Perry Hoberman
Curriculum Vitae

Perry Hoberman

1978 Whitney Museum Independent Study Program, New York
1974-77 Bennington College, Vermont (BA 1977)
1972-73 Pennsylvania Academy of Art, Philadelphia

Selected Grants & Awards
2006 World Technology Award in the Arts, World Technology Summit, San Francisco
2002 Guggenheim Foundation Fellowship
2002 Rockefeller Foundation Media Art Fellowship
2000-01 Bradford Fellowship, National Museum of Film Photography & Television, Bradford, UK
Grand Prize, ICC Biennale ’99, Tokyo
1999 Award of Distinction in Interactive Art, Prix Ars Electronica 99, Linz, Austria
1998 First Place, art's_edge Multimedia Competition, Western Australian Academy of Performing Arts
1997 Design Distinction, I.D. Interactive Media Design Review, New York
1997, 1989, 1985
New York Foundation for the Arts
1995 Archetype Award for Overall Excellence, Interactive Media Festival, Los Angeles
1984 National Endowment for the Arts

Selected Appointments
2006-2011 Associate Research Professor, Interactive Media Division, USC School of Cinematic Arts
2005-2006 Visiting Research Professor, Interactive Media Division, USC School of Cinematic Arts
2003-2005 Visiting Professor, Interactive Media Division, USC School of Cinema-Television
1999-2003 Adjunct Faculty, MFA Photography, School of Visual Arts, New York
1996-2003 Adjunct Faculty, MFA Computer Arts, School of Visual Arts, New York
1992-1994 Adjunct Faculty, Cooper Union, New York
1991 Visiting Faculty, San Francisco Art Institute

Selected Solo Exhibitions
2006 "Trusted Makes", Fringe Exhibitions, Los Angeles
2005 “Drawings 1974-2005”, artMoving Projects, Brooklyn
2003 “Accept”, Postmasters Gallery, New York
2002 “Cathartic User Interfaces”, Wood Street Galleries, Pittsburgh, PA
2001 “Symptomatic”, National Museum of Film, Photography and Television, Bradford, UK
2000 “Cathartic User Interface”, “Timetable”, Postmasters Gallery, New York
1999 “Faraday’s Garden”, HTBA Time Base, Kingston-Upon-Hull, England
“Systems Maintenance” and “Faraday's Garden”, Cornerhouse Gallery, Manchester, England
1998 “Unexpected Obstacles”, Mediamuseum, ZKM, Karlsruhe, Germany
1998 “Lightpools or El Bal del Fanalet”, Fundació Joan Miro, Barcelona, Spain (with Galeria Virtual)
1998 “Systems Maintenance” and “Faraday's Garden”, Ferens Gallery, Kingston-Upon-Hull, England
“Unexpected Obstacles”, Otso Gallery, Espoo, Finland
1997 “Sorry We're Open”, Postmasters Gallery, New York
1995 “Faraday's Islands”, Boston University, Massachusetts
1994 “Bar Code Hotel”, Walter Phillips Gallery, Banff Centre for the Arts, Alberta, Canada
1992 “Zombies, Has-Beens & Excess Baggage”, Postmasters Gallery, New York
“Faraday's Garden”, Museum of Contemporary Art, Dayton, Ohio
1990 “Faraday's Garden”, Postmasters Gallery, New York
1988 “Corporate Entities”, Postmasters Gallery, New York
1986 “Lightleakers”, Postmasters Gallery, New York
1985 “Dead Space/Living Rooms”, Capp Street Project, San Francisco
1985 “Works in 3D (Stereoshadows)”, Postmasters Gallery, New York
1984 “Inside Out”, Galerie Pon, Zurich, Switzerland
1983 “Out of the Picture”, Hallwalls, Buffalo, New York
1983 “Out of the Picture”, Wake Forest University Fine Arts Gallery, North Carolina

Selected Group Exhibitions
2011 “Looking at Music, Part 3”, Museum of Modern Art, New York
2010 Maker Faire, San Mateo, CA
2009 Maker Faire, San Mateo, CA
2008 “LA Freewaves: Hollywould”, Los Angeles
“Discover 3D”, Black Maria Gallery, Atwater Village, CA
“Chapman Windows Exhibition”, Division of Animation and Digital Arts, USC
MakerFaire, San Mateo, CA (awarded Editor’s Choice Blue Ribbon)
2007 “Projections”, Lindhurst Gallery, USC Roski School of the Arts, Los Angeles
“Transporter”, artMoving Projects, Brooklyn, NY
“Digital Political Time Lapse”, Long Island University, Brooklyn Campus
“Before and After”, collaborative project with Kristin Lucas, Postmasters Gallery, New York
“The Imaginary Twentieth Century”, collaboration with Norman Klein, Orange Lounge, CA
2006 Seminar in Experimental Critical Theory (SECT) Exhibition, Beall Gallery, UC Irvine
Inaugural Exhibition, Inter Media Art Institute, NRW Forum, Dusseldorf
2005 “Art Gallery: Threading Time”, Siggraph 2005, Los Angeles

2004 “Emerging Technologies”, Siggraph, Los Angeles
“Open House”, Brooklyn Museum
“INDEX@Post”, Post Gallery, Los Angeles
2003 “Vinyl Video”, FACT Centre, Liverpool, England
“New York Digital Salon”, New York
“Future Cinema,” ZKM Karlsruhe, Germany
“Bits & Pieces”, Joseloff Gallery, Hartford, Connecticut
“Game Show”, MASS MoCA, North Adams, Massachusetts
