George Gessert has a BA from the University of California, Berkeley, and an MA in fine art from the University of Wisconsin, Madison. From 1985 to the present his work has focused on the overlap between art and genetics. He hybridizes irises, streptocarpuses, and other plants, documents breeding projects, and produces installations of hybrids. He has exhibited at New Langton Arts, the San Francisco Exploratorium, the Smithsonian Institution, Exit Art (New York), The Science Museum (London), Le Lieu Unique (Nantes, France), and elsewhere. His writings have been widely published. He is currently Leonardo magazine's editor for art and biology.


Anthropocentrism and Genetic Art

Most contemporary art reinforces anthropocentrism by focusing on the human figure, exploring technology as an extension of the body, or by using signs and artifacts to express exclusively human concerns. Much genetic art is no different. What are the implications of taking an anthropocentric approach to art, especially when the medium is alive, and nonhuman? Are there alternatives, and if so, what are they?