Janet Biggs: Biography

Janet Biggs is among a substantial group of artists who turned to video and video installation in the early 1990s. Trained in painting and sculpture she has exhibited since 1987. Biggs is known for a body of work centering on the image of the horse. In her earlier video installations, Biggs has examined the way society constructs gender, often using the image of the horse as an emblem of female sexual sublimation and masculine power. More recently Biggs has focused on themes ranging from the representation of desire and pleasure to issues of spectatorship and aging. She has broadened this inquiry into questions of power and control by drawing connections between social and pharmacological prescriptions on behavior. Her multiple-channel installations, condensed yet epic, have garnered her a strong critical reputation and numerous museum exhibitions, as well as a position that places her work in the lineage of post-feminist discourse.

Janet Biggs is represented by Claire Oliver Gallery in New York City and Solomon Projects, Atlanta, Georgia.

Solo Exhibitions

Group Exhibitions

Books/Catalogs

Press

Grants/Awards

Solo Exhibitions

2007

• Enemy of the Good, multi-media performance, photo Miami, Miami.

• Gibbes Museum of Art, Charleston, South Carolina. (4 May - 12 August 2007).

2006

• Hit Me With Your Rhythm Stick, multi-media performance, Flow Art Fair, Miami.

• Like Tears in Rain, Claire Oliver Gallery, New York

• Behind the Vertical, Hermés New York Flagship Store. Site-specific installation.

• Dance Theatre Workshop, New York (part of Captured, curated by Maya Ciarrocchi).

2005

• Rules of Engagement, multi-media performance, New York. (In collaboration with choreographer JoAnna Mendl Shaw).

2004

• The Galleries at Moore, Moore College of Art, Philadelphia, Pennsylvania

• University of Connecticut Contemporary Art Galleries, Storrs, Connecticut. [November - December 2004]

• Rhode Island School of Design Museum, Providence, Rhode Island

• Solomon Projects, Atlanta, Georgia. 

2002

• Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York. 

2001

• Team Gallery, New York City. 

• Plains Art Museum, Fargo, North Dakota. 

• Western Gallery, Western Washington University, Bellingham, Washington.

2000

• Cincinnati Contemporary Art Center, Ohio.

• BuSpar, Solomon Projects, Atlanta, Georgia.

1999

• Up-Downs, John Michael Kohler Arts Center, Sheboygan, Wisconsin.

• Flight, Zilkha Gallery, Wesleyan University, Middletown, Connecticut.

1998

• Water Training, Everson Museum of Art, Syracuse, New York.

• Competition Training: Water Training, Park 4-D TV, Amsterdam, Holland.

1997

• Water Training, Anna Kustera Gallery, New York City.

• Water Training, Solomon Projects, Atlanta, Georgia.

1996

• Girls and Horses, Chassie Post Gallery, New York City.

Group Exhibitions

2007 

• Keeping Up With the Jones, Schroeder Romero Gallery, New York City.

• Infinitu et Contini: Repeated Histories, Reinvented Resistances, Smack Mellon, Brooklyn, NY.

• Lumen Eclipse, outdoor video installation, Cambridge Square, Boston.

• Stop. Look. Listen: An Exhibition of Video Works, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York (October 13-December 23, 2007).

• North Sea Film Festival for Underwater Movies, the Hague, Netherlands. (30 November - 2 December, 2007).

• Contemporary, Cool and Collected, Mint Museum of Art, Charlotte, North Carolina 20 Oct - 20 Dec, 2007).
• Loop Video Art Fair, represented by Claire Oliver Gallery, Barcelona, Spain (31 May - 2 June 2007).

• Antennae, Houston Center For Photography, Houston, Texas. (27 April - 3 June 2007).

• Los Angeles Art Show, represented by Claire Oliver Gallery, Santa Monica, CA

• What F Word?, Cynthia Broan Gallery, New York City. Curated by Carol Cole Levin.

2006 

• flow Miami Art Fair, represented by Claire Oliver Gallery, Miami, Florida.

• Helios Oceanus, Curated by Lee Wells for M21--The Museum of 21st Century Art and The Scope Foundation, Gansevoort South, Miami Beach, Florida.

• Claire Oliver Gallery, New York City.

• Video Box, Weisspollack Gallery, New York, NY

2005 

• METU Video Festival,  Middle Eastern Technical University, Ankara, Turkey

• FATHOM, Hatton Gallery, University of Newcastle, U.K.