“Brooklyn!”, Palm Beach Institute of Contemporary Art, Palm Beach, Florida
2001 “Popular Mechanics”, Smack Mellon Studios, Brooklyn, New York
2000 “Vision Ruhr”, Dortmund, Germany
“Alien Intelligence”, Kiasma, Helsinki, Finland
“Mostra d'Arts Electroniques”, Centre d’Art Santa Monica, Barcelona
“Microwave Festival 2000”, Hong Kong
“WRO 2000”, Wroclaw, Poland
“Machine Time”, DEAF 2000, Rotterdam
“VIPER 2000”, Basel
“WRO2000 Exhibition”, Wroclaw, Poland
1999 “Cyber”, Lisbon, Portugal
“Techne”, Spazio Oberdan, AIACE, Milan, Italy
“Interaction”, ICC Bienale 99, NTT InterCommunication Center, Tokyo, Japan
“Cyberarts 99”, Ars Electronica, Linz, Austria
“Beyond Technology”, Brooklyn Museum of Art, New York
European Media Art Festival, Osnabruck, Germany
“Perspective”, C3, Muscarnok, Budapest
1998 “The Art of the Accident”, DEAF98, Rotterdam
“Interpreting”, Rotunda Gallery, Brooklyn
“The Hole”, Postmasters Gallery, New York
1996 “Electra”, Henie-Onstad Art Centre, Oslo, Norway
“Le laboratoire”, Artifices 4, Saint-Denis, France
“Password: Ferdydurke”, Postmasters Gallery, New York
“Constriction”, Pierogi 2000, Brooklyn
“Can You Digit”, Postmasters Gallery, New York
“The Crest Hardware Show”, Brooklyn, New York
“Neo-Kinetics: Postmodern Techne”, Eighth Floor Gallery, New York
1995 DEAF 95 (Dutch Electronic Art Festival), Rotterdam
“Tech Bash”, Blasthaus Gallery, San Francisco (with Nick Philip)
“Arc Gallery”, International Media Festival, Los Angeles
Deutsche Telekom AG, CeBIT '95, Hannover, Germany
1994 “Cyber Art”, Ars Electronica, Linz, Austria
“Simply Made in America”, Contemporary Art Center, Cincinatti, OH
“Sound and Motion”, Wake Forest University Fine Arts Gallery, North Carolina
“Resurrections: Objects with New Souls”, William Benton Museum, Hartford, Connecticut
“Benefit Exhibition”, Capp Street Project, San Francisco
1993 “Machine Culture”, Siggraph '93, Anaheim, California
“Simply Made in America”, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
“Images du Futur 93”, Montreal, Quebec, Canada
“Perspectives, Proximities, Perceptions”, Montage 93, Rochester, New York
1992 “In Praise of Folly”, Kohler Art Center, Sheboygan, Wisconsin
“Technorama”, Barbara Toll Gallery, New York
“Art Show”, Siggraph '92, Chicago, Illinois
1991 The Living Room, San Francisco, California
“Tweeking the Human”, Brand Name Damages, Brooklyn, New York
“Waterfront Show”, Minor Injury, Brooklyn, New York
Postmasters Gallery, New York
1990 Postmasters Gallery, New York
“Springworks”, New York Hall of Science
“Signals”, Queensborough Community College, Queens, New York
1989 Postmasters Gallery, New York
1988 “Poetic Justice”, Ward-Nasse Gallery, New York
1987 “Art on the Beach”, Creative Time, Long Island City, New York
“Art in the Dark”, City Without Walls, Newark, New Jersey
1986 “The Fairy Tale”, Artists Space, New York
“CinemaObject”, The Kitchen at City Gallery, New York
“Mythologies”, Diane Brown Gallery, New York
“Brave New World/New Generation,” Denmark & Sweden
“Paintings/Objects”, Postmasters Gallery, New York
“TV Generations”, Los Angeles Contemporary Exhibitions, Los Angeles, California
Film in the Cities, Minneapolis, Minnesota
1985 “Between Science & Fiction”, Sao Paulo Bienial, Brazil
“Modern Machines”, Whitney Museum at Philip Morris, New York
“Biennial Exhibition”, Whitney Museum, New York
“Future Histories: the Impact of Changing Technology”, Anderson Gallery, Richmond, Virginia
303 Gallery, New York
1984 “Found Language”, Franklin Furnace, New York
“Science and Prophecy”, White Columns, New York
1983 “Dark Rooms”, Artists Space, New York
1982 “Constructed Color”, Hayden Gallery, MIT, Boston, Massachusetts

Selected Performances & Spectacles
2011 “Music After”, performance with Julia Heyward, Joyce Soho, New York
“An Evening of Live Cinema”, performance with Julia Heyward, Velaslavasay Panorama, Los Angeles
“Denial Clinic”, Interactive Futures ’09, Vancouver
“Denial Clinic”, Velaslavasay Panorama, Los Angeles
“Attention Depiction Disorders”, collaboration with Naut Humon, Art Technology and Culture Colloquium, Berkeley Center for New Media
“Murder by Remote”, Manual Archives, Los Angeles
“Cyberlilly 7”, collaboration with Brenda Varda, State of the Arts Conference, University of California Insitute for Research In the Arts, Riverside, CA
2007 “Outside In: The Flux Backyard BBQ”, Los Angeles
2006 “Remix Culture”, live digital remix of Laurie Anderson presentation, USC
2003 “Let’s Make a Monster!”: Future Cinema, ZKM Karlsruhe, Germany
“Let’s Make a Monster!”: Future Cinema, Kiasma, Helsinki, Finland
2002 “Let’s Make a Monster!”: Transcinema 02, San Francisco; Wood Street Gallery, Pittsburgh
