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multi-dimensional imagery… ellen sandor (art) 35 West 33rd Street, Chicago, IL 60616 Illinois Institute of Technology Kemper Room Gallery,Art Paul V. GalvinLibrary November 9, 20, 2006–January 2007 …3D pixels realized 1982–2006

ellen sandor (art)n Acknowledgements

I would like to thank the numerous individuals, institutions and collaborators over the years for all of their help and sup- port; your contributions enriched the content and technology of PHSColograms for over two decades. For art @ IIT, I’d like to thank Illinois Institute of Technology President Lew Collens, IIT Art Board Chair Judith Carr, Paul V. Galvin Library Dean Christopher Stewart, and Robert J. Krawczyk, Gallery Director and Curator and Associate Professor, College of Architecture, for their support and contributions. I would also like to thank the craftsmen and artisans at Acrylic Design, Gamma Photo Labs, IPP Lithocolor, K&S Photographics, National Graphx and Imaging (National Photo), Rapid Copy & Duplicating Co., Ross Ehlert Photo Labs, and Spectrum Color for their tireless effort and assistance through the years. A special thanks to Bud Lifton for his substantial support in the early years. Special thanks to Michel Ségard and Janine Fron for their contributions to the catalogue. A very special thanks to Chris Kemp for all of his hard work and dedication on the exhibition and the catalogue. With special love and appreciation to Richard, Julie and Penya Sandor; Jack, Elijah and Justine Ludden; Eric, Caleb, and Oscar Taub; Jeffrey Simon; and Rick and Joanne Ferina. Cover Photo Credits Front Cover Ellen Sandor Composite image based on PET Study I: Man Ray/Electricité and PET Study II: Man Ray/Picabia Imitating Balzac (both from 2003). Ellen Sandor, Keith Miller, Janine Fron and Jack Ludden, (art)n; Jim Strommer, Digital Media Group, Department of Molecular and Medical Pharmacology, UCLA School of Medicine. Each image originally a 30”x40” Digital PHSCologram made with Duratrans, Kodalith, and Plexiglas. (See Exhibition Checklist numbers 13 and 14.)

Back Cover Have a Nice Day (2002) Martyl; Ellen Sandor, Keith Miller, Pete Latrofa and Janine Fron, (art)n. 40”x30” Institution Web Sites Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 12.) www.artn.com art.iit.edu Opposite The Other Window: Distortion ‘06 (2006) Catalog design by Michel Ségard Jim Zanzi, The School of the Art Institute of Chicago ; Ellen Sandor, (art)n. Special thanks to Janine Fron and Lisa Stone. n © 2006 Copyright Ellen Sandor and (art) . All rights reserved. 20”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Printed in the U.S.A. Checklist number 26.) Table of Contents About Ellen Sandor n Twenty-four Years of Innovation 1 Founding Artist & Director, (art) by Michel Ségard

Ellen Sandor is an internationally recognized multi- Multi-dimensional Imagery… 3 media artist and pioneer in digital media. Throughout 3D Pixels Realized* the 1970’s, she created mixed media environments by Robert J. Krawczyk and sculptures, and received an MFA from The School of the Art Institute of Chicago. Her passion for pho- The Art of Imaging the Future 5 tography, technology and outsider art inspired her to by Janine Fron invent a new methodology for producing art and a new medium of expression for the digital age. Since the early 1980’s, a large body of work has Exhibition Checklist 14 been produced under Sandor’s direction by the (art)n collective and numerous collaborators, with works Commissions, Collections, Selected in the permanent collection of museums and private Exhibitions, and Gallery Affiliations 23 patrons. She has co-authored papers by invitation for Computers & Graphics, IEEE and other publica- (art)n Contributing Artists and tions and has lectured in Europe, Canada and the Major Collaborators 24 United States. She is a former Collaborator/Associate Professor at the Department of Art and Design at the * This essay contains a technical description of College of Design, Iowa State University, co-founder how PHSColograms are made. of the Sandor Family Collection and a former Adjunct Associate Professor at the School of Art & Design at the University of Illinois at Chicago. Sandor remains an active member of the Chicago community and is the Chair of the Advisory Board of the Gene Siskel Film Center of the School of the Art Institute of Chicago. She is on the Board of Directors of Ox-Bow, Lawyers for the Creative Arts, and the Board of Governors of the School of the Art Institute of Chicago. Embarkation, Three Rivers (2006) Michael Dunbar; Ellen Sandor, (art)n. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 20.) Twenty-four Years of Innovation

