guyer, among many others.
During this period of my life, I was run down twice.
In Berkeley, a station wagon ran into me while I was on a moped and stopped at a stop sign. The bike was crushed. I was thrown to the street and bounced on my head. I saw the wheels of a car about to run me over. I thought I was dead. The people who saw the accident were amazed when I stood up; they also had thought I was dead.
Then, on July 9, 1994, while I was working for Arts Wire and as a consultant/artist in residence for Xerox PARC on electronic literature and the document of the future, I was run down in Arizona.
My leg was mashed. I had a severed artery, open fractures. (My leg was broken in 13 places.) In the ambulance, they told me they would have to take it off, but in the prison hospital where I was taken, they put it back together with extensive rods, pins, skin and muscle grafts and an arterial bypass.
The hardware began to break the following year. First it was a pin that had to be replaced. And then another pin broke, and the rod slipped painfully into my ankle and had to be replaced.
In January, 2000, I fell on a hill near where I live. The bottom of my femur sheared off and fell into my knee cap. It was dark. For quite a while no one came when I called, and I had to drag myself up the hill with a broken leg.
And so, for many years I have walked on crutches.
More About My Family
Early Days in Hanover - http://www.well.com/user/jmalloy/hanover.html
Judy Malloy: Photographs -- http://www.well.com/user/jmalloy/judymalloy.html
Judy Malloy: Family Photographs: Walter and Ethel Lillard, Barbara Lillard, Wilbur Langdon Powers, Walter and Ethel Powers-- http://www.well.com/user/jmalloy/sanctuary/family.html
Judy Malloy: More Photographs -- http://www.well.com/user/jmalloy/morephotos.html
Barbara Lillard Powers and W. Langdon Powers -- http://www.well.com/user/jmalloy/sanctuary/familyheroes.html
My paternal grandfather, distinguished Boston lawyer Walter Powers, was related to the abolitionist sculptor Hiram Powers, whose powerful depiction of a Greek slave in the chains worn by African American slaves was an influential anti-slavery work. Both Hiram Powers and Walter Powers were descendants of Walter Power who came to America in 1654 as one of the Irish young people stolen from their families by Cromwell, sent to America on the British slave ship The Goodfellow and sold against their will as indentured servants.
Other early Irish Americans in my own branch of the family include the Annis family, who were among the ancestors of my paternal grandmother, Ethel Carver Powers.
My maternal grandfather was W. Huston Lillard, Dartmouth football coach, headmaster of Tabor Academy, post-WWII head of the Resettlement Division of the International Refugee Organization in Vienna. One of my Lillard ancestors, the Scottish woman warrior Maid Lilliard, was central in the defeat of the English at the Battle of Ancrum Muir in 1545.
My son, history professor Sean L. Malloy, is the author of Atomic Tragedy: Henry L. Stimson and the Decision to Use the Bomb Against Japan.
Judy Malloy - home page