“Let’s Make a Monster!”: Victoria International Film & Video Festival, Victoria, BC
“Let’s Make a Monster!”: Western Front, Vancouver, BC
2001 “Let’s Make a Monster!”: National Museum of Photography, Film & Television, Bradford, UK
“Let’s Make a Monster!”: Science + Fiction, Budapest; Center for Contemporary Art, Prague
“Let’s Make a Monster!”: Salon de Crunky, Brooklyn
1999 “Thick Shake”, Recombinant 9.9.99, Ars Electronica, Linz, Austria
1998 “Remote”, Mediamuseum, ZKM, Karlsruhe, Germany
1997 “Empty Orchestra Cafe”, Brooklyn Museum of Art
1996/97 “Film & Slide Club” (monthly event), Four Walls, Brooklyn, New York
1995 “Symphonic Appliance System”, Sound Traffic Control, Exploratorium, San Francisco
1994 “Symphonic Appliance System”, Sound Traffic Control, “Throne of Drones”, San Francisco
1993 “Neo-Karaoke Workshop”, Art & Technology Exposition, Montage 93, Rochester, New York
“Empty Orchestra Cafe”: Fez Under Time Cafe, New York (monthly event)
“Empty Orchestra Cafe”: Long Beach Museum of Art, California
“Empty Orchestra Cafe”: Mill Valley Film Festival, California
“Empty Orchestra Cafe”: Whitney Museum, New York
1992 “Election Night”, Four Walls, Brooklyn, New York
“Khristmas Karaoke”, Four Walls, Brooklyn, New York
“Revenge of Debris”, Interferences VII, Museum Moderner Kunst, Vienna, Austria
“Runway”, Whitney Museum at Phillip Morris, New York
“Empty Orchestra Cafe”, Four Walls, Brooklyn, New York
“Empty Orchestra Cafe”, WFMU Benefit, Germans Van Eck Gallery, New York
1991 “Interstate”, Art Futura 91, Barcelona, Spain
“Empty Orchestra Cafe”, SFAI Cafe, San Francisco, California (with SFAI class)
1990 “No Salesman Will Call”: Les Musiques 90, Marseilles, France (with Christian Marclay)
“No Salesman Will Call”: Musique Action 90, Nancy, France (with Christian Marclay)
1989 “No Salesman Will Call”: Steirischer Herbst Festival, Graz, Austria (with C. Marclay)
“No Salesman Will Call”: The Kitchen, New York (with Christian Marclay)
1988 “Revenge of Debris”, Collective for Living Cinema, New York
1987 “Inferno”, Art on the Beach, Creative Time, New York
Collective for Living Cinema, New York
“Return to Sender”: New Performance Gallery, San Francisco, CA (with Bill Obrecht)
“Return to Sender”: On The Boards, Seattle, Washington (with Bill Obrecht)
1986 Image and Sound Festival, Den Haag, Holland
Endgame Performance Series, Institute of Contemporary Art, Boston, Massachusetts
Film in the Cities, Minneapolis, Minnesota
“Seven Wonderful Children”, “Modern Longings”, The Kitchen, New York (with Haim Steinbach)
1985 “Return to Sender”, La Mama ETC, New York (with Bill Obrecht)
“Smaller than Life”, New Langton Arts, San Francisco
Long Beach Museum of Art, California
“Dead Space/Living Rooms”, Whitney Museum at Philip Morris, New York
“Works in 3D”, Squat Theatre, New York
Millenium, New York
1984 Galerie Pon, Zurich, Switzerland
“Two Works in 3D”, Marquette University, Milwaukee, Wisconsin
1983 “Smaller Than Life”, The Kitchen, New York
“Out of the Picture”, Institute of Contemporary Art, London, England

Selected Talks, Lectures, Panels
2011 Artists Talk, Levis Film Workshop at MOCA, Los Angeles
2010 Keynote presentation, SportsTechLA, Sports Video Group, Los Angeles
Moderator, “Hubble 3D”, Content Theatre, NAB Show, Los Angeles
Interview, “Hello Hollywood”, co-production The Hollywood Reporter
“Brain Storms: Guest Speakers in Dialogue”, joint presentation with Julia Heyward, Institute for Multimedia Literacy, USC
Interview, Neda Ulaby, Arts Desk, NPR
2008 Curator, “Press Start”, 2008 MFA Thesis Exhibition, USC Interactive Media Division
“Technologies of Perception”, seminar, USC Interactive Media Division
Moderator, “The Art of 3D Filmmaking”, NAB Show, Las Vegas
“TechnoTravels/TeleMobility”, bus tour and project demos, Second Annual HASTAC Conference
Workshop, “Techniques & Tips of the Trade”, 3D Biz Expo, Los Angeles
“Tinkering as a Mode of Knowlege Production”, Carnegie Foundation, Stanford University
2007 Garfield Lecture Series, Lindhurst Gallery, USC Roski School of the Arts, Los Angeles
“Critical Parallax: the binocularity of theory and pracice”, joint presentation with Anne Friedberg, 2007 Collooquia in Conceptual Studies, Film Department, University of Wisconsin Milwaukee
Visiting Artist, Studio Arts Program, UC Davis
Curator, “Are You Here”, 2007 MFA Thesis Exhibition, USC Interactive Media Division
“Visual Effects and Stereoscopic Perception”, seminar, Division of Animation and Digital Arts, USC
Moderator, Interactive Design Panel, The Creators Series, Tomorrow Unlimited, Los Angeles
