Liza Ryan

Liza Ryan (born 1965) is a contemporary American visual artist whose works consist of photography, video, and mixed media.[1]

Liza Ryan
Born1965
Norfolk, Virginia
NationalityUnited States
EducationDartmouth College, California State University, Fullerton
Known forPhotography, Video, and Mixed Media
"She could barely contain herself" by Ryan, 2010

Background

Ryan was born in 1965 in Norfolk, Virginia. Ryan earned a BFA at Dartmouth College, (New Hampshire) in 1987 and an MFA from California State University, Fullerton in 1994. She lives and works in Los Angeles, California.[2]

Ryan works in photography, video and mixed media. Her interest in the use of visual metaphor remains constant throughout her bodies of work.[3] The J. Paul Getty Museum, the Honolulu Museum of Art and the Los Angeles County Museum of Art (Los Angeles, California) are among the public collections holding works by Ryan.[4]

Exhibitions
  • Zones of Contact, Biennale of Sydney, Australia (2006)
  • Spill, Cooley Memorial Art Gallery, Reed College, Portland, OR (January 30 – March 8, 2009)[5]
  • State of Mind: A California Invitational, Museum of Photographic Arts, San Diego, California (2010)[6]
  • Liza Ryan: Fragment, Eleanor D. Wilson Museum at Hollins University, Roanoke, VA (March 8 – April 21, 2012)[7][8]

Publications
  • Liza Ryan: the Effect of Surface Wind Speed on Familiar Objects. Venice, CA: Griffin, 1997. Mina Ryan.
  • Liza Ryan: Works 1993–2000. Cinubia, 2000. With an essay by Charles Merewether.
  • Beyond Boundaries: Contemporary Photography in California. Exhibition catalogue. Essay by Nora Kabot. San Francisco: The Friends of Photography, 2000
  • Degrees of Stillness: Photographs from the Manfred Heiting Collection. Exhibition catalogue. Essay by Susanne Lange. Koln: Stiftung Kulture, 1999
    • Portretten & Stillevens: Photographs from the Manfred Heiting Collection. Amsterdam: Waanders Uitgevers/Rijksmuseum, 2001
  • Liza Ryan, Santa Monica, CA: Griffin, 2005. William Griffin.
  • Double Vision: Photographs from the Strauss Collection. Exhibition Catalogue. Essays by Constance W. Glenn, Mary-Kay Lombino, and Arthur Ollman. Long Beach: University Art Museum, California State University, College of the Arts, 2001.
  • “Liza Ryan,” Zones of Contact: 2006 Biennale of Sydney. Exhibition Catalogue, 2006. Andrew Schulz.
  • Liza Ryan, Spill. Portland, OR: Reed Institute, 2009. Stephanie Snyder.
gollark: I mean, on the one hand, you might be slightly less happy due to wearing a helmet, but on the other hand you're less likely to die horribly.
gollark: Safety things mean you're likely to be less hurt by mistakes, thus ENHANCING learning.
gollark: It would be like something which electrocutes you whenever you make a compile error. You don't want to make compile errors in the first place, and making them worse is not very helpful.
gollark: If you have some accident and get injured horribly, you probably won't *learn* much, just... get horribly injured, you don't want the accident anyway.
gollark: And if there was a convenient not-too-bad way to reduce injuries with knives, they would probably be used. I imagine chefs have something.

References
  1. Liz Ryan on ArtNet.com
  2. Liz Ryan on ArtNet.com
  3. "Environmentalism in Liza Ryan's 'Antarctica' at Kayne Griffin Corcoran, Los Angeles | Artinfo". Artinfo. Retrieved 2018-03-08.
  4. Liza Ryan Website
  5. "Reed's Cooley Gallery presents SPILL, a film and photography installation by LA-based artist Liza Ryan. Ryan's work explores the flexibility of the human psyche, focusing on imagined experiences involving release and dispersal." Portland Art
  7. "The Eleanor D. Wilson Museum | Hollins University | 2012". www.hollins.edu. Retrieved 2018-03-28.
  8. "Liza Ryan: Fragment" (PDF).

Sources
  • Liza Ryan: Spill. Interview with the artist and essay by Stephanie Snyder, Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, Oregon, 2010
  • John Motley, “Imagining Transcendence: Liza Ryan’s installation SPILL explores symbols of possibility and Limitation,” The Portland Mercury, February 19, 2009
  • Sebastian Smee, “Uncomfortably Close,” The Weekend Australian, June 24, 2006
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