• Tomorrow Was the Day Before, Scope London, Curated by Lee Wells.

• Artists Pick, Exhibition at Larissa Goldston Gallery, New York City.

2004 

• PG-13 (with Barbara Pollack):
              Georgia State University Gallery. January - February, 2004.
              DiverseWorks, Houston, Texas. March - April, 2004.

• Dwellan - Lingering Images, Charlottenborg Exhibition Hall, Copenhagen, Denmark

• Video X,  Momenta Art, Brooklyn, NY.

2003 

• Home Grown,  Linköpings Konsthall Passagen, Sweden.

• Venden Varassa (Dominated by Water), Vantaa Art Museum, Finland.

• H₂O, Curated by Jo Anna Isaak, Traveling exhibition:
      Western Gallery, Western Washington University, Bellingham, Washington (October 7 -- December 6, 2002);
      Elaine L. Jacob Gallery, Wayne State University, Detroit (January 2003 - March 2003).
      Houghton House Gallery, Hobart and William Smith Colleges, Geneva, New York (March -- April 2003);
      Danese Gallery, New York City. July 2003;
      Santa Fe Art Institute, Santa Fe, New Mexico. November 22, 2003 - January 4, 2004.

2002 

• New York, New Work, Now!, Currier Museum of Art, Manchester, NH. September 28, 2002 – January 13, 2003). Curated by Nina Felshin.

• Aquaria: On the Interaction of Water and Human Being. Curated by Barbara Wally. Traveling exhibition:
      Oberösterreichisches Landesmuseum, Linz, Austria (Feb. 7 -- April 7, 2002); 
      Kunstsammlungen, Chemnitz, Germany (May 5-- June 30, 2002);.

• Serious Fun. Castle Gallery, The College of New Rochelle, December 2002 – March 2003.

• Arrested Development: Contemporary Contemplations on Youth Culture. Curated by Susan Canning.

• Residuum. Cheryl Pelavin Gallery, New York, New York.

2001

• Objects in Mirror Are Closer Than They Appear. Team Gallery, New York.

• Horse Tales: Two Centuries of American Cultural Icons. Katonah Museum, Katonah, New York.
  

2000

• Objects That Flicker, Solomon Projects, Atlanta, Georgia.

• Horse Show, Site Gallery, Sheffield, England.

• human/nature. Caren Golden Fine Art, New York City. Curated by Jane Harris.

• "Six Signals: Video Art by Contemporary Artists," Cheekwood Museum of Art, Nashville, Tennessee.

• Object Lessons: Selections from the Robert J. Shiffler Foundation. Columbus Museum of Art, Columbus, Ohio. Curated by Annegreth Nill.

• Here Kitty Kitty, Nexus, Atlanta, Georgia.

1999

• BuSpar (part of Horse Play), Real Art Ways, Hartford, Connecticut. Curated by Barry Rosenberg.

• The Comforts of Home, Hand Workshop Art Center, Richmond, Virginia.

• Trace, Flip Side Gallery, Brooklyn, New York.

• Freudian Slips, Saks Fifth Avenue, New York City.

• Zingmagazine Video Project, Basel Art Fair. Basel, Switzerland.

1998

• Recursion: Janet Biggs, Neil Goldberg, Alix Perlstein, Linda Post, Flipside Gallery, Williamsburg, Brooklyn. Curated by Nurit Newman.

• Installation 7: Conceptual Art, 1989-1995. Cheekwood Museum of Art, Nashville. Curated by Barry Rosenberg.

1997

• Presumed Innocence, Anderson Gallery, Virginia Commonwealth University, Richmond, Virginia. Curated by Jean Crutchfield. Catalog. Travelling through 1998: Cinncinati Contemporary Art Center.

• Girls and Horses (part of Family/PostFamily, m.a.p.:media art project 1997), Vantaa City Museum, Finland. Catalog.

• Romper Room, Diverseworks, Houston, Texas.

• The Gaze, Momenta Gallery, Brooklyn, New York. Curated by Laura Parnes. Catalog.

• Zingmagazine Project, Zingmagazine 3, 1997

1996

• Romper Room, Thread Waxing Space, New York City. Curated by Danielle Chang. Catalog.

• B.A.B.Y. Curated by Jan Riley. Catalog.
      1708 Gallery, Richmond, Virginia;
      Virginia Beach Arts Center, Virginia Beach, Virginia.

• Kickstart, Anna Kustera Gallery, New York City.

