Judd Morrissey is a writer and code artist who creates poetic systems across a range of platforms incorporating electronic writing, internet art, live performance, and augmented reality. He is the creator of digital literary works including The Precession: An 80 Foot Long Internet Art Performance Poem (2011), The Last Performance [dot org] (Electronic Literature Collection Vol.2, 2011), The Jew's Daughter (Electronic Literature Collection Vol.1, 2006), and My Name is Captain, Captain (Eastgate Systems, 2002). He is a recipient of a Creative Capital / Andy Warhol Foundation Arts Writers Grant, a Fulbright Scholar’s Award in Digital Culture, and a Mellon Foundation Collaborative Fellowship for Arts Practice and Scholarship.
Judd is an Associate Professor at the School of the Art Institute of Chicago in Art and Technology Studies and Writing. From 2006-2009, he worked with the seminal performance group, Goat Island. In 2012, he co-founded the collective Anatomical Theatres of Mixed Reality (ATOM-r). The group are currently working in-residence at the Graham Foundation for Advanced Studies in the Fine Arts. They have created two large-scale projects, The Operature (2014), and Kjell Theøry (2017).
Anatomical Theatres of Mixed Reality (ATOM-R) explores 21st century embodiment through performance, poetics, and emerging technologies. The work mixes the live body with ubiquitous computing through, most notably through an implementation of Augmented Reality (AR) in which virtual content is overlaid onto bodies and spaces. ATOM-r was conceived in the image of early modern anatomical theatres, small amphitheaters built for viewing human autopsies and surgical procedures. The collective uses this architecture symbolically to explore the altered and technologically augmented body, to dissect queer histories, and reveal embodied personal narratives.
Judd's solo and collobarative works have been included in a broad range of festivals, conferences and exhibitions at venues including the Victoria and Albert Museum (London), Chisenhale Dance Space (London), Venuše ve Švehlovce (Prague), Centro de Arte Contemporáneo (Buenos Aires), Zero1 Garage (San Jose), Eyebeam (NYC), Le Cube (Paris), Casa das Caldeiras (Coimbra), Anatomy Theater & Museum (London), Performing House (York), Center of Contemporary Culture Barcelona, Museum of Contemporary Art Chicago, Landmark Kunsthalle (Bergen), House of World Cultures (Berlin), Teatre & TD (Zagreb), and the Chicago Cultural Center. His work has been the subject of numerous critical studies and reviews have appeared in the New York Times, The New Republic, RAINTAXI, and the Iowa Review.