Visiting Artist, Pratt Institute, Brooklyn
Visiting Artist, Bennington College, Vermont
Visiting Artist, Maryland College of Art and Design
2006 Lunchtime Discussion Group, Stereoscopic Displays and Applications XVII, San Diego
Big Picture Summitt III, National Geographic Society, Washington DC
Demo, “SnapShotMapPlot”, Advances in Comptuer Entertainment Technology (ACE), Los Angeles
Co-chair and Curator, Art Exhibition, IEEE International Workshop on Projector-Camera Systems (PROCAMS 2006), NYU ITP, New York
“Artificial Reality”, symposium, Anderson Ranch, Aspen (dialogue with Cory Archangel)
2005 Capstone Speaker, PROCAMS 2005 Workshop,,“Seeing through your eyes, projecting through mine”,
IEEE Conference on Computer Vision and Pattern Recognition, San Diego, CA
“Digitial Activism”, panel, Siggraph 2005, Los Angeles
Visiting Speaker, Art Center College of Design
Big Picture Summit II, Los Angeles
Radio interview, “What the Tech”, Rochester Institute of Technology, WXXI AM 1370
2004 “Mixing It Up”, Harvestworks, New York
“Positions and Perspectives”, Austrian Cultural Center, New York
2003 Moderna Museet, Stockholm, Sweden
Royal University College of Fine Arts, Stockholm, Sweden
Maryland Institute College of Art, Baltimore, Maryland
ARCO, Madrid, Spain
2002 Transcinema 02 Symposium, San Francisco
"mediations: archaeologies and tranformations in the electronic sphere", Austrian Cultural Forum
Intimate Technologies Conference, The Banff Centre, Canada
“Symptoms & Circuits: Recent Work”, Expanded Design Lecture Series, UCLA
UC Santa Barbara, California
2001 “Interventions”, National Museum of Photography, Film & Television, Bradford, UK
Princeton Institute for Advanced Study, Princeton, New Jersey
Philadelphia University of the Arts, Pennsylvania
“States of Confusion”, paper, College Art Association, New York
WRO2000, talk, Wroclaw, Poland
Pong Festival, talk, Brown University, Providence
Yale University, talk, New Haven
Bennington College, Vermont
SUNY Purchase, New York
“Dialectics of Interactivity: Art and the Public”, symposium, Drexel University, Philadelphia
2000 Pratt University, Brooklyn, NY
1999 Skidmore University, Saratoga Springs, NY
Pong Festival, Brown University, Providence
1998 “An Interactive Artwork is like a Used Car”, paper, MASS 98, Stockholm, Sweden
“Don't Watch It...Step On It!”, paper, In (Between) the Images, Graz, Austria
“Mistakes and Misbehavior...”, paper, DEAF98: The Art of the Accident, Rotterdam
“Speaking Digital”, symposium, Guggenheim Museum Soho, New York
1997 Kodak Lectures, Toronto, Canada
1996 “Storytelling After Cinema”, panel, ACM Multimedia Conference, Boston
1997 “Being Human” Symposium, panel, Apres-Coup, New York
1996 International Symposium on Electronic Art (ISEA 96), panel, Rotterdam
“Memesis Symposium” and “Prix Ars Electronica Artists' Forum”, Ars Electronica 96, Linz
“Webbed Spaces”, panel, Siggraph 96, New Orleans
“Mistakes and Misbehavior ...”, paper, 5th International Conference on Cyberspace, Madrid, Spain
Governor's Conference on the Arts, panel, Los Angeles, California
“Personal Digital Public”, panel, Postmasters Gallery, New York
Savannah College of Art and Design, talk, Georgia
The Exploratorium, lecture, San Francisco
“The Work of Art in the Age of Digital Reproduction”, panel, Small Press Distribution, Berkeley
1995 “Histories of Science, Histories of Art”, discussion, Boston University/Harvard University
Siggraph 95, panel, Los Angeles
Stanford University Arts and Technology Initiative, talk, Palo Alto, California
Princeton University, talk, New Jersey
Stereoscopic Displays and Applications Conference, paper, IS&T/SPIE, San Jose, California
1994 Harvestworks/Studio PASS, talk, New York
Video Viewpoints, talk, Museum of Modern Art, New York
Hochschule für angewandte Kunst, talk, Vienna, Austria
Art and Virtual Environments Symposium, panel, Banff, Alberta, Canada
Interational Center of Photography, panel, New York
Stereoscopic Displays and Applications Conference, paper, IS&T/SPIE, San Jose, California
1993 MFA Computer Art Seminar, School of Visual Arts, New York
1991 California Institute of the Arts, Valencia
1990 Bard College, New York

Selected Collections
Media Museum, Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany
Collection of the Museums of the City of Dortmund, Germany
Museum of Modern Art, New York

Selected Publications

Hoberman, P. and Hoffman, D. (2007). “Malperception”, VECTORS: A Journal of Culture and Technology in a Dynamic Vernacular, Volume 2, Issue 2, HYPERLINK ""
Hoberman, P. (2006). “Double iSight: Easy 3D Filmmaking”, RES Magazine, Volume 9, Number 1, pp 70-71.