It has been 24 years since I first saw the work of Ellen Sandor Work on this project (for which I served as an advisor) helped to and her 3D imagery. I had the privilege of writing the first article establish how best to present (art)n’s imagery on the Web. This about this work—a 1983 essay in Nit & Wit, a Chicago art and step helped facilitate a multitude of collaborations in the 1990s culture magazine. At that time Ellen was putting together the col- between (art)n and major artists and institutions including: the laborative group that would evolve into the studio/collective we Cranbrook Institute of Science, Charles Csuri of The Ohio State now know as (art)n. In creating this group, her guiding principle University, Phillipe Paul Froesch, animator Chris Landreth, Thomas was and is, in her words, “Art saves and tough art really saves.” J. McLeisch, Ed Paschke, Picker International, Miroslaw Rogala, An MFA graduate in sculpture of the School of the Art Institute the Scripps Research Institute, and the Shoah Visual History of Chicago, her early work was mostly in neon with strong aes- Foundation (to name only those represented in this exhibition). thetic and philosophical influences from Duchamp and Man Ray. Collaboration between art and technology has a rich, millenia- She also became interested in 3D photography when she and long heritage of innovation, especially in architecture. For example, her graduate advisor Jim Zanzi came across a collection of old the collaborations of Bruce Graham and Fazlur Khan produced 3D postcards. In 1982, Ellen completed a commis- the John Hancock Center and Sears Tower, both sion for an immersive environment for which she ground-breaking in the engineering and aesthetics created a large, 3D postcard using the barrier-strip of tall buildings. Even in (art)n’s early years, Ellen was autostereogram technology. committed to extensive, multidisciplinary collabora- In 1983, Ellen founded (art)n, and starting with tions to produce innovative results. One of my favor- this older, optical technology, she and her team com- ites was PHSCologram 1983, a ten-panel sculptural puterized and refined the 3D imaging process that installation, created when PHSColograms were still Ellen coined the PHSCologram medium. The team produced mechanically by photographing hand- included Stephan Meyers (who became a driving made dioramas. The 22-foot long piece was a col- force in the refinement of digital PHSColograms) laboration with contributions by Jim Zanzi, sculptor and Dan Sandin (one of the original developers of Gary Justis, video artist Mark Resch, sculptor Randy PHSColograms) and Tom DeFanti, both from the Johnson, and photographer Gina Uhlmann. Jerry Electronic Visualization Laboratory of the University August and others contributed additional technical of Illinois at Chicago, This technology, developed Venus at Sunset (1988) support. It integrated sculpture, 3D imagery, video, (See Exhibition Checklist during the height of holography’s popularity, has the number 3.) and sound to an extent not seen before. advantage of accepting input as digitally high-tech as Another significant sculptural collaboration is desired, yet only needing a low-tech output—a back- Townhouse Revisited from 1999. Included in this exhibi- lit, photographic transparency/line-screen laminate, mounted in a tion (Catalog Checklist number 18), the piece was spearheaded by light box containing ordinary fluorescent light bulbs. Ellen and her Thomas J. McLeish with Ellen, Fernando Orellana, Nichole Maury, team now had a medium that had a broad-based audience, was Todd Margolis, Pete Latrofa, and Janine Fron. It was an award win- high art, and was in-line with electronic visualization technologies. ning entry in the 1999 Graham Foundation Townhouse Revisited Now Ellen and (art)n were positioned to take advantage of the competition and was shown at SIGGRAPH the following year— communication technology explosion of the 1990s. In 1992, Janine another innovative use of the technology. The piece addresses Fron officially joined (art)n. As Creative Director, she designed issues of the body, public space and touch in the architecture of (art)n’s first web site that helped develop a broader audience for virtual reality. PHSColograms on the worldwide web. Later, Jack Ludden joined PHSColograms are an enormously flexible medium. They have the group and refined the site’s design and interface. Beginning been used not only to make art, but to make scientific images for in 1992, Jack and Janine were also one of the first in the U.S.  to digitize a private art collection (the Sandor Family Collection). Continued on page 9. Ryan’s Hand (2006) Chris Landreth, from the filmRyan , directed by Chris Landreth, produced by Copper Heart Entertainment and the National Film Board of Canada; Ellen Sandor, Chris Kemp, and Janine Fron, (art)n. 24”x20” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 27.)