• Embeddeded Metaphor, September 1996 - December 1999, a traveling exhibition organized by Independent Curators International, New York. Curated by Nina Felshin.
     Dalhousie Art Gallery. Dalhousie University, Halifax, Nova Scotia; 
     Pittsburgh Center for the Arts, Pittsburgh PA, 1999; 
     Ezra and Cecile Zilka Gallery, Wesleyan University, Middletown, CT, 1998; 
     Virginia Beach Centerfor the Arts , Virginia Beach, VA, 1998; 
     Bowdoin College Museum of Art, Brunswick, MA, 1998; 
     Western Gallery, Western Washington University, Bellingham, WA, 1997; 
     John and Mabel Ringling Museum of Art, Sarasota FL, 1996

• Subversive Domesticity, Edward A. Ulrich Museum of Art, Wichita State Univ., Kansas. Curated by Dana Self. Catalog.

• This End Up: Selections from the Collection of Robert J. Shiffler, University of Wyoming. Travelling exhibtion:
      South Dakota Art Museum, Brookings, South Dakota;
      Cleveland Center for Contemporary Art.
• Incestuous, Thread Waxing Space, New York City. Curated by Carter Kustera.
• Separating Self: Art About Identity from the Robert J. Shiffler Collection. New Harmony Gallery of Contemporary Art, New Harmony, Indiana.

1995

• Chassie Post Gallery, New York City. (Two-person exhibition).

• Galleria Civica di Padova, Italy. Curated by Teresa Macri and Francesca Alfano Miglietti.

• Wary Still, Highways Exhibition Space, Santa Monica, California.

1994

• Night Light Room (Project room installation, part of Family Ties show), P.P.O.W. Gallery, New York City.

• Forms of Address, San Francisco Art Institute, San Francisco, California. Catalog.

• Regional Identity and Cartography Representation, Pigorini Museum, Rome, Italy. Catalog.

1993

• Josh Baer Gallery, New York City. (Two-person exhibition).

• Beau Dommage, Jack Shainman Gallery, New York City

• Fall From Fashion, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut. Catalog.

• From the Collection of Robert J. Shiffler, Cincinnati Contemporary Art Center, Cincinnati Ohio. Catalog.

• I Am the Enunciator, Thread Waxing Space, New York City. Curated by Christian Leigh.

1992

• Josh Baer Gallery, New York City.

• Kunsthall, New York City. Curated by Christian Leigh.

• White Columns Gallery, New York City.

1991

• Shared Skin: Sub-Social Identifiers, Dooley Le Cappellaine Gallery, New York City. Organized by Janet Biggs. Catalog.

• Four Walls, Brooklyn, New York.

Books/Catalogs

    Exhibition catalogs / brochures

• Dwellan. Exhibition Catalog. Editor: Marit Ramsing, essay: Kristine Kern. Charlottenborg Exhibition Hall, Copenhagen. 2004.

• Norms and Forms. Exhibition Catalog. Essay: Brian Wallace. the Galleries at Moore. Moore College of Art and Design. 2004.

• Morales, René: "Videos in Progress: Janet Biggs." Exhibition essay. Rhode Island School of Design Museum. May, 2004.

• PG-13 -- Male Adolescent Identity in a Video Culture: Video Work by Janet Biggs and Barbara Pollack. Exhibition Catalog. Essay by Linda Yablonsky. Georgia State University Ernest G. Welch School of Art & Design Gallery, Atlanta, Georgia and DiverseWorks, Houston, Texas.

• Isaak, Jo Anna: “H₂0.” Exhibition catalog. Hobart and William Smith Colleges Press, Geneva, New York, 2002.

• Inselmann, Andrea: “Janet Biggs.” Exhibition catalog. Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York, August, 2002.

• Wally, Barbara: "Aquaria: The Fascinating World of Man and Water."  Exhibition catalog. Stadtwerke Chemnitz Ag, February, 2002.

• Smith, Todd: "Verge: Janet Biggs." Exhibition catalog. Plains Art Museum, Fargo, North Dakota. July, 2001.

• Horse Tales: American Images and Icons. Exhibition catalog. Katonah Museum of Art, Katonah, New York. Preface by Verlyn Klinkenborg. Essays by Ezra Shales, Susan H. Edwards, and Deborah Bright. 2000.

• Harris, Jane: “Flight: Janet Biggs.” Exhibition brochure. Wesleyan University, Middletown, Connecticut. February, 2000.

• Inselmann, Andrea: "Up Downs." Exhibition brochure. John Michael Kohler Arts Center, Sheboygan, WI. 1999.

• Mettlesome & Meddlesome: Selections From the Collection of Robert J. Schiffler.  Exhibition catalog. Cincinnatti Contemporary Arts Center. Foreword by Center Director Elaine King, introduction by former Center Curator Jan Riley, essay by New Museum Director Marcia Tucker, statement by Robert Shiffler. 1998.

• Presumed Innocence. Exhibition catalog. Forward by Jean Crutchfield, Essays by Robert Hobbs and Kathryn Hixson. Published jointly by the Anderson Gallery and the University of Washington Press, 1997.

• The Gaze. Exhibition catalog. Momenta Art. Essay by Jan Avgikos, preface by Laura Parnes. 1997.

• Felshin, Nina: Embedded Metaphor. Exhibition catalog. Independent Curators; ISBN: 0916365484, January, 1997.

• B.A.B.Y. Exhibition catalog. Hand Workshop Art Center and the Virginia Beach Center for the Arts. Essay by Jan Riley. 1996.

• Porges, Maria: "Forms of address : the 113th Annual Exhibition." Exhibition catalog. Walter/McBean Gallery, San Francisco Art Institute : Lynn Aldrich, Janet Biggs, Jean LaMarr, Julian Lang, Canan Tolon : October 6-November 13, 1994.

    Books

• Pierson, Melissa Holbrook: Dark Horses and Black Beauties: Animals, Women, A Passion. W.W. Norton & Company, August, 2000.

• Pallingston, Jessica: Lipstick. St. Martins Press, January 1999.

• Rosen, Michael: Horse People : Writers and Artists on the Horses They Love. Artisan, New York, April 1998

• Scanlan, Lawrence: Wild About Horses. HarperCollins, New York, 1998.

• Landers, Theodore A.: Career Guide to the Horse Industry. Thomson Delmar Learning, December, 2001.

Press

• Jenks, Debra: "Pulp Friction - Artists explore the underside of American culture." Chelsea Now, 14 December 2007.

• "Keeping up with the Jones." Review of show at Schroeder Romero gallery, The New Yorker, 24 December, 2007.

• Maschal, Richard: "Newly Minted: Private collectors lend their modern treasures as Mint museum starts a quest for living artists." Charlotte Observer, 19 October 2007.

• "Sport and Spectacle," Artkrush online magazine. 8 August 2007.

• Smith, Nick: "Future Noir: Janet Biggs mixed documentary shots for art's sake at the Gibbes." Charleston City Paper, 02 May 2007.

• Yale, Madeline: Antennae (review of group show at Houston Center for Photography). Spot Magazine, Summer 2007.

• Byrd, Cathy: "Janet Biggs." Contemporary, March, 2007.

• Perez, Magdalen: Review of show at Claire Oliver Gallery. ARTNews, February, 2007

• Li, Zhen: "Equestrians in Show Windows." Vision Magazine, Beijing, China. October, 2006.

• Matsumae, Ayano: "Janet Biggs" (review of Like Tears in Rain, Claire Oliver Gallery, New York).  Nile Magazine (Japan). December, 2006. [page 1] [page 2]

• "Janet Biggs." Review of show at Claire Oliver Gallery. The New Yorker, 04 December 2006.

• Matsumae, Ayano: "Janet Biggs" (review of Behind the Vertical at Hermés, New York ).  Nile Magazine (Japan). November, 2006. [page 1] [page 2]

• Carr, Amanda: "Artist's Windows at Hermès, New York." Visual Merchandising, 29 September 2006.

• Perez, Magdalene: "Nearby Explosion Adds Extra Drama to Video Installation at Hermes." ArtInfo, 11 August 2006.

• Pollack, Barbara. "Horseplay." ArtNews, Summer 2006.

• Dunning, Jennifer: “A Horse and Dancers in an Ode to Interspecies Ties.” New York Times, 10 October 2005.

• Lille, Dawn: “Rules of Engagement: Dancers and a Horse.” Art Times, December 2005.

• Marshall, Lea: Rules of Engagement review. Dance Magazine, November 2005.

• Tobias, Tobi: “Rules of Engagement.” New York Village Voice, 1 November, 2005.

• Anderson, Jack: Rules of Engagement review. New York Times, 14 October 2005.

• Pollack, Barbara: “Moonlight Sonata.” ARTNews, September 2005.

