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Nina Sobell: CV

Professional Recognition and Appointments

2019  Foreword written for Brain Computer Interfaces for Artistic Expression, editor Anton Nijholt, Springer-Verlag GMbH publisher

2018  BrainWave Drawing History presentation, LASER Leonardo Art and Science Forum, in support of Leonardo/ISAST’s LEAF initiative, NY

2018 Portrait commission, RJFleck Collection

2017 BrainWave Drawings History presentation Brain On Art conference, Valencia

2015, 2016, 2017 Video Commissions from Leo Kuelbs Collection

2011 Artist-in-Residence, Emily Harvey Foundation, Venice, Italy

2010 BrainChat  U. S. patent pending

2007-08  Artist-in-Residence,Location One, New York, NY

2005-06 Visiting Lecturer, Goldsmiths College, University of London UK

2002 Rockefeller Foundation Fellowship Nominee in Media Arts     

2001 New York State Council for the Arts, Artist Fellowship

1999 Webby Award Nominee, ParkBench On-Line Collective

1998 Commission, with S. Allin and J. Gilbert

1998 Artist-in-Residence, Banff Centre for the Arts, Canada

1994-98 Artist-in Residence, Center for Advanced Technology, Courant School of Computer Science, New York University

1991-93 Artist-in-Residence, Interactive Telecommunications Program, Tisch School of the Arts NYU

Solo Shows and Collaborations

2008 Internal Message Search solo show, Gallery Area 53, Vienna, Austria

2008 Not About: Is, solo show, Location One Gallery, NY

2006 Reap Video Collaboration, Anne Bean Matt's Gallery, London, UK, Video    Documentary of Zambian Street Theater Group with Anne Bean

2001 Liwase,Video Documentary of Zambian Street Theater Group with Anne Bean

1998 Interactive Installations, 1974 - 1998, DAAD Studios, Berlin with Emily Hartzell

1998 Ebb and Flow, Web performance, Morton Studio,  (J.Gilbert/S.Allin)

Group Shows and Collaborations

·Subliminal video, Mitte Media Festival, DNA Galerie, curator Tom Rotenberg, Berlin

·From Last to First- Thirty Digital Shorts, Mitte Media Festival, DNA Galerie, curator Tom Rotenberg, for LKC, Berlin

·Subliminal, Estirando El Tiempo, curator Elizabeth Ross, Museo del Metro, Mexico City

·Grey Matters, premiere collaboration with Laura Ortman, curated by Able Sun, IFP Dumbo and projected on the Brooklyn Bridge, NY

·Duo-Synth and Apache Violin live performance with Laura Ortman, Sarah Bernstein record release event, Wonders of Nature, Brooklyn, NY

·Rivington School Show, ink drawing, curator Adriaan van der Plas, Adriaan van der Plas Gallery, NY

·The LES Festival for the Arts Show, Two Drawings, curator, C. Radcliffe, Theater for the New City Gallery, NY

·Digitally Derived, BrainWave Drawings, curated by Nancy Buchanan organized by Minha Horvat, Maribor, Slovenia

·Subliminal video, Estirando El Tiempo, curator, Elizabeth Ross, Museo de la Ciudad, Querétaro, Mexico

·Subliminal video, Hysteria Online, curator Elizabeth Ross, Mexico City

·ParkBench, FACES: Gender, Art and Technology, co-curators Eva Ursprung and Kathy Rae Huffman, Schaumbad Freies Gallery, Graz, Austria

·Glass Breaking Live performance, Optics: 0:1 curated and directed by Victoria Keddie, Roulette, Brooklyn

·Subliminal premiere video collaboration with Laura Ortman composer, curator John Ensor Parker, IFP Dumbo and projected on the Brooklyn Bridge, NY

