Mary Flanagan

Grace: AI (2019) is a Feminist AI system trained to "see" by processing a dataset of tens of thousands of paintings and drawings by women artists. In Grace's origin story she first examines thousands of images of Mary Shelley's monster, Frankenstein, and then applies her learning of a female art history to the creation of portraits of her "father figure".[21] The work first premiered in the exhibition "A Question of Intelligence" at The Sheila C. Johnson Design Center, Parsons, New York, Feb-April 2020.

help me know the truth (2016) is an interactive exhibit based on the idea that everyone is constantly judging others at the same time that they are aware others are judging them. Participants would take their own pictures that would then be used in the exhibit. They would be given two slightly altered images to choose from in order to match a given word. The work used computational neuroscience to show how beliefs people have about facial features can be related to culture and identity.[22] The work received the Award of Distinction at the 2018 Prix Ars Electronica.

borders is a 2009 video series documenting psychogeographic walks in virtual spaces around “virtual” historical sites. They are shown on monitors and projected in gallery space. The work explores borders geographically, politically, and conceptually. The walks in [borders] are beautiful, and, as though we were transported directly into Thoreau's walking shoes, one can "glimpse Elysium,” but only as Thoreau might have: Whilst walking along, surveying the boundaries and divisions. In following virtual property lines, the walker becomes stuck in stones, sent underwater, and literally teeters at the edge of the world, thus exposing the algorithmic nature of the rendering of landscape and the invisible disruptions in a seamless world. [borders] has since been exhibited in several locations including the Museum of Art, Architecture and Technology in Lisbon, Portugal in October 2019, the Museum of Fine Arts in Cologne from 2017 to 2018, and the Electronic Language International Festival in 2014.

xyz (2009) combined Flanagan's interests in virtual environments and interactive writing, allows participants to build poetry in 2 dimensional game worlds. Player-writers navigate three different worlds, each representing one axis and containing 1/3 of a larger text. As the players construct stanzas they are projected onto a central screen combining the three disparate texts into one new work.

[collection] uses downloadable software to scan users' hard drives, glean random files, and store the collected information on a shared server. The combined data is then displayed, creating what has been described as a virtual networked collective unconscious. It has been featured in Sydney, Barcelona, and in the 2002 Whitney Biennial.[23]

[domestic] (2003) is a modification of the first person shooter game Unreal Tournament 2003. Combining elements of digital narrative and video game play, Flanagan uses the games engine to create a home-like environment that conveys images relating to a significant childhood memory of hers. On her way home from church in her hometown in rural Wisconsin, she noticed smoke coming from her family's house. She frantically raced toward it, knowing her father was inside. The work suggest internal turmoil rather than outward aggression by replacing physical battles with psychological ones.[24] The work is featured in the book New Media Art.[25]

[giantJoystick] (2006) is a ten-foot-tall working joystick designed for collaborative play of Atari 2600 games. Among other exhibitions, it has appeared in the 2007 Feedback show at the Laboral Art Center, Spain[26] and at the Beall Center in Los Angeles. Giant Joystick is now part of the permanent collection at ZKM.[27]

In 2018, Flanagan exhibited what she refers to as a "computational collaboration,"[28] which was an installation piece done with computer software and a projector. The software, developed by Flanagan herself, was able to combine the poems of French surrealist artist Dora Maar with her own. Maar's poems would start on the left and Flanagan's on the right, then the software would merge the poems together to create new ones with different meanings than they had originally. Flanagan describes this process as a way to collaborate with the late Dora Maar.