Hoberman, P. (1995). “Bar Code Hotel: Diverse interactions of semi-autonomous entities under the partial control of multiple operators”. Stereoscopic Displays and Virtual Reality Systems II, Proceedings from IS&T/SPIE 1995 Symposium on Electronic Imaging. Vol. 2409
Hoberman, P. (1994). “Depth painting: the interactive transformation of existing images into stereoscopic 3D”. Stereoscopic Displays and Virtual Reality Systems, Proceedings from IS&T/SPIE 1994 Symposium on Electronic Imaging. Vol. 2177
Hoberman, P. (1996). “Free Choice or Control”. Prix Ars Electronica 96, Leopoldseder, H. and Schöpf, C., editors. Springer, Vienna/New York, pp 53-57. ISBN 321182863X
Hoberman, P. (1996). “The Sub-Division of the Electric Light”, Artintact 3 CD-ROM Magazine; Zentrum für Kunst und Medientechnologie Karlsruhe, Cantz-Verlag, ISBN: 38-9322-861-6
Barbara London, “Cover Versions”, Artforum, March 2009
Kim Bell, “Perry Hoberman and Curtis Stage at Fringe Exhibitions”, review, Artweek, Feburary 2007
Jerry Saltz, “Rays of Light”, Village Voice, January 22, 2003

Jeffrey Shaw and Peter Weibel, Future Cinema: The Cinematic Imaginary after Film, ZKM & MIT Press, 2003
Christiane Paul, Digital Art, Thames and Hudson, 2003
Stephen Wilson, Information Arts: Intersections of Art, Science and Technology, MIT Press, 2002
Robert Clark, “Perry Hoberman, National Museum of Photography, Bradford”, The Guardian, September 24, 2001
Patrick Henry, editor, Symptomatic: Recent Works by Perry Hoberman, paperback, 72 pages, September 2001, National Museum of Photography, Film and Television, Bradford, UK, ISBN 0948489219
Laura Steward Heon, Game Show: An Exhibition Spring 2001-Spring 2002 MASS MoCA; paperback, 135 pages; July 2001; Te Neues Publishing Company, New York; ISBN: 09-7007-382-8
Holland Cotter, “Art in Review: Popular Mechanics”, New York Times, June 29, 2001
Joke Brouwer and V2_Organisation, editors, Machine Times; paperback 192 pp, November 2000; NAI Publishers and V2_Organisation, Rotterdam; ISBN: 90-5662-189-0
Peter Lunenfeld, Snap to Grid: A User's Guide to Digital Arts, Media, and Cultures; hardcover, 240 pages; April 2000; MIT Press, Cambridge, MA; ISBN: 02-6212-226-X
Samuel Len, “Art or Advertising? Either Way, Seoul Is Mesmerized”, New York Times, September 14, 2000
Christian Viveros-Fauné, "Computer World", review, The New York Press, Feb 2-8, 2000
Kim Levin, “Perry Hoberman”, Voice Choices, The Village Voice, February 1, 2000
“Perry Hoberman”, The New Yorker, February 14, 2000
Lisa Haskel, “The Accidental Tourist”, Mute, Issue 13, London, 1999
Ken Johnson, “Art in Review: Beyond Technology”, New York Times, September 3, 1999
Anne Morgan Spalter, The Computer in the Visual Arts, Addison-Wesley, Reading, Mass, 1999
“Crash landing: 54 unscheduled arrivals”, Metropolis (page 62), volume 18 number 5, January 1999, New York
Erkki Huhtamo, "Beams of Light in a Virtual Void", article, Artbyte; Vol. 1 No. 1, April-May 1998, New York
Caroline A. Jones and Peter Galison, editors, Picturing Science, Producing Art; paperback, 518 pages, 1998, Routledge, ISBN 0-415-91912-6
Joke Brouwer and V2_Organisation, editors, Art of the Accident; paperback, 256 pages; November 1998; NAI Publishers and V2_Organisation, Rotterdam; ISBN 90-5662-090-8
“Un instalación propone en la Fundación Miró un baile virtual interactivo”, El País, November 6, 1998, Madrid
Myriam Boutoulle, “Art et nouvelles technologies: repères”, Beaux Arts Magazine, Paris, 1998
Paivi Talasmaa, editor, Unexpected Obstacles: The Work of Perry Hoberman 1982-1997; paperback,1997; Galleria OTSO, Espoo, Finland, ISBN 951-857-336-0
Jule Caniglia, “Perry Hoberman”, review, Artforum, September 1997
Tim Davis, “Your Work Space”, review, Resident, Vol. 5 No. 8, New York, May 6-12, 1997
“Playing in the Neighborhood: Crown Heights; Is This Karaoke? Is Godzilla Art?”, New York Times, October 5, 1997
K.D. Davis, “Battery Included”, article, World Art, No. 13, 1997
Munro Galloway, “Perry Hoberman's Sorry We're Open”, review, Rhizome Digest, online mail list, June 20, 1997, New York,
Perry Hoberman, “Sorry We're Open 12 Month Calendar”, Postmasters Gallery, 1997
“Interactive Media Design Review”, I.D., Vol. 44, No. 4, New York, June 1997
Robbin Murphy, “Coping with Technofatigue”, Intelligent Agent, Fall 1997
Stephen Pusey, “Perry Hoberman”, review, Review, Vol. 2, No. 16, New York, May 15, 1997
J. Schulz, “Password: Ferdydurke”, review, World Art, 1/1997
Artintact 3, CD-ROM Magazine; 1996; Zentrum für Kunst und Medientechnologie Karlsruhe, Cantz-Verlag, ISBN: 38-9322-861-6
Margot Lovejoy, Postmodern Currents: Art and Artists in the Age of Electronic Media; paperback, 319 pages; November 1996; Prentice Hall, NJ; ISBN: 01-3158-759-5
Jon Dovey, editor, Fractal Dreams : New Media in Social Context; paperback, April 1996; Lawrence & Wishart, London; ISBN: 08-5315-800-2
