Press Highlights

UT Landmarks to Unveil Large-scale Digital installation by Jennifer Steinkamp
Jeanne Claire van Ryzin, Sightlines, 24 July 2020
"A permanent installation, “Eon” takes its inspiration from the concept of symbiosis, recognized by scientists as a key component of evolution. In Steinkamp’s installation, a looping one-minute digital video, biomorphic shapes undulate across the screen, punctuating an aqueous backdrop with bursts of pink, yellow, and multicolored fragments. Once installed, “Eon” can be viewed through Welch Hall’s glass façade on Speedway, until the building reopens when classes at UT resume."

UT Austin's Landmarks Commissions Jennifer Steinkamp for New Public Work
Christopher Blay, Glasstire, 27 July 2020
"Steinkamp is widely credited as a pioneering digital artist; her computer-generated environments explore architecture, nature, and the passage of time. In Texas, Steinkamp’s work has been seen most recently in Jennifer Steinkamp: The Seasons at the Museum of Fine Arts Houston (January 2019), and Womb, at Talley Dunn Gallery in Dallas (October 2019). Steinkamp’s immersive installations “transform the spaces in which they are sited into hyperreal, simulated natural worlds that blur the line between biological and virtual.'"

Celebrating EON: A Virtual Q & A with Jennifer Steinkamp 
Glasstire, September 2020
“Landmarks, the public art program of The University of Texas at Austin, celebrates the opening of its newest commission, “EON,” a large-scale digital installation by artist Jennifer Steinkamp. Please join us via Zoom on Thursday, September 10 at 4:30 PM CST for a discussion between Steinkamp and curatorial contributor Rudolf Frieling, with opening remarks from Landmarks director Andrée Bober and College of Natural Sciences Dean Paul M. Goldbart."

UT Austin Unveils Digital Artwork on Symbiosis
Menachem Wecker, Rough Sketch, 1 September 2020
"When Andrée Bober commissioned Jennifer Steinkamp to create an artwork for a University of Texas at Austin building in 2018, neither the founder and director of UT’s public art program Landmarks nor the Los Angeles-based artist could have known how prescient the work would prove two years later.

The university sets aside between 1 and 2 percent of capital improvement funds for Landmarks, and the new work was to be located in the newly-renovated Welch Hall, part of the natural sciences college. Bober knew visitors would see the work from the main campus pedestrian walkway, and the college asked that natural sciences inform the artwork."

The Lone Star State Gets a Singular Artwork
Architectural Digest, 18 September 2020
"Landmarks, the public art program of the University of Texas at Austinhas announced its commision of a new work by artist Jennifer Steinkamp. 'I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria,' Steinkamp comments to AD PRO."

A Conversation with Jennifer Steinkamp
Sculpture Magazine, 11 September 2020
"Steinkamp's newest work, Eon, is the latest to join the Landmarks public art collection at the University of Texas at Austin. Thirty feet long and nine feet high, the digital LED projection, on display in the lobby of the College of Natural Sciences, immerses viewers in an underwater flow of primordial life."

New Landmarks Installation Is an Ode to Evolutionary Science
Alcalde, 2 November 2020
"Steinkamp, known for her digital work using computer-generated animation, brings these 3D movements to life for the first time in her 30-by-9-foot LED display installation in the newly renovated Welch Hall’s glass façade on Speedway. Eon marks the 45th work commissioned by the university’s public art program, Landmarks, whose collection includes James Turrell’s The Color Inside, Nancy Rubin’s Monochrome for Austin, and José Parlá’s Amistad America."

See this art: UT installs enveloping video 'Eon'
Austin American Statesman, 29 September 2020
"Eon is like a big public aquarium tank or a picture window into an underwater cosmos. Mind you, those were this individual viewer’s strong impressions. There is nothing definitively aqueous or organic in Steinkamp’s art. Rather, at times it feels non-specific, almost abstract.

Despite all the movement, Eon is calming, reflective. Austin is lucky to have it. Steinkamp has installed luscious videos all over the world, including locales in London, Istanbul, Las Vegas, New York, Los Angeles and Guangzhou, China."