Constance DeJong

Constance DeJong is an artist and writer who has worked for thirty years on narrative form within the context of avant-garde music and contemporary art. Considered one of the progenitors of media art, or “time-based media,” DeJong shapes her intricate narrative form through performances, audio installations, print texts, electronic objects, and video works. Since the 1980s, DeJong has collaborated with Phillip Glass, Tony Oursler, and the Builders Association on performances and videos at Walker Art Museum, Minneapolis (US), the Wexner Center (Columbus, US), Philadelphia Museum of Art (US), and in New York, at The Kitchen, Thread Waxing Space, the Whitney Museum of American Art, and the Dia Center for the Arts. Her books include I.T.I.L.O.E. and SpeakChamber, and her work is included in the anthologies Up is Up, But So is Down: New York’s Downtown Literary Scene, 1974–1991 (NYU Press, 2006); Blasted Allegories (New Museum/MIT, 1987); and Wild History (Tanam Press, 1985).

Her work has recently been exhibited at the Scottsdale Museum of Contemporary Art (Arizona, US), the Fisher Landau Center for Art (Long Island City, US), the New Mexico Museum of Art (Santa Fe, US), the Museum of Fine Arts, Museum of New Mexico (Santa Fe, US), the Tucson Museum of Art (Arizona, US), the Albuquerque Museum, (New Mexico, US), and the University Art Museum, University of New Mexico (Albuquerque, US), amongst others. 

DeJong's work is part of the collections of the Fisher-Landau Center (Long Island City, US), The Albright-Knox Art Gallery (Buffalo, US), the Mulvane Art Museum, Washburn University (Topeka, US), the Museum of Fine Arts (Santa Fe, US), the Albuquerque Museum (New Mexico, US), the Fine Arts Museum, University of New Mexico (Albuquerque, US), the Scottsdale Museum of Contemporary Art (Arizona, US), and the Clay Center for Arts and Sciences (West Virginia, US).

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