JUNE WAYNE・Art & ScienceThe Terrestrial WorksSurveillance & Artificial Intelligence “The human tragedy is said to derive from the ability to understand our own mortality, but such understanding seems inadequate to the fantastic scale of depersonalized data crowding in upon us.” — June Wayne, 1976, as quoted in Arlene Raven,“June Wayne, A Retrospective”, Neuberger Museum of Art, 1997. Slip Stream “The Visa idea is based on the fact that a fingerprint is unique to each of us, and therefore makes it easier to hunt us down. They derive from my own fingerprints, but I changed them because I didn’t want anyone to be able to catch me.” — June Wayne, “A Catalogue Raisonné 1936-2006, The Art of Everything” by Robert P. Conway Barcelona Wave State II White Visa Goodbye July Wave “The fingerprint imprisons us a priori as far as the state is concerned. I was aware of and frightened by the Hitler era.” — June Wayne, from “A Catalogue Raisonné 1936-2006 The Art of Everything” by Robert P. Conway “Based on images of Wayne’s own fingerprints, the works speak of the genetic uniqueness of this tiny part of the human body. Fingerprints have also been used to identify hunted people, a very sensitive issue for a woman of Jewish heritage. Wayne magnified the image of the fingerprint significantly so that, in macrocosmic terms, “it would loom up like a planet.” — Jay Belloli, Catalogue Essay “June Wayne Paintings, Prints, and Tapestries, Pasadena Museum of California Art, 2014. Time Visa Visa Midnight Wave ⟵ Back to JUNE WAYNE ∙ Art & Science The Terrestrial Works See also: JUNE WAYNE ∙ Art & Science The Celestial Works