Mary Anne Moser and Douglas MacLeod, editors, Immersed in Technology: Art and Virtual Environments; hardcover, 368 pages; January 1996; MIT Press, Cambridge, MA; ISBN: 02-6213-314-8
Cecelia Andersson, “Elektronisk konst gör åskådaren medskapande, Svenska Dagbladet, March 23, 1996
Cecelia Andersson, “Nu sitter vi inne i datorenrna och tittar ut”, Svenska Dagbladet, June 29, 1996
Helen Cadwallader, “5th International Conference on Cyberspace”, Mute, London, Issue 6, Autumn 1996
Mark F Cohen, “Tools of the Trade: Art Sneaks Up on a Handyman's Haunt”, New York Times, May 26, 1996
Joel Christian Enos, “Blasthaus: The Real Deal”, MacHome Journal, Illinois, January, 1996
Cynthia Goodman, editor, infoArt, CD-ROM, Rutt Video Interactive, New York, 1996
Beryl Graham, “Playing With Yourself: Pleasure and Interactive Art”, in Fractal Dreams: New Media in Social Context, edited by Jon Dovey, Lawrence & Wishart, London, 1996
Perry Hoberman, “Cathartic User Interface”, Electronic Culture, edited by Tim Druckrey, Aperture, NY, 1996
Perry Hoberman & Victoria Vesna, “Webbed Spaces”, Siggraph 96 Proceedings, New Orleans, 1996
Perry Hoberman, “Meme and Variations”, essay, Memesis: The Future of Evolution, Ars Electronica Festival 96, edited by Gerfried Stocker and Christine Schöpf, Springer, Vienna/New York, 1996
Perry Hoberman, “Free Choice or Control”, essay, Prix Ars Electronica 96, edited by Hannes Leopoldseder and Christine Schöpf, Springer, Vienna/New York, 1996
Perry Hoberman, “Bar Code Hotel”, catalog statement, Electra Manaul, Electra 96, Henie-Onstad Art Center, Oslo, Norway, March/April 1996
Rafael Lozano-Hemmer, “Perverting Technological Correctness”, Leonardo, Cambridge,Vol. 29, No. 1, 1996
Jeanne Randolph, “A City for Bachelors”, essay; Erkki Huhtamo, “Time Traveling in the Gallery”, essay; and Perry Hoberman, “Bar Code Hotel”, artist's statement, all in Immersed in Technology, edited by Mary Anne Moser, MIT Press, Cambridge, 1996
Grahame Weinbren, “The Digital Revolution is a Revolution of Random Access”, Telepolis, online journal, 1996,
Annette Weintraub, “Web Space is the Art Place”, article, Intelligent Agent, NY, Vol. 1 No. 6, October 1996
Susan Bickelhaupt & Maureen Dezell, “Names & Faces”, The Boston Globe, November 2, 1995
Tessa DeCarlo, “Web Sightings: On Gallery Walls...”, The Wall Street Journal, NY, July 12, 1995
Scott Fisher & Perry Hoberman, “Chimerium”, catalog statement, InfoART, Kim Hong-hee & Cynthia Goodman, editors, 95 Kwangju Biennale, Korea
Anne Harnish, “Commissions”, Sculpture, Washington, DC, Volume 14, Number 1, January-February 1995
Amy Harmon, “Puttin' on a Natural Interface”, Los Angeles Times, June 7, 1995
Perry Hoberman, “Aesthetics & Tools in the Virtual Environment, abstract, Siggraph 95 Conference Proceedings, Los Angeles, August 6-11, 1995
Perry Hoberman, “Bar Code Hotel”, catalog statement, Interactive Media Festival 1995, LA, June 4-7, 1995
Perry Hoberman, ““Bar Code Hotel: Diverse interactions of semi-autonomous entities under the partial control of multiple operators”, paper, Stereoscopic Displays and Virtual Reality Systems, SPIE Proceedings,, 1995
Erkki Huhtamo, “An Archaeology of Moving Image Media”, Intercommunication, #14, ICC, Japan, 1995
Marguerite Lamb, “Where art meets state of the art”, Boston University Today, October 20, 1995
Kris Malden, “Checking into the Bar Code Hotel”, Independent Film & Video Monthly, NY, Vol 18, No 2, March 1995
Craig Matsumoto, “Valley inspires more engineers, capitalists than artists”, The Business Journal, San Jose, CA, May 15-21, 1995
Pauline van Mourik Broekman, “V-Art”, interview, Mute, Issue 3, London, Autumn 1995
Oliver Schwarz, “Am Anfang war der Code...”, catalog essay, CeBIT 1995, Deutsche Telekom AG, Hannover, Germany, 1995
Jolene Thym, “Trashin' technology”, The Oakland Tribune, CA, September 7, 1995
V2, “Perry Hoberman”, catalog statement, DEAF95, Rotterdam, 1995
Peter Weibel, “Ars Electronica”, interview, and Perry Hoberman, “Bar Code Hotel”, artist's statement, both in Art & Design Magazine, London, Number 39, 1994
Daniel Pinchbeck, “State of the Art”, Wired, SF, December, 1994
Michael Heim, “The Art of Virtual Reality”, Virtual Reality Special Report, SF, Winter 1994
Michael Snyder, “Naut Humon takes studio to streets”, Datebook, The San Francisco Chronicle, Oct. 20, 1994
“Raumbeschreitung per Computer”, Kronenzeitung, Linz, Austria, June 24, 1994
Irene Judmayer, “Wirklich Wirlkliche Wirklichkeit”, Nachrichten, Linz, Austria, June 22, 1994
“Erlebniswelten per Computer”, Nachrichten, Linz, Austria, June 17, 1994
Perry Hoberman, “Bar Code Hotel”, catalog statement, Intelligent Ambiente, Ars Electronica Bande 2, Linz Austria, June 1994
Tim Westbury, “Bar Code Hotel”, catalog essay, Walter Phillips Gallery, Banff, Alberta, Canada, June 1994
Amy Taubin, “Perry Hoberman/Tom Sherman”, Voice Choices, Village Voice, NY, May 10, 1994
