Elizabeth King combines figurative sculpture with stop-frame animation in works that blur the boundary between actual and virtual object. Intimate in scale and made to solicit close looking, her work reflects her interest in the history of the puppet, the automaton, the medical model, and literature’s host of legends in which the artificial figure comes to life. She asks, “What is the figure in sculpture now? The representation of the body and its life: can I absorb the news from biotechnology and cognitive science but keep art’s ancient pact with theater?”
Her work is represented by Danese/Corey in New York, and is in permanent collections nationwide including the Hirshhorn Museum, the Los Angeles County Museum of Art, the Hood Museum of Dartmouth, the Museum of Fine Arts in Houston, the Virginia Museum of Fine Arts, and the Metropolitan Museum of Art in New York. Awards for her work include a 2014 Anonymous Was a Woman Award, a 2006 Academy Award in Art from the American Academy of Arts and Letters, a 2002 Guggenheim Fellowship, and a 1996-97 Fellowship in the Visual Arts at the Mary Ingraham Bunting Institute, now the Radcliffe Institute for Advanced Study at Harvard University. She was Artist-in-Residence at Dartmouth College in the spring of 2008.
A retrospective exhibition entitled “The Sizes of Things in the Mind’s Eye,” curated by Ashley Kistler, traveled to five museums and art centers in the U.S. between 2007 and 2009. Upcoming solo shows of her work are scheduled at Danese/Corey in September 2015 and at the Massachusetts Museum of Contemporary Art (MASS MoCA) in 2017.
Her book, Attention’s Loop (A Sculptor’s Reverie on the Coexistence of Substance and Spirit) was published by Harry Abrams in 1999. She is currently finishing a second book with co-author W. David Todd of the Smithsonian Institution: a study of a Renaissance automaton in the Smithsonian collection and the legend behind it, entitled A Machine, a Ghost, and a Prayer: The Story of a Sixteenth-Century Mechanical Monk. The monk is the subject of a shorter essay, “Perpetual Devotion: A Sixteenth-Century Machine That Prays” included in the 2007 volume Genesis Redux: Essays in the History and Philosophy of Artificial Life edited by Jessica Riskin (University of Chicago Press).
She has taught in the Department of Sculpture and Extended Media at Virginia Commonwealth University since 1985.