 Multi-dimensional Imagery…3D Pixels Realized

The experience of seeing may not be everything it seems. to be seen from a particular angle. Each eye sees a slightly differ- Being led to see what you don’t is one of the roles of the artist. ent view of the subject, and the brain condenses these two views Suspending belief enables us to see more than there seems to be. into a three-dimensional image. As you scan across the image, the This can be accomplished by the content of a piece of art or the changing views from each column of the image further enhance medium used; or the combination of both. the three-dimensional effect. The canvas has served us well as a flat plane to capture the The (art)n group Sandor formed with her peers from The translation of our three-dimensional environment to a portable School of the Art Institute in 1983 created PHSColograms that medium. Visual illusionary constructions of perspective attempted were based on photographs of hand-built models. The camera to better represent the third dimension as did the simple layering was large enough to hold a negative at least 48 inches square. A of paint, collage and the adding of sculptural elements to break barrier screen was placed on top of the film, and multiple expo- the flatness of this plane. Even irregular configurations of edge sures, usually nine, were taken of the subject. After each exposure, attempted to break the natural boundaries of this medium. the camera and the subject were each moved so that light would Photography, the actual capture of three-dimensional reality, pass thorough the barrier screen at a different angle onto the film; evolved into holography which is a “lensless pho- thus the film was exposed in strips corresponding tography” in which an image is captured not as to the ones on the barrier screen. Each exposure an image focused on film, but as an interference took 45 minutes and each PHSCologram took pattern at the film. almost 7 hours to photograph. The digital further expanded the visual by being Computer/Camera PHSColograms were next able first to model any environment or object, real produced using the process described above to or imagery, and then displaying single instances photograph an image displayed on a computer or a series of instances in rapid succession from monitor. In addition to moving the camera and the any viewpoint. Adding stereography enhanced the monitor after each exposure, the image on the embedded third dimension by creating the illusion monitor was programmed to display an angle and of depth by presenting a slightly different image to Nanoscape II: Viral perspective corresponding to the view revealed each eye. Assembly (1999) by the barrier screen. What happens when a number of these meth- (See Exhibition Checklist By 1990, PHSColograms became a digital ods are combined into a single medium; a medium number 10.) photographic process, by simulating the early that is a combination of a transformed image plus darkroom technique with other features com- the physical properties of canvas itself? Can the image be liberated mon to the computer graphics industry. PHSCologram imagery from the flat plane it appears on? And if it can, what is added to is constructed from sculpting objects with a computer graph- our visual experience? ics software application. These objects are textured and then The PHSCologram term, coined in 1983 by Ellen Sandor, is placed in a scene with lighting and other special effects. Once an acronym for photography, holography, sculpture and computer the digital scene is complete, a series of as many as 65 imag- graphics. A PHSCologram, pronounced skol-o-gram, is made by es are photographed in (art)n’s proprietary art software. These dividing slightly different views of one subject into thousands of snapshots are captured at slightly different positions across a very thin vertical columns. These columns are interleaved to make horizontal plane and combined on the computer for final output a single image, which is then laminated onto the back of a Plexiglas to transparent film. (art)n’s software also generates a matching panel. A black film with thin clear vertical lines called a barrier linescreen to interpret the final mounted photograph as a three- screen is laminated onto the front of the panel. The slits in the bar- dimensional sculpture. riers screen allow the columns from only one of the original views  Continued on page 12. Towers and Bridges: Brooklyn Bridge (2006) Miroslaw Rogala; Ellen Sandor and Nick Gaul, (art)n. Special thanks to Janine Fron and Outerpretation Inc. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 19.)

