Tina La Porta
Born1967
Chicago, IL
EducationColumbia College, Chicago and School of Visual Arts, NY
Known forVoyeur_Web, Re:mote_corp@REALities, Side Effects, Medicine Ball
Movementinternet art, feminist art, new media art, digital art
Websitehttp://www.tinalaporta.net/

Tina La Porta is a Miami-based digital artist who "focuses on issues surrounding identity in the virtual space".[1] She was born in Chicago, Illinois in 1967.[2] Her early work could be characterized as net:art or internet art. In 2001 she collaborated with Sharon Lehner on My Womb the Mosh Pit, an artistic representation of Peggy Phelan's Unmarked.[3] La Porta is known for political and feminist art that explores gender, bodies and media such as the 2003 installation Total Screen which consists of enlarged Polaroid photographs of veiled men and women in TV news coverage after the events of 9/11.[4] Later work explores mental illness and pharmaceuticals. In 2012 she presented Medicine Ball at the Robert Fontaine Gallery as part of the "Warhol is Over?" exhibition;[5] this followed a 2011 presentation of All the Pills in My House, also at Fontaine's gallery.[6] In 2015 she participated in the 40-person Annual Interest exhibition at the Young at Art Museum.[7]

Early life and education

Porta was born in Chicago, Illinois, in 1967. She received a Bachelor of Arts from Columbia College in 1990 and a Master of Fine Arts, School of Visual Arts in New York, NY in 1994.[8]

Work

net.works + avatars, 1997[9]

Distance, 1999[10]

Re:mote_corp@REALities, 2001[11]

Voyeur_Web, 2001[12]

My Womb the Mosh Pit (with Sharon Lehner), 2001[3]

Total Screen, 2003[4]

All the Pills in My House, 2011[6]

Medicine Ball, 2012[6]

Side Effects, 2018[13]

Solo exhibitions

Voyeur_Web, 2001[12]

Total Screen, 2003[4]

Side Effects, 2018[13]

References

  1. ↑ Hans Breder, Klaus-Peter Busse, ed. (2005). Intermedia. Dortmunder Schriften zur Kunst / Intermedia-Studien. Vol. 1. p. 44. ISBN 9783833415418.
  2. ↑ "Tina La Porta Biography". www.tinalaporta.net. Retrieved 2020-03-30.
  3. 1 2 Flanagan, Mary; Austin Booth (2002). Reload: Rethinking Women + Cyberculture. MIT Press. p. 542. ISBN 0262561506.
  4. 1 2 3 Rothenberg, Julia (2012). "Art after 9/11: Critical Moments in Lean Times". Cultural Sociology. 6 (2): 177–200. doi:10.1177/1749975511404851. ISSN 1749-9755. S2CID 145592849.
  5. ↑ Valys, Phillip (13 July 2012). "They're not Andy Warhol". Sun Sentinel. Archived from the original on 3 March 2016. Retrieved 8 March 2015.
  6. 1 2 3 Suarez de Jesus, Carlos (17 November 2011). "Sex, Drugs, Profanity and More at Wynwood's Robert Fontaine Gallery". Miami New Times. Archived from the original on 26 June 2022. Retrieved 8 March 2015.
  7. ↑ Valys, Phillip (27 January 2015). "At Young at Art, rooms of one's own". SouthFlorida.com. Sun Sentinel. Archived from the original on 18 April 2015. Retrieved 8 March 2015.
  8. ↑ "Tina La Porta". Saatchi Art. Retrieved 2020-03-30.
  9. ↑ "Tina LaPorta: net.works + avatars". heelstone.com. Archived from the original on 27 May 2023. Retrieved 30 March 2020.
  10. ↑ "Tina LaPorta: Distance". turbulence.org. Retrieved 2020-03-30.
  11. ↑ "telematic connections :: datasphere". telematic.walkerart.org. Retrieved 2020-03-30.
  12. 1 2 "Tina LaPorta: Voyeur Web". whitney.org. Retrieved 2020-03-30.
  13. 1 2 "Tina La Porta 'Side Effects' Opening Saturday September 29 6-10pm presented by Fat Village Arts District". ArtsCalendar.com. Retrieved 2020-03-30.
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