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Edited: June 22, 2023
Lindsay Howard
Lindsay has white skin, light brown hair and blue eyes, and is leaning with her head on her right hand. She’s wearing a black jacket with a collar.

Lindsay has white skin, light brown hair and blue eyes, and is leaning with her head on her right hand. She’s wearing a black jacket with a collar.

Pronouns
She/her
Date and place of birth
b. 1985
Current location
New York, NY
Year(s) of residency and/or fellowship
2020, Rapid Response Fellow; 2012–13, Curatorial Fellow

Lindsay Howard is a distinguished American curator, writer, and new media scholar based in New York City whose work explores how the internet is shaping art and culture. 

Her exhibitions focus on social dynamics and aesthetics within online communities, as well as transparency, hacktivism, and collaborations between artists and technologists

She founded 319 Scholes’ exhibition program, featuring Petra Cortright, Ryan Trecartin, Eva & Franco Mattes, Hannah Perry, Bunny Rogers, and many other notable Post-Internet artists. She brought digital art communities like F.A.T. Lab, Ryder Ripps’ Dump.fm, and feminist collective Deep Lab into physical exhibitions. She curated Phillips’ first digital art auctions, which established pieces like art websites and viral YouTube videos as fine art and set public pricing records. She produced a New Museum and Nokia Bell Labs residency, pairing artists with Nobel-prize winning scientists and engineers, to commemorate the 50th anniversary of the Experiments in Art and Technology (E.A.T.) program. 

Howard serves on the board of Rhizome, an organization that champions born-digital art and culture. In 2021, Fortune recognized her as one of the top 50 influencers in the NFT space.

While at Eyebeam, she researched mutual-aid strategies with her fellowship collaborator Ares Geovanos.

Exhibition, Eyebeam Resurfaces: The Future of The Digital Archive, (January 8th – 12th, 2013)

Curated by Lindsay Howard and Jonathan “Jae” Minard

On October 30, 2012, Hurricane Sandy hit New York City, causing a record storm surge to sweep through Eyebeam, leaving behind three and a half feet of saltwater mixed with sewage and corrosives. In a single day, the flood claimed over $250,000 worth of equipment, computers, furniture, and books. Among the wreckage was Eyebeam’s archive of analog and digital media, chronicling the organization’s fifteen years of experimental art and technology. Through an emergency plea on social media, Eyebeam mobilized a team of digital media conservators and volunteers from the community to stabilize and preserve these artifacts. 

Eyebeam Resurfaces: The Future of the Digital Archive is an examination of this community–led recovery effort, bringing together a lineup of lectures and workshops, a documentary film screening, and an exhibition of selected works salvaged from the collection. After reviewing over 1,500 recovered DVDs, VHS cassettes, Mini DVs, and digital storage media, curators Lindsay Howard and Jonathan Minard have selected the most unexpected, exciting, and rare materials from the archive to feature in a multi–channel exhibition. These selections include work by artists, programmers, and creative technologists, made during residencies and fellowships and featuring documentation of the creative process, historical footage of artists and former staff members, as well as fragments of completed artworks. These works showcase a range of mediums, from net art to interactive performance works, from immersive installations to video game art and theory – collectively marking major touchstones in Eyebeam’s history.

The exhibition celebrated the organization’s incredible history and recovery effort, while engaging in a critical conversation about long–term strategies for digital preservation, institutional memory, and disaster preparedness. 

Works by such Eyebeam alumni as Cory Arcangel, Alexander Galloway, Isaac Julian, Golan Levin, Zach Lieberman, LoVid, Mariko Mori, and Tony Oursler were screened throughout the week. 

Eyebeam models a new approach to artist-led creation for the public good; we are a non-profit that provides significant professional support and money to exceptional artists for the realization of important ideas that wouldn’t exist otherwise. Nobody else is doing this.

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