 The Art of Imaging the Future

For more than two decades, Ellen Sandor, an internation- Further he commented on one of the science pieces, “I wish I ally recognized multimedia artist and renowned collector of could see a hard-edged abstract painting look that fantastic. Not photography with her family collection, has created new inroads very often.” for women to both fully realize and harness their own history, The IIT campus was once home to (art)n in the Chemistry whether artist, scientist or historian. She has successfully cultivated Department during the mid-1980’s through the early 1990s, cross-disciplinary, cross-cultural, and cross-media relationships where much innovation took place, including development of the with pioneering peers in their respective fields, not only popular- medium for medical applications, printing PHSColograms from the izing mainstream concepts like collaboration and science and art, virtual reality CAVE and influencing cyberspace with the launch of but actually inventing the tableaux for these ideas to permeate its popular web site in 1993. (art)n has been featured in more the digital domain before they became transparent parts of our than 150 group exhibitions, including nine major traveling shows, contemporary society. complemented by thirteen unique surveys of new works and ret- Drawing on pivotal works in the collection by Man Ray, rospectives, collectively organized in North and South America, Moholy-Nagy, and Marcel Duchamp, their process oriented works Europe, Asia, Africa, and Australia. combined with Chicago’s rich Modernist history, against the back- Karen Sinsheimer, Curator of Photography at the Santa Barbara drop of the Post-Modernist gestalt of the high art world dur- Museum of Art commissioned (art)n to create an interactive ing the 1980’s inspired Sandor to change the way we experience PHSCologram sculpture with scientists from the Scripps Research art as process, visual encounter, visceral experience and powerful Institute for a landmark exhibition themed around art and science, mode of expression for collective exploration, compassion and continuing the museum’s history from a previous show curated by tolerance. (art)n’s body of work creatively challenges and inspires. John Szarkowski in 1967. Sinsheimer noted in an article published The individual images confront people to question beauty, myth, in a Spring 1998 issue of DOUBLETAKE: imagination and truth. Philosophers, ethicists, science fiction writers, poets, and- art Hudson director of Feature Inc. in Chicago and New York rep- ists already have begun to think about the possibilities, to help resented Post-Modern artists when they were emergent within us interpret, understand, and expand our ’seeing’ to incorporate their careers. In a 1987 essay he speculated: these once-mysterious and invisible structures of our being. And, A look at art’s recent buzzwords identifies our reorientation: sim- within science itself, the seeing—the new eminent photographer ulation, appropriation, deconstruction, reification, contextualiza- Berenice Abbott wrote: “There needs to be a friendly interpreter tion, suspension, conflate, signify, collapse, rupture. And the over- between science and the layman. I believe that photography can view of this decade’s most critically regarded art-works by Prince, be this spokesman, as no other form of expression can be; for Sherman, Levine, Charlesworth, Lawler, Kruger, Welling, Brauntuch photography, the art of our time, the mechanical, scientific medium and Koons reveals this common ground-the examination of text/ which matches the pace and character of our era, is attuned to the subject, believability/fakery, and authority/multiplicity. function. There is an essential unity between photography, science’s Hudson acknowledged, child, and science, the parent.” (art)n’s PHSColograms participate in this dialogue regarding the As a multi-dimensional photographer and inventor, Sandor new reality. They present images that are not only more real and has broken new ground with her conceptual blending of process believable than those found in traditional photography, but also and content to preserve and record parts of history that would even more fabricated and fake. As with the works by the semi- otherwise be forgotten from our collective conscious. By simul- n nal artists already mentioned, the life of art is dependent upon taneously striating the past with the future, (art) ’s body of work the willingness of the viewer to suspend his/her orientation and resembles what Alfred Stieglitz once used to describe his show- play both in the believability of lies and the falsehoods appearing ings, “a laboratory of ideas,” and are visual evidence of C.P. Snow’s  true-to-life. Continued on page 6. The Art of Imaging the Future Continued from page 5.

“Third Culture.” The scientists of the Third Culture are, as Stephen layered images have been taken in the name of science. They reside Jay Gould wrote, “geniuses acting more as artists than as informa- in laboratories and doctor’s offices around the globe. Although tion processors.” The artists, scientists and poets who make up the they have been made for the purpose of preserving, rather than Third Culture are inspired by similar questions of cultural, philo- giving up the “essence of life,” it is humbling to know how closely sophical, religious, moral, and artistic ramifications. we can inspect life’s origins and inner workings. More recently, (art)n was commissioned and included in a criti- In another review of the exhibition for SEED magazine, Chantal cal exhibition at the International Center of Photography in New Martineau stated, York, curated by Carol Squires. Roberta Smith, art critic for The (art)n is responsible for the three artist-generated pieces in the New York Times heralded the show as “extraordinarily beautiful” show. These images force a certain duality on the viewer. But it’s and “remarkably intimate.” (art)n’s series of PET Study images were more than their artistic value that strips them of their objective prominently featured, and continued to travel on loan from the cloak—it is their very nature… Whether or not it is here that museum for “Visionary Anatomies,” curated by J.D. Talasek at the the lines crossing science and art are thickest, it is certainly an National Academies in Washington D.C. The show also included area where their intersection is of significant value. Public access works by Frederick Sommer, Mark and Doug Starn, and Richard to such amplified images of the body may or may not reinforce Yarde. the sentimentality we feel about our physical selves. The greater Carol Squires explained: impact of this showcase, however, lies in the recognition that the “The manner in which (art)n builds up the multiple layers of the techniques capable of reducing our bodies to numerical data can sculpture echoes in reverse the way that scanning technologies also elevate them to interpretive art. deconstruct the body as a series of planes. For positron emission In addition to examining the human body as a biological being, tomography, or PET scans, which allow scientists to explore disease (art)n also addressed the complexity of human expression within at the molecular level in a living patient, a subject is injected with a the virtual world. Critics and curators are beginning to recontex- tracer labeled with short-lived, radioactive pharmaceuticals.” tualize Post-Modern works by Mariko Mori, Charles Ray, and Jeff The influence of drawing on the Sandor Family Collection and Koons, an early assistant to Chicago Imagist painter Ed Paschke. the history of photography as both process and story in these In October 2004, Robert Rosenblum noted in ARTFORUM works is properly acknowledged by Squires. She continues, INTERNATIONAL, the concept of “Post Human” was virtually But by using the Picabia portrait, (art)n also pointedly includes a a manifesto trumpeting a new art for a new breed of human. third concept about the layering and reproduction of the human (art)n’s work with the Chicago Imagists (Ed Paschke, Karl Wirsum, form. In the photograph, the bare-chested artist is said to be imi- Roger Brown, Mr. Imagination, and Robert Lostutter) and Chris tating the virile posture of Auguste Rodin’s sculpture, Monument Landreth, Academy Award winning director for best animated to Balzac (1897-98), a massive portrait of the famed French nov- short, ultimately explores the semiotics of the virtual human and elist. The portrait photographer Nadar wrote in a memoir that what it means to transcend the shortcomings of Post-Modernism. Balzac was afraid to have his picture taken because he believed Sandor’s vision is a beacon of hope for future generations to make that “all physical bodies are made up entirely of layers of ghostlike their own history, with curiosity and respect for the past. ART images, an infinite number of leaflike skins laid on top of the other.” über-alles. Balzac also thought that man was incapable of “creating something from nothing [and]…concluded that every time someone had his Janine Fron n photograph taken, one of the spectral layers was removed from Janine Fron is a contributing artist and Creative Director of (art) , Managing the body and transferred to the photograph.” What one was giv- Director of the Sandor Family Collection and co-founder of Ludica. She is a past Associate Director of the Studio for Southern California History and Research ing up was “the very essence of life.” Although Balzac misperceived Associate and Program Manager at the Institute for Multimedia Literacy, the way a photographic image is made, his fear can be seen as Annenberg Center for Communication at the University of Southern California. a prescient vision of scientific capabilities. Millions of ghostlike-