• Gavin, Francesca: “Drowning in Newcastle.” BBC online, 21 July 2005.

• Jones, Sarah: review of Fathom. Metro (Newcastle, UK). 8 July 2005.

• Whetstone, David: “Sound Creation for World of the Deep.” The Journal (Newcastle, UK), 2 July 2005.

• Duff, Helen: Fathom review. Metro (Newcastle, UK). 30 June 2005.

• Pohl, Eva: Videopoesi på højt niveau." Berlingske (Copenhagen), 11 November 2004.

• Hornung, Peter Michael: "Når billedet dvæler." Politiken (Copenhagen), 9 November 2004.

• Tommelleo, Donna: Former UConn Players' Drills Become a Work of Art:
      New York Newsday, 27 November 2004.
      Boston Globe, 27 November 2004.
      San Francisco Chronicle, 27 November 2004.
      Sports Illustrated, 27 November 2004.
      Stanford Advocate, 27 November 2004.
      Ms. Magazine Online, 27 November 2004.

• Sozanski, Edward J.: "Bodies in Motion." Philadelphia Inquirer. 4 December 2004.

• Streitfeld, L.P., "The Power Of UConn's Women On Display." Hartford Courant, 02 December 2004.

• Pollack, Barbara: “H20.” Time Out New York, 7-14 August  2003.

• Faingold, Scott: "Teenage Wasteland - Two artists ask how boys become men in a videocracy." Houston Press, 11 March 2004.

• Hirsch, Faye: “Janet Biggs at the Herbert F. Johnson Museum of Art.” Art in America, July 2003.

• Sohl, Lena: “USA underytan” (USA Under the Surface). Stockholm Aftonbladet, 9 May 2003.

• Ulmonen, Anu: “Syväsukellus mieleen ja ruumiiseen” (Deep Dive Into Mind and Body). Helsinki Sanomat, 18 January 2003.

• Ripatti-Torniainen, Leena: “Janet Biggsin uimari liikkuu kuin unessa” (Janet Biggs’ swimmer moves as if in a dream). Vantaan Sanomat, 19 January 2003.

• Höll, Von Andreas: ''Aquaria - Über die außergewöhnliche Beziehung von Wasser und Mensch.'' DeutschlandRadio Berlin, 5 May 2002.

• Lombardi, D. Dominick : Review of "Arrested Development: Contemporary Contemplations on Adolescence and Youth" at Castle Gallery, the College of New Rochelle. New York Times, 3 March 2002.

• Miller, Barbara: Review of Flight and BuSpar at Western Washington University. Art Papers Magazine, September/October 2001.

• Henning, Sarah: "A New View of Art." Fargo In-Forum, 12 August 2001.

• Cochran, Rebecca Dimling: "Objects that Flicker: Artists' Videos for the Home." Sculpture Magazine, June 2001.

• Smith, Todd D.: "Taking Art to The Verge." The Art Forum for the Visual, Performing and Literary Arts, Fall, 2001.

• Relyea, Kie: "Video artist circles back to WWU."  The Bellingham Herald, 5 April 2001.

• Byrd, Cathy: Review of “BuSpar” at Solomon Projects. Sculpture Magazine, June 2000.

• Byrd, Cathy: “Horse of a Different Color.” Creative Loafing, 2 February 2000.

• Cullum, Jerry: “Emotional Equestrianism.” Atlanta Journal-Constitution, 21 January 2000.

• Feaster, Felicia: “Whipped.” Creative Loafing, 26 January 2000.

• Pollack, Barbara: “The Mane Event.” ARTnews, November 1999.

• Damsker, Matthew, “Next Century Vision.” Hartford Current, 5 October 1999.

• Thomas, Mary: "Fine Art: Seeking Shelter." Pittsburgh Post-Gazette, 22 January 1999.

• Williams, Gregory: Review of "Glacier Approach" and "Water Training" at Anna Kustera Gallery. Zing Magazine, Fall 1998.

• Zimmer, William: "Inviting or Not, What Do Beds Mean?" New York Times, 4 October 1998.

• Bergman, Aeron: Review of "Water Training" at Anna Kustera Gallery. Cakewalk, Spring/Summer 1998.

• St. John, Mark: "Art exhibit has stuff dreams are made of." Hampton Roads Daily Press, 29 May 1998.

• Auslander, Philip: Review of 'Water Training' at Solomon Projects. Art Papers, March-April 1998.

