Julianne Swartz

American, b. 1967

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Julianne Swartz

American, b. 1967

212
Followers
Biography

Jerry Saltz once described Julianne Swartz as “the anti-Serra,” articulating the “ebb and flow of life” through her ephemeral installations. Light is Swartz’s material of choice because, despite being easily taken for granted, “when contemplated, it becomes a sense-provoking opportunity for thought,” she explains. She often relies on technology, both existing and self-made; many of her works comprise “participatory scopes” that alter viewers’ perceptions by reflecting and refracting the surrounding space; other series of photographs address light, reflection, and ephemerality. Swartz also works with sound, which, like light, “instills presence without physicality,” she says. Her installation on the High Line Park in New York, Digital Empathy (2011-12), filled visitor’s longings for interpersonal connections and the semblance of friendship. At elevators, drinking fountains, and restrooms throughout the park, computer-generated voices recited poetry, sang love songs, and reminded visitors not to lick the fountains.

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Career Highlights
Learn more about artist insights.
Top emerging
Emerging representation
Represented by up-and-coming galleries.
User
Solo show at a major institution
The Jewish Museum, and 1 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 3 more
Institution
Collected by a major institution
Indianapolis Museum of Art at Newfields
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Liverpool Biennial
Biography

Jerry Saltz once described Julianne Swartz as “the anti-Serra,” articulating the “ebb and flow of life” through her ephemeral installations. Light is Swartz’s material of choice because, despite being easily taken for granted, “when contemplated, it becomes a sense-provoking opportunity for thought,” she explains. She often relies on technology, both existing and self-made; many of her works comprise “participatory scopes” that alter viewers’ perceptions by reflecting and refracting the surrounding space; other series of photographs address light, reflection, and ephemerality. Swartz also works with sound, which, like light, “instills presence without physicality,” she says. Her installation on the High Line Park in New York, Digital Empathy (2011-12), filled visitor’s longings for interpersonal connections and the semblance of friendship. At elevators, drinking fountains, and restrooms throughout the park, computer-generated voices recited poetry, sang love songs, and reminded visitors not to lick the fountains.

Career Highlights
Learn more about artist insights.
Top emerging
Emerging representation
Represented by up-and-coming galleries.
User
Solo show at a major institution
The Jewish Museum, and 1 more
Group
Group show at a major institution
The Museum of Modern Art (MoMA), and 3 more
Institution
Collected by a major institution
Indianapolis Museum of Art at Newfields
Publication
Reviewed by a major art publication
Artforum, and 3 more
Fair
Included in a major biennial
Liverpool Biennial
Shows Featuring Julianne Swartz