 Blocking Play: Stopping an Allergic Response at the Molecular Level (2005) Ellen Sandor, Nick Gaul and Janine Fron, (art)n. Frank Axe and Hui Cai, J&JPRD; Mike Randal, Sunesis Pharmaceuticals. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 15.)

 Egg Drop (2002) Karl Wirsum; Ellen Sandor, Pete Latrofa, Keith Miller, Fernando Orellana, Jack Ludden, and Janine Fron, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 31.)

 Twenty-four Years of Innovation viewer of the Tower of Babel and its consequences. (See Catalog Continued from page 1. Checklist number 19 and page 4.) Installations in public spaces are now a significant part of (art)n’s medicine, engineering, mathematics, molecular biology, and crys- body of work. Chicago’s Midway Airport houses a sculpture of tallography. The medium can render mathematical formulae into four PHSColograms as part of the Battle of Midway Memorial. works of art (such as Donna Cox’s Venus at Sunset), or it can bring Created in 2001, Fernando Orellana was one of (art)n’s major a high-tech edge to the work of more traditional painters (as seen contributors for this piece. In Washington, D.C., an installation in the pieces by Martyl, Robert Lostutter, Ed Paschke, and Karl of 20 contiguous PHSColograms illustrate the crystal structure Wirsum in this exhibition). Ellen has made sure that the technol- of NaCl in the The Smithsonian Institution National Museum of ogy is available to all disciplines. Natural History. Stephan Meyers was (art)n’s major contribu- PHSColograms can even incorporate limited animation. The tor to this piece. And in New York City, the Museum of Jewish first example is Ellen Test I, a 1985 collaborative effort led by Heritage third floor rotunda gallery contains a permanent instal- Dan Sandin along with Ellen, Gina Uhlmann and Tom DeFanti. In lation of a collage of 12 PHSColograms of historical and cultural it, several pinwheel shapes rotate as the viewing angle changes. artifacts from the Museum’s collection. Major contributors to this This piece was also the first PHSCologram image to be computer piece, commissioned by the museum, included Stephanie Barish generated. Chris Landreth’s 2006 Ryan’s Hand also incorporates from Steven Spielberg’s Survivors of the Shoah Visual History subtle animation. In an interesting aside, Marcel Duchamp (whose Foundation, Dr. Carolina Cruz-Neira and her team from Iowa thinking has so influenced Ellen) was the person who coined the State University, Cynthia Beth Rubin, and Miroslaw Rogala, along term “mobile” to describe Alexander Calder’s kinetic sculptures. with Janine Fron from (art)n. PHSColograms can now be seen Ellen has consistently recognized the intellectