Tiffany Holmes

Tiffany Holmes, PhD (born 1964) is new media artist living in Chicago, IL.

Tiffany Holmes was born in Baltimore, MD. Her formal education includes: a PhD (2004-2010) "Eco-visualization: Combining art and technology to reduce energy consumption,"earned via the Znode, a collaboration between the Institute for Cultural Studies, University of the Arts, Zurich and the Arts Department, University of Plymouth, UK; an MFA (1996-1999) Imaging and Digital Arts, University of Maryland, Baltimore County, Baltimore, MD; an MFA (1992-1996) Painting, Maryland Institute, College of Art, Baltimore, MD; and a BA (1986-1990, cum laude) Art History with a minor in Environmental Studies, Williams College, Williamstown, MA.

In her research and practice, Tiffany Holmes explores the potential of technology to promote positive environmental stewardship. She coined the term "eco-visualization" in 2005. Her creative projects include a commission for the National Center for Supercomputing Applications where sequences of experimental animations visualize real time energy loads.

Her paper detailing this work, “Eco-visualization: Combining art and technology to reduce energy consumption,” won a Best Paper award at Creativity and Cognition 2007and a 2010 doctoral degree. She lectures and exhibits worldwide in these venues: Museum of Contemporary Art Chicago, J. Paul Getty Museumin Los Angeles, 01SJ Biennial, Siggraph 2000, Worldart in Denmark, Interaction ’01 in Japan, ISEA Nagoya. A recipient of the Michigan Society of Fellows research fellowshipin 1998, Holmes has earned the Illinois Arts Council individual grant, an Artists-in-Labs residency award in Switzerland, and a 2010 Rhizome Commission.

Holmes is a professor in the Department of Art and Technology Studies at the School of the Art Institute of Chicago.

• We can't swim forever (2011)
• darkSky (2009)
• World Offset (2008)
• fishbowl (2005)
• Floating Point (2004)
• Follow the Mouse (2001)

• Holmes, We can't swim forever

• The Innovationists, Museum of Contemporary Art Taipei, Taiwan. (2013)
• Microwave New Media Festival, Hong Kong City Hall, Hong Kong. (2009)
• <>TAG EcoAesthetics exhibition, the Hague/Amsterdam, Holland. (2008)
• Thailand First New Media Art Festival 2003, Chiang Mai, Thailand. (2003)
• ISEA Nagoya, Follow the Mouse, installation, Japan. (2002)
• Interaction '01, biennial, International Academy of Media Arts and Sciences, Japan. (2001)
• Worldart, Nosce Te Ipsum installation and artist’s talk, Aalborg, Denmark. (2000)
• Digital Salon. School of Visual Arts, New York, NY and Barcelona, Spain. (1999)
• Viper: International Festival for Film and New Media, Lucerne, Switzerland. (1999)

• Socializing Blogs, a Guide for Beginners (2011) Learning Through Digital Media: Experiments in Technology and Pedagogy, editor, 27-34.
• Beyond Eco-Art: 21st century Eco-visualization (2010) Transdiscourse: Volume 1: Mediated Environments, Springer Press.
• Searching for stories in the sea of data: Promoting environmental stewardship though ecovisualization (2007) Journal of Museum Education, Volume 32, Number 3 / Fall 2007: 273-284.
• Eco-visualization: combining art and technology to reduce energy consumption (2007) Proceedings of the 6th ACM SIGCHI conference on Creativity & Cognition, Washington, DC, USA, SESSION: Tools, media and environments: 153-162.
• Environmental Awareness though Eco-visualization: Combining Art and Technology To Promote Sustainability. Reconstruction 6.3: Studies in Contemporary Culture on “Water: Resources & Discourses,” summer 2006.
• Floating Point: A Creative Visualization of Water Quality, residency report, in Artists-In-Labs: Processes of Inquiry, editor, Jill Scott, Springer Press, 2006.
• The Mighty Mouse: Communicating addiction research through computer art, Intelligent Agent, thread: biotech/transgenics, Winter-Summer 2003, http://www.intelligentagent.com/.
• Arcade Classics Spawn Art? Current Trends in the Art Game Genre. Fine Arts Forum, 2003.
• What do computers eat? Teaching beginners to think critically about technology and art, in Computers and Graphics, Elsevier, June 2003, Volume 27, No. 3, 361-368.
• Performing Virtual Dissection, in Art, Technology, Consciousness, London: Intellect Books, 2000.
• The Corporeal Stenographer: Language, Gesture, Cyberspace, published in conjunction with catalogue of international traveling exhibit, The Digital Salon. Leonardo Almanac: International Resources in Art, Science, Technology, Volume 32, Cambridge, MA: MIT Press, 1999.

• Alan G. Artner, “Holmes makes a compelling artistic point,” Chicago Tribune, April 10, 2009.
• ArtBeat Chicago, “Zach: Living, Breathing Computer Mouse,” Profile on Holmes’ project aired on

WTTW/Channel 11, 2001. Summary available online: http://www.wttw.com/artbeat/misc.html#zach.

• Moe Beitiks, “DIY Creations Race the Tracks of the San Jose Biennial Green Prix,” Inhabitat, October 2,

2010. Available at: http://inhabitat.com/diy-creations-race-the-tracks-of-the-san-jose-biennial-green-prix/. Jay David Bolter and Diane Gromala, Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, MIT Press, 2003.

• Carl DiSalvo, Kirsten Boehner, Nicholas A. Knouf, Phoebe Sengers, “Nourishing the Ground for Sustainable

HCI: Considerations from Ecologically Engaged Art,” Proceedings CHI 2009, ACM Ext. Abstracts of CHI 2009, ACM Press 2009.

• Chicago Sun-Times, “Artist directs her energy toward informative art,” April 10, 2009.
• Carrie Frillman, “Solar-powered project celebrates Women’s History Month,” Daily Chronicle, DeKalb

County, IL.

• Jen Q. Goddu, “Artists explore the world through playful means, “ Chicago Tribune, March 12, 2004.
• Mike Guiliano, “Art: More than Meets the Eye,” Baltimore City Paper, May 6-May 12, 1998.
• Peter Hall, “Seeing green: Designing for conservation,” Adobe Think Tank, July 17, 2007. Available online:

http://www.adobe.com/designcenter/thinktank/peterhall.htm

• Susan Hamilton, “Art on the Digital Edge, exhibition catalogue, Academy of Fine Arts, Easton, MD, 2003.
• Sabine Himmelsbach and Yvonne Volkart, eds. Ecomedia: Ecological Strategies in Today’s Art, exhibition

catalogue, Hatje Cantz Verlag, Germany, 2009, p. 173.

• Alan S. Inouye (Editor), Marjory S. Blumenthal (Editor), William J. Mitchell, Beyond Productivity: Information,

Technology, Innovation, and Creativity, National Academies Press, 2003.

• Helen Varley Jamieson, “A Vision of Pollution,” Net Art News, Rhizome.org at the New Museum, December

17, 2004.

• Cara Jepson, “The works of a very talented young rodent,” Chicago Reader, August 3, 2001.
• Trey Kay, producer for NPR’s Studio 360: Creative Minds Go Green show on April 18, 2008. Available

online: http://www.studio360.org/episodes/2008/04/18/segments/96762

• Alessandro Ludovico, review in Neural Magazine, December 20, 2004. Available online:

http://www.neural.it/nnews/floatingpoint.htm

• Rick Lyman, “Bracing for Animation’s Big Leap,” New York Times Living Arts cover story, August 1, 2000.
• Max Melgaard, “Kunst som De aldrig har set den for,” LevGodt (Denmark), September 29, 2000.
• Gary Mullinax, “Caught on camera, purely for art’s sake,” Wilmington News Journal, March 13, 2005.
• Madeline Nusser, “Drawn to Drawing,” Time Out Chicago p. 51, May 12–19, 2005.
• Miyoko Ohtake, “01SJ Biennial: Build Your Own World,” Dwell magazine, September 22, 2010. Available

online: http://www.dwell.com/articles/01sj-biennial-build-your-own-world.html

• Michael O’Sullivan, “Digital Doings on the Eastern Shore,” Washington Post, March 14, 2003.
• Joe Rodriguez, “Zero One techno-art festival takes off in San Jose,” San Jose Mercury News, September 5,

2010.

• Kathryn Rosenfeld, “End of an epicenter,” Chicago Journal, April 29, 2004.
• Michael Rush, “Video Art,” Thames & Hudson, new edition forthcoming summer 2007.
• Jason Spingarn-Koff, “Demo This! Boston Cyberarts Festival,” Rhizome.org at the New Museum, May 17,

1999.

• Barbara Maria Stafford, “Revealing Technologies/Magical Domains,” in Barbara Maria Stafford and Frances

Terpak’s exhibition catalog, Devices of Wonder: From the World in a Box to Images on a Screen, Getty Museum Publications, 2001.

• Ann Sterzinger, “Of Mice and Men,” Chicago Reader, April 2, 2004.
• Stephen Wilson, “Motion, Gesture, Touch, Gaze, Manipulation, and Activated Objects,” in Information Arts:

Intersections of Art, Science, and Technology, MIT Press, 2002. Available online at: http://userwww.sfsu.edu/%7Einfoarts/links/wilson.artlinks2.html.

• Michael Workman, “Welcome to the Machine,” New City Chicago, April 1, 2004.