Fredric Paul, “The Interactive Multimedia Festival”, Electronic Entertainment, San Mateo, CA, May 1994
Perry Hoberman, “Depth Painting”, paper, Stereoscopic Displays and Virtual Reality Systems, SPIE Proceedings, Vol. 2177, 1994
William Zimmer, “Making a Statement with Castoff Objects”, The New York Times, March 6, 1994
Kathryn Carroll, “'Resurrections: Objects with new souls' exhibit sheds a new light on the ordinary”, The New London Day, CT, February 27, 1994
Tom Patterson, “Kinetic exhibit at WFU gets viewers involved”, Winston-Salem Journal, NC, February 27, 1994
Kate Huyvaert, “New interactive art exhibit allows the viewer to become a participant”, Old Gold & Black, Winston-Salem, NC, February 17, 1994
Perry Hoberman, “I Walked with a Zombie”, catalog statement, Sound and Motion, Wakeforest University Fine Arts Gallery, NC, February 1994
Barbara Bliss Osborne, “Write on the Money”, The Independent Film and Video Monthly, NY, January/ February 1994
Perry Hoberman, "Beyond Hope and Beyond Dreams: The Neo-Karaoke Story", article, Publicsfear, No. 3, New York, 1993
Perry Hoberman, “Word of Mouth”, statement, New Media, San Mateo, CA, October 1993
John Larish, “Electronic Still Now- Siggraph, Montage, Everywhere”, Advanced Imaging, Melville, NY, September 1993
Perry Hoberman, “Faraday's Garden”, catalog statement, Siggraph 93 Visual Proceedings, ACM, NY, 1993
Luc Boulanger, “Images du Futur: Qui Dit Vrai?”, Voir, Montreal, June 17-23, 1993
N. Cusson, “Images du Futur 93: Plus Interactif Que Jamais!”, Echos-Vedettes, Montreal, May 22-28, 1993
Paul-Henri Goulet, “high tech à Images du Futur”, Le Journal de Montréal, May 14, 1993
Paul Delean, “Whimsical New Yorkers bring high-tech art to Old Port”, The Gazette, Montréal, May 14, 1993
Perry Hoberman, “Faraday's Garden”, catalog statement, Images du Futur 93, Montreal, May14-Sept 19, 1993
Susan Shapiro, “Caught up in a Time Warp”, New York Post, April 15, 1993
Stephane Baillargeon, “Le meilleur des mondes?”, Le Devoir, Montreal, April 15, 1993
Ian Grey, “Tweeking the Karaoke with Perry Hoberman, Breukelen, Brooklyn , NY, Vol. 1 Issue 2, 1993
William Zimmer “Industrial-Strength Sculpture With Economy-Size Politics”, review, New York Times, March 28, 1993
Barry Rosenberg, “The world as we find it”, catalog essay, and Perry Hoberman, “Faraday's Garden IV”, catalog statement, both in Simply Made In America, Aldrich Museum, CT, 1993
Ken Johnson, “Perry Hoberman at Postmasters”, review, Art in America, NY, October 1992
Jim Higgins, “Kohler finds fool's gold in 'Folly'“, Milwaukee Sentinel, WI, July 17, 1992
“Cast-off appliances make comeback in 'Faraday's Garden'“, The Sheboygan Press, WI, April 30, 1992
“Perry Hoberman/Jack Risley”, The New Yorker, April 20, 1992
Kim Levin, Voice Choices, Village Voice, NY, April 8, 1992
Dan Cameron, “In Praise of Smallness, Art & Auction, NY, April 1992
Perry Hoberman, “Revenge of Debris”, catalog statement, Interferences VII, Museum Moderner Kunst, Vienna, Austria, June 1992
Roberta Smith, "Perry Hoberman", review, The New York Times, May 18, 1990
Susan Gerhard, “G-Spot”, review, San Francisco Bay Guardian, December 11, 1991
Julene Snyder, “Night + Day”, SF Weekly, December 4, 1991
Regina Cornwell, “Studio/Perry Hoberman”, article, Sculpture, Washington, DC, May/June 1991
Barry Rosenberg, “Faraday's Garden”, statement, pamphlet, Museum of Contemporary Art, Dayton, OH
Perry Hoberman, “Interstate”, catalog statement, Art Futura 91, Barcelona, 1991
Nancy Grove, “Not So Still Lifes”, review, Art & Antiques, NY, October 1990
John Miller, “Perry Hoberman”, review, Artforum, NY, September 1990
G. Roger Denson, “Perry Hoberman”, review, Contemporanea, NY, September 1990
George Melrod, “Perry Hoberman”, review, Sculpture, Washington, DC, September/October 1990
Kim Levin, Voice Choices, Village Voice, NY, May 22, 1990
Mark Dery, “Visual Improvisors”, Elle, NY, May 1990
R.I.P. Hayman, “Springworks”, review, Ear Magazine, NY, May 1990
Regina Cornwell, “Christian Marclay/Perry Hoberman”, review, Artscribe, London, March/April 1990
“Springworks '90 at Hall of Science”, Queens Ledger, NY, March 29, 1990
“Technological Art”, Weekender Guide, The New York Times, March 16, 1990
“It's high-tech art”, Daily News, NY, April 18, 1990
Esther Iverem, “Science as Art at Springworks”, Newsday, NY, March 16, 1990
“Science SpringWorks 90”, Queens Tribune, NY, March 15-21, 1990
John Rockwell, "Marclay, Hoberman, Sound and Fury", review, The New York Times, October 22, 1989
Wif Stenber, “Cement Mixer”, New York Press, November 3, 1989
HGS, “Flucht aus Dezibel-Chaos”, Kleine Zeitung, Graz, Austria, November 1, 1989
Klaudia Reichenbacher, “Futurischer Erguß”, review, Neue Kronen Zeitung, Graz, Austria, November 1, 1989
Perry Hoberman, catalog statement, Signals, QCC Art Gallery, NY, March 12-April 27, 1989