·Views, WMAT video commissioned and curated by Leo Kuelbs, IFP, Brooklyn, NY

·Views, WMAT LKC, Manhattan Bridge Projection, NY

·Views, WMAT curated by Leo Kuelbs, Fata Morgana Gallery, Berlin

·Form and Substance: Projection, Lighting and Mapping, WMAT, Art Basel Miami

·Poet Transmit, WMAT video, curated by Victoria Keddie and Cat Tyc, St. MarkÕs Church,

·NY and Wave Farm Radio

. Scene Then and Now, curated by Shalom Neuman, Fusion Art Museum, NY

·Drawings, curated by Anne Bean and Ezra Rubenstein, 80 Three Colt Street, London

·72 -82 Acme Gallery Film by William Raban, Hackney Picture House, London

·Performance Documentation of Acme Gallery, Whitechapel Gallery, London

·Personae, Emily Harvey Foundation Gallery, Venice, Italy

·S(he) is still Her(e), curated by Johnny Velardi, Rivington Music Studio, NY

·Not Only This: New Language Beckons Us, curated by Andrew Blackley,

Fales Collection, NYU

·Corps et Ames, prints, Atelier Galerie MLC, Vains, France

, curated by Berty Skuber, Emily Harvey Foundation Gallery, Venice, Italy

·Housework, Gender, Subjectivity: Cultures of Domesticity, curated by Molly Hankwitz,

·The Reynolds Gallery, University of the Pacific, Stockton, California

·Another Vacant Space, curated by Adam Nankervis, Man Museum, Berlin, Germany

·WBAI Art Auction, curated by James Wintner, Steven Kasher Gallery, NY, NY

the Pot You Go! curated by Carol Stakenas, Pacific Standard Time, LACE, LA

·Glow, curated by Adam Nankervis, Z-Bar, Berlin, Germany
·A Feast for the Eyes, curated by Heike Epildauer, Bank Austria Kunst Forum, Vienna, Austria
·ArtFemTV, curated by Evelin Stermitz, Gallery Photon, Ljubljana, Slovenia
·tina b. The Prague Contemporary Art Festival,Vernon Gallery, Prague, Czech Republic 
·Way Out, Pavilhao, Lisbon, Portugal
·Waves-The Art of the Electromagnetic Society, Hartware Medien Kunstverein, Dortmund, Germany
 ·Ca Video Show, Getty Museum, Los Angeles, California
·Evidence of Movement, Getty Research Institute, LA, Ca.
 ·Cyber Feminism Past Forward, Austrian Association of Women Artists, Vienna
 ·The Future of the History, Space Gallery, New York
 ·Slapstick, curated by C. Eammons, Lora Reynolds Gallery, Austin, Texas
·KISSS. Whitechapel Gallery, London, UK/Sidney, Australia
·Art/ Sound, curated by J. Slater, Front Room Gallery , Williamsburg, NY

Synaesthesia, ·Thinking of You, Institute of Contemporary Art, London UK

·Art/Women/California 1950-2000, San Jose Museum of Art, San Jose, Ca.

·Sharing a Shadow, Three Colt Gallery, London

·Streaming: A Laboratory, with E. Hartzell/ Sonya Allin, W. Phillips Gallery, Banff

·Sunshine & Noir: Art in Los Angeles 1960-1997, UCLA at The Armand Hammer

·Castello di Rivoli, Italy, Kunstmuseum Wolfsburg, Louisiana MOMA, Denmark

·Dance in a Moving Mirror streaming with Hartzell/Gilbert, RAT, Aix-en-Provence

·Adrift (web performance), Ars Electronica with Gilbert, Hartzell, Thorington, Wolsak

·Pink Wink, New Image Art Gallery, Los Angeles

·Pasarse de la Raya, Expoarte, ·Guadalajara, VI Feria Internacional de arte Contemporaneo

·PORT, four-screen web projection performance, MIT List Visual Arts Center

·Blast5, Time Curators and web/video installation (ParkBench), Sandra Gering Gallery

·Art on the Web (ParkBench), Whitney Museum of American Art

·Language and Disorder: videotapes, New Langton Arts, San Francisco

·Alice Sat Here, telerobotic installation w/Hartzell in CODE, Ricco/Maresca Gallery, NYC

