Judy Malloy

In 1986, Malloy wrote and programmed Uncle Roger, the first online hyperfiction project with links that took the narrative in different directions depending on the reader's choice. The Wall Street Journal mentioned Uncle Roger as the start of a future art form in their 1989 centennial publication.[6] Uncle Roger was a three-part hypertextual "narrabase" (narrative database) that used keyword searching (including Boolean operators) and appeared on Art Com Electronic Network on the WELL.[7]

In 1988, Malloy became the coordinating editor of FineArt Forum, under the Leonardo publishing umbrella, and developed F. A. S. T. (Fine Art Science and Technology), a resource on the Whole Earth 'Lectronic Link (The WELL) bulletin board.[8] Malloy was the initial editor of Leonardo Electronic News, 1991–1993, now Leonardo Electronic Almanac.[9] For Leonardo, she worked to make the work of new media artists more visible, creating the artists' "Words on Works" (WOW) Project, published in Leonardo Electronic News and Leonardo.

Malloy's hyperfiction work its name was Penelope was exhibited in 1989 at the Richmond Art Center and published in 1993 by Eastgate Systems.[10] Also in 1993, Malloy was invited to XEROX PARC as an artist-in-residence, where she developed Brown House Kitchen, an online narrative written in LambdaMOO.[11] Malloy then wrote l0ve0ne, published in 1994 by Eastgate Web Workshop as their first work.[12] Malloy created Making Art Online] in 1994.[13] One of the first arts websites, Making Art Online is currently hosted by the Walker Art Center.

Between 1993 and 1996, while working with PARC, Malloy and Cathy Marshall (hypertext developer) collaborated on "Closure Was Never a Goal in this Piece", an article published in the book Wired Women which documented their experiences working on their other project, Forward Anywhere: Notes on an Exchange between Intersecting Lives, a hypernarrative work based on electronic communication that passed between the two in which they sought "to exchange the remembered and day-to-day substance of our lives".[14]

Malloy worked for Arts Wire, a program of the New York Foundation for the Arts (NYFA) from its early origins in 1993. She began serving as editor of the online periodical Arts Wire Current in March 1996.[15] She continued as editor through the periodical's name change to NYFA Current in November, 2002, until March 2004.[16][17]

Malloy is the editor of Women, Art & Technology (MIT Press, 2003), a documentation of the central role of female artists in the development of new media. The book lays out a historical outline of the female influence in art and technology including papers written by notable members of the field. She is also the editor of content | code | process (formerly called Authoring Software),[18] a website of resources related to the authoring tools used for hyptertext and other forms of database-driven writing. Her most recent work is the 2010 new media poetry trilogy Paths of Memory and Painting,[19] the first part of which appeared in 2008 under the title where every luminous landscape.

Her work has been exhibited and published internationally including the 2008 Electronic Literature Conference, San Francisco Art Institute, Tisch School of the Arts, New York University, São Paulo Art Biennial, the Los Angeles Institute for Contemporary Art, Boston Cyberarts Festival, the Walker Art Center, Visual Studies Workshop, Berkeley Art Center, Finger Lakes Environmental Film Festival, Centenary of Carmen Conde, Cartagena, Spain, Istanbul Contemporary Art Museum and the Hellenic American Union in Athens, Houston Center for Photography, Richmond Art Center, San Antonio Art Institute, A Space, Toronto, Canada, National Library of Madrid, Eastgate Systems, E. P. Dutton, Tanam Press, Seal Press, MIT Press, The Iowa Review Web, and Blue Moon Review. Malloy's where every luminous landscape (2008) was exhibited at The Future of Writing, University of California, Irvine, November, 2008 and the E-Poetry Festival, Barcelona, May, 2009. In May 2009 it was a finalist in the prix poésie-média 2009 hosted by the Biennale Internationale des poetes (BIPVAL) in Val de Marne, France.[20]

Malloy was the editor of the July 2016 MIT Press book, Social Media Archeology and Poetics.[21]

• Artists Books (1977–1993)
• Landscape Projects (1978–)
• Installations (1979–1995)
• Malloy, Judy (1980). Bad Thad. Dutton. ISBN 978-0-525-26148-3.
• Uncle Roger (1986–1987) (2003 revised edition)
• Bad Information (1986–1988)
• OK Research, OK Genetic Engineering (1988) information art describes technology
• YOU! (1991), online poem with multiple contributors, programmed and produced by Judy Malloy
• Wasting Time, A Narrative Data Structure (1992)
• its name was Penelope (1993)
• l0ve0ne (1994)
• name is scibe (1994) a collaboratively created hyperfiction by Judy Malloy, Tom Igoe, Chris Abraham, Tim Collins, Anna Couey, Valerie Gardiner, Joseph Wilson and Doug Cohen
• The Roar of Destiny Emanated From the Refrigerator (1995–1999) an epic hyperpoem
• Forward Anywhere (1995), a collaborative hyperfiction by Judy Malloy and Cathy Marshall
• Dorothy Abrona McCrae (2000)
• Interlude — Dorothy and Sid (2001)
• A Party At Silver Beach (2002)
• Afterwards (2003)
• Judy Malloy, ed. (October 2003). Women, Art, and Technology. Leonardo Books. MIT Press. ISBN 978-0-262-13424-8.
• Revelations of Secret Surveillance (2004–2007)
• Concerto for Narrative Data (2005–2006, 2008)
• The Wedding Celebration of Gunter and Gwen (2006–2007)
• Paths of Memory and Painting (2010)

• Afternoon, a story (this work 1987 work by Michael Joyce has also been touted as the first work of electronic literature)
• Digital poetry
• E-book#History
• Electronic literature
• Hypertext fiction

• Judy Malloy website
• Art California Web
• Issues of Arts Wire Current at the Wayback Machine (archived November 30, 2001)