David Reisman, “Perry Hoberman”, review, Artscribe, London, January/February 1989
John Miller, “Perry Hoberman”, review, Artforum, NY, December 1988
Robert Morgan, “Poetic Justic”, review, Artscribe International, London, November/December 1988
Morrie Warshawki, “Bill Obrecht & Perry Hoberman”, review, High Performance, Los Angeles, Issue 37, 1987
Kathryn Brew, “Perry Hoberman”, catalog essay, and Perry Hoberman, “Dead Space/Living Rooms”, catalog statement, both in Capp Street Project 1985 1986, San Francisco, 1987
Patricia C Phillips, “Art on the Beach”, review, Artforum, NY, October 1987
Stephen Westfall, “Perry Hoberman”, review, Arts, NY, February 1987
Wayne Johnson, “Critic's Choice”, The Seattle Times, WA, February 6, 1987
“It Can Make You a Little Light-Headed”, Datebook, San Francisco Chronicle, January 25, 1987
Steven Winn, “Special Effects and Then Some”, San Francisco Chronicle, January 23, 1987
Allan Ulrich, “3-D 'Sender' falls flat in Gallery Run”, San Francisco Examiner, January 22, 1987
Bob Riley, “Notes on New Media Theatre”, catalog essay, Endgame, ICA, Boston, 1986
George Melrod, “Luminous Noir”, review, East Village Eye, NY, December 1986
Kim Levin, Voice Choices, Village Voice, NY, September 1986
Patty Harris, “Perry Hoberman”, review, 108 East Village Review, NY, September 1986
Diana Rico, “TV-generation artists have their own vision”, L.A. Daily News, March 9, 1986
Perry Hoberman, catalog statement, TV Generations, Los Angeles Contemporary Exhibitions, Feb-April 1986
Dinah Prince, “Downtown”, Daily News, NY, December 6, 1985
Kim Levin, “Voice Choices”, Village Voice, NY, November 5, 1985
Dan Cameron, “A Whitney Wonderland”, Arts, NY, Summer 1985
John Howell, “Perry Hoberman”, review, Artforum, NY, September 1985
Perry Hoberman, catalog statement, New Langton Arts 1985, San Francisco, 1985
Andy Grundberg, “Beyond Still Imagery”, The New York Times, April 7, 1985
John Hanhardt, “Re-forming Cinema: Film as Installation”, Dark Rooms, Artists Space, NY, January 1985
Perry Hoberman, “Out of the Picture”, catalog images, 1985 Biennial Exhibition, Whitney Museum, NY, March-June 1985
Perry Hoberman, “Excerpt from Smaller Than Life”, Tellus - The Audio Cassette Magazine, #5 & #6 (special double audio visual issue), C. Gould, J. Nechvatal, C. Parkinson, editors/publishers, New York, 1984
Larry List, “Found Language”, essay, pamphlet, Franklin Furnace, May 1984
Tom Strini, “3D show stands Out with depth of images”, Milwaukee Journal, WI, April 5, 1984
Tom Strini, “Cutting up in 3-D', The Milwaukee Journal, WI, April 1, 1984
“Hoberman's 3-D works at Brooks”, The Marquette Tribune, Milwaukee, WI, March 30, 1984
Noel Carrol, “Semiotics in 3D”, The Village Voice, NY, December 27, 1983
Amy Virshup, “Live Acts”, New York Beat, December 1983
Faith Heller, “A Season of Unorthodox Art”, Winston-Salem Journal, NC, September 18, 1983
Cynthia Rose, “Out of the Picture”, New Musical Express, London, September 3, 1983
Jo Comino, “Out of the Picture”, City Limits, London, August 18-24, 1983
John Gill, “Out of the Picture”, Time Out, London, August 11-17, 1983
Anthony Bannon, “Works by Six Artists Are Provocative”, Buffalo Evening News, May 26, 1983
Perry Hoberman, catalog images, Independent Study Program 15th Anniversary, Whitney Museum, NY, 1983
“Art Present”, Artistes, Paris, August/September 1982
Robert Taylor, “Colorists, dadaists, contrast at MIT gallery”, Boston Sunday Globe, March 14, 1982

Synergistic Activities
Co-organizer of TransFormations, a series of symposia, performances, readings and other public events. Funded by the USC Provost’s Arts and Humanities Initiative, and hosted by USC during the 2006-07 academic year, the series consisted of four extended weekends, each focused a specific topic at the crossroads of art, technology, cognition and perception.
Organizer, SoCal Max/MSP User Group (SMUG), 2009-present
Director, Crunky Space, an alternative art space that hosted an extensive series of exhibitions and performances
during the years 1998 to 2001, Brooklyn, NY.
Producer/Host, “The Empty Orchestra Café”, a radical neo-karaoke performance cabaret. Originally a class project that grew out of my work as a Visiting Artist at the San Francisco Art Institute in 1991. Various venues in San Francisco, New York, Karlsruhe, 1991 to 1998.
Art Director, Telepresence Research, a California Corporation devoted to the design and development of virtual environment and remote presence technologies and applications. I oversaw the development of a number of public virtual environment installations, including Chimerium and The Virtual Brewery. 1994-96.
Projectionist, Artistic Director, Art Director, Visual Director for the performance artist Laurie Anderson. Collaborated on the production of numerous stage shows, films, videos, recordings. Designed and operated projection and lighting rigs, toured worldwide. 1979-1993.