LA ·Sampler 1970-1993, Hey, Baby Chicky! P.McCarthy curator, David Zwirner Gallery, NYC

·Scratching the Belly of the Beast, Brainwave Drawings, Los Angeles Film Forum

Installation: painting, sculpture, and 2 channels of video, Granary Books Gallery, NYC

·Brainwave Drawing Installation, Bronx River Arts Center, Bronx, NY

·Drawings, Elston Fine Arts Gallery, New York, NY

VCori: Struggle for Life, video work, Speaking Out: Art Against AIDS, Museum of Modern Art, NY

·Cori: Struggle for Life, Video Against AIDS, Institute of Contemporary Art, London,

·The Indomitable Spirit, video work, International Center for Photography, NY

·Beyond Boundaries: Paintings, Black and White in Color Gallery, Bronx, NY


“Brain Art: Brain-Computer Interfaces for Artistic Expression” Anton Nijholt, Editor, Springer 2019 Foreword, Preface and pages 27, 44-45, 84-85, 170

"Collision: Contemporary Artists Working in Houston, 1972-1985 by Pete Gershon" Pages 158-160 - Texas A&M University Press 2018

"Networked Projects in the Formative Years of the Internet: Nina Sobell - Work: 1977-1997" December, 2018 Judy Malloy Editor (
Networked Art Works in the Formative Years of the Internet is an ongoing supplement to the MIT Press Book: Social Media Archeology and Poetics

"Gendered: Art and Feminist Theory” by Tal Dekel, Cambridge Scholars Publishing 2013 Pages 49, 90

"A Feast for the Eyes/ Augenschmaus Vom Essen im Stilleben" by Heike Epildauer and Ingried Brugger,Prestel Verlag 2010 Berlin, Bank Austria Kunstforum

"tina b. Prague Contemporary Arts Festival" edited by Monika Burian,curated by Blanca de la Torre Garcia, Vernon Fine Art, Czech Republic 2009

"Nina Sobell at Gallery Area53" by Gesche Heumann, Art Magazine, Austellungkritik, 25.07.08

"California Video:  Artists and Histories", edited by Glenn Phillips, Getty   Research Institute; 2008

"Allure of the Raw: Ca Video" by Hollis Willis, Modern Painter,  March 2008

"Interview with Nina Sobell" by Evelin Stermitz, published by Marisa Olson,, August 21, 2007

"Video Art": Michael Rush, Thames and Hudson, 2006

"Feedback": editors Horsfield /Hildebrand, Temple University Press, 2006

"Closed Circuit": by Slavko Kacunko, Logos Verlag, Berlin, Germany 2006

"Digital Art": , by Christiane Paul, Thames and Hudson, London

"Art/Women/California 1950-2000" editors Burgess/Salvioni, University of California Press and the San Jose Museum of Art (2002), p. 326.

"Streaming the Brain" by N. Sobell, MultiMedia, Artful Media ed. Doree Duncan Seligmann IEEE Computer Society, Vol. 9, No. 3 (July-September, 2002), p. 3—8.

"Info Arts-Intersections of Art, Science, and Technology" by S.Wilson, MIT Press (2002).

"Sculpting in Time and Space: Interactive Work" by Nina Sobell and Emily Hartzell, Leornardo, MIT Press, Vol.34, No.3 (2001).

"The Robot in the Garden" by Ken Goldberg, MIT Press (2000), p. 15.

"Going Virtual" by Martha Wilson, CAA Art Journal, Summer, 2000.

"Artful Media," by Kathy Brew, IEEE Multimedia, 1999.

"Women in Art and Technology" edited by Judy Malloy., MIT Press 1999

"A Brief History of Outrage: The 51 (or So) Greatest Avant-Garde Moments," by C. Carr, Village Voice, September 22, 1998.