• Rush, Michael, "Three Video Artists." Performing Arts Journal, January 1998.

• Yablonsky, Linda: Review of "Water Training" at Anna Kustera Gallery. Time Out New York, 11 December 1997.

• Forrest, Jason A.: "Learning to Ask Questions." The Journal-Constitution (Atlanta), 24 October 1997.

• Byrd, Cathy: Review of "Water Training" at Solomon Projects. Creative Loafing, 11 October 1997.

• de St. Sauveur, Michele: Review of "Embedded Metaphor" at Ringling Museum of Art, Sarasota, Florida. New Art Examiner, March 1997.

• Marger, Mary Ann: 'Not-so-sweet dreams.' Times (Sarasota, Florida), September, 1997.

• Lipsasen, Ulla: 'Perhe Murroksessa.' Artmagazine (Helsinki, Finland), November, 1997.

• Forsblom, Arto: 'MAPin näyttely iskee ajan hermoon.' Aamulehti (Finland), 27 September 1997.

• Lindroos, Leena: 'Perheen koko kuva esillä Myyrmäkitalossa.' Vantaan Sanomat (Vanta, Finland), 19 September 1997.

• Marta-Terttu Kivirinta: "Kenellä on oikeus perhe-elämään?" Helsinki Sanomat, 18 September 1997.

• Marja-Liisa Lappalainen: "Onnea Ja Helvettiä." Ilta-Sanomat (Helsinki, Finland), 18 September 1997.

• Qualls, Larry: "Five Video Artists." Performance Arts Journal No. 54, The Johns Hopkins University Press, September 1996.

• Schwendener, Martha: Review of "Girls and Horses" at Chassie Post Gallery. Art Papers, May/June 1996.

• Hess, Elizabeth: "It Takes a Village." Village Voice, 26 March 1996.

• Halle, Howard: Review of "Girls and Horses" at Chassie Post Gallery. Time Out New York, 20 March 1996.

• Tanner, Marsha: Review of show at San Francisco Art Institute. Art Issues, November, 1994.

• DiGenova, Arianna: "Figure Erranti Oltre la Mappa del Identita Correnti." Il Manifesto (Rome, Italy). 15 June 1994.

• Rossi, Leena-Maija: "Lapsuuden loppu." Helsingin Sanomat. Lauantaina 29, Tammikuuta 1994.

• Heartney, Eleanor: "Elizabeth Berdann and Janet Biggs at Josh Baer." Art in America, May 1994.

• Levin, Kim: "Voice Choices." Review of show at Josh Baer Gallery. Village Voice, 28 December 1993.

• Raynor, Vivien: "What Do Clothes Mean to an Artist Anyway?" New York Times, Sunday, 13 June 1993.

• Bonami, Francesco: "Panorama NYC." Flash Art, October, 1992.

• Levin, Kim: "Voice Choices." Review of show at KunstHall. Village Voice, 11 August 1992.

• Faust, Gretchen: "New York Reviews." Review of Shared Skin: Sub-Social Identifiers. Arts Magazine, January, 1992.

• Lichtenstein, Therese: "Multicultural Excavations." Catalog Essay in Shared Skin: Sub-Social Identifiers. Dooley Le Cappellaine Gallery, New York City, 1991.

• Smith, Roberta: "The Group Show as Crystal Ball." New York Times, 6 July 1990.

Grants / Awards

• 2006 Hermés of Paris: Production Funding

• 2004 Anonymous Was a Woman Award

• 2003 The Wexner Center Media Arts Program, The Ohio State University, Ohio: Residency

• 2003 Panasonic (Finland): Equipment Donation

• 2001 The Wexner Center Media Arts Program, The Ohio State University, Ohio: Residency

• 2001 Panasonic (USA): Equipment Donation

• 1997 Panasonic (Finland): Equipment Donation

• 1996 Sony Electronics Inc.: Equipment Donation

• 1990 Art Matters Inc.: Project Grant

• 1989 National Endowment for the Arts: Painting Fellowship

• 1988 The Leo Model Foundation: Project Grant

Education

• 1983-1984 Graduate Studies, Rhode Island School of Design

• 1979-1982 B.F.A., Moore College of Art, Philadelphia

• 1977-1978 Experiment in International Living, Basel, Switzerland. 

Links to other sites

All images, videos, and texts on this site are protected by copyright and may not be reproduced without permission. © Janet Biggs     Contact info.