1. Lynn Hershman Leeson, Roberta Breitmore Series, Faces in a Crowd: Split Image of Lynn Hershman and Kristine Stiles, 1978, gelatin silver print, Courtesy of bitforms gallery and Gallery paule Anglim
Roberta Breitmore was a near decade long portrait of a virtual person who existed in real time and real space as her fiction intercepted real life. A large number of objects, audiotapes, letters and photographs document evidence that track her existence.
2. Lynn Hershman Leeson, Roberta Breitmore Series, Roberta Construction Chart #1, 1975, dye transfer print, Courtesy of bitforms gallery and Gallery paule Anglim
3. Lynn Hershman Leeson, Roberta Breitmore Series, Roberta Multiples Gather at De Young Exhibition in Front of Construction Chart, 1978, chromogenic print, Courtesy of bitforms gallery and Gallery paule Anglim
4. Installation views on the Roberta Breitmore Series from Lynn Hershman’s retrospective exhibition, Autonomous Agents, at the Whitworth Art Gallery, University of Manchester, UK, 15th Sep – 12th Dec 2007, Photo courtesy the Whitworth Art Gallery, Manchester, Courtesy of bitforms gallery and Gallery paule Anglim
5. Lynn Hershman Leeson, installation view of Lorna, 1983–1984,interactive computer based installation with video, screen, remote, furniture, DVD, Courtesy of bitforms gallery and Gallery paule Anglim
Views sit in LORNA's environment and remotely control elements of her life as they relive her experience.
6. Lynn Hershman Leeson, Reach, 1988, from the Phantom Limb series, gelatin silver print, edition of 8 (61 x 51 cm or 102 x 76 cm), Courtesy of bitforms gallery and Gallery paule Anglim
This series anthropomorphizes capture systems and shows their ingested effect on the object of the image.
7. Lynn Hershman Leeson, Room of One's Own, 1990–1993, installation with computer, laser disc, miniature bedroom model, Courtesy of bitforms gallery and Gallery paule Anglim
8. Lynn Hershman Leeson, America's Finest, 1993–1996, interactive installation with M16 rifle, The viewer becomes the victim of aggression as their image is captured in a cycling series of the history of warfare, Courtesy of bitforms gallery and Gallery paule Anglim
9. Lynn Hershman Leeson, CybeRoberta, 1995–1998 from the Dollie Clones series, installation with doll, miniature replica clothing and accessories, video camera, web cam, internet connection, custom software, Courtesy of bitforms gallery and Gallery paule Anglim
A network telerobotic presence that is robotically controlled by users on the internet. This stealth surveillance system captures and transmits images of viewer/users, and is based on the 1974 performance of Roberta Breitmore.
10. Lynn Hershman Leeson, Conceiving Ada, 1997, feature-length film, written and directed by Lynn Hershman Leeson, 35 mm film, 82 minutes, Courtesy of bitforms gallery and Gallery paule Anglim
The first use of virtual sets in a feature film tells the story of the medieval mathematician Ada Lovelace.
11. Lynn Hershman Leeson, Synthia, 2000–2002, custom software, microprocessor, Courtesy of bitforms gallery and Gallery paule Anglim
Synthia is an artwork that communicates in real time the changing patterns of the stock market, bringing live on-line Internet information into the real space of a replica based on Edison’s first stock ticker. Synthia reacts in real time to changing stock data. Her behavior reflects changes in the market.
12. Lynn Hershman Leeson, Teknolust, 2002, feature-length film, written and directed by Lynn Hershman Leeson, 85 minutes, Courtesy of bitforms gallery and Gallery paule Anglim
The first high definition feature film with graphics.
13. Lynn Hershman Leeson, DiNA, 2004–2005, a networked Artificial Intelligence system with voice recognition, lusing 3d Veepers software, Alicebot and original software (programed by Colin Klingman), Courtesy of bitforms gallery and Gallery paule Anglim
Dina responds to viewers conversation and recognizes them over time as she builds her own memory of their experiences.