"On Edge: The Heart of the Web," by C. Carr, Village Voice,Vol. 42, No. 25 (June 24, 1997), p.50.

"VirtuAlice," by Sobell and Hartzell, Ylem , Vol. 17, No. 9, (September/October, 1997), p. 5.

"Telepresence Art," by Eduardo Kac, Art Journal, College Art Association, 1997.

"Naked to the Bone",by Betty Ann Kevlis, Rutgers University Press, 1997.

"Postmodern Currents: Art and Artists in the Age of Electronic Media", by Margot Lovejoy, Prentice Hall, 1996 (second edition).

"ParkBench," interview with Doug Grunther, WDST Woodstock Radio, October, 1996.

"ParkBench Public Access Kiosks," Visual Proceedings, Siggraph '96.

"ParkBench Sculpting Performances," The Acid-free Paper (web journal), edited by Kevin Smith, Vol. 1, No. 4 (January, 1996), Net Culture section.

"Deviant Eyes, Deviant Bodies" by Chris Straayer, Columbia University Press, 1996

"The Buzz" by Sobell and Hartzell, TalkBack! journal on the Web, edited by Robert Atkins. Issue #1 (December, 1995). <>

"Art Online" by Robert Atkins, Art in America, Vol. 83, No. 12 (December, 1995), p. 64.

"Technology: Do You Mind if I Sit Here?" by Kimberly Neuhaus, I.D.,Vol. 42, No. 2 (March-April, 1995), p. 24.

"ParkBench," Artists' Pages by Emily Hartzell and Nina Sobell, Felix: Landscape(s) Vol. 2, No.1 (1995), pp. 302-5.

Interactions, Vol. IV, No. 2, June, 1992.

Interactions, Vol. III, No. 1, April, 1991

Felix (review of EXHUMED & Video 1972-90), Vol. 1, No. 1 (Spring, 1991), p. 71-73.


2007 IMHO with Heather Wagner, Location One, NY

2002 Artist Talk, SUNY Purchase, Department of Art, Purchase, New York

2001 Artist Talk, Computer Art Department, School of Visual Arts, New York

2000 Nina Sobell: Video Performances, NYU School of Food Sciences

1999 Artist Talk, Sony Wonder HD Theater and Technology Museum

1997 Human Factors and Ergonomics Society, Stevens Institute of Technology

Digital Landscapes of the Mind, London Institute

ISEA (International Society of Electronic Arts), Chicago Art Institute

Art Talk Art: Art, Anarchy, and the Web, Foundation for Art Resources, LA

LA Museum of Contemporary Art, Geffen Contemporary LA, Art Talks '97

Cornell University, Creativity Symposium

Art, Culture, and Technology, Teacher's College, Columbia University,

CHI '97 (Computer-Human Interaction), Atlanta

Central St. Martin's School of Art, London

1996 ParkBench, Artist's Presentation, Siggraph '96

1995 Art and Science Collaborations, Inc., Cooper Union Great Hall, New York

1993 Department of Fine Arts, Rutgers University, New Brunswick, NJ

1991 The Slade, St. Martins, Newcastle, Brighton Poly, E. London Poly, Brunel University, Reading,


Archivo Storico delle Arti Contemporane; La Bienalle di Venezia, Italia; Long Beach Museum of Art, Long Beach, CA; Banff Centre for the Arts, Canada; deSaisset, Museum of Art; Manchester Art Gallery, England; Reading University, England; Contemporary Arts Museum, Houston, Texas; Zentrum fur Kunst Und Medien Technologie, Karlsruhe, Montevideo, Amsterdam; Institute of Contemporary Art, London; Western Front Video, Vancouver; DIA Foundation; Cologne; Kramlich Video Collection; Blanton Library, Austin,Texas; Leo Kuelbs Collection, RJFleck, Gunther Broder and other private collections and academic institutions.


BFA Tyler School of Art 1969, Temple University, Philadelphia, Pennsylvania, and Rome, Italy

MFA Cornell University 1971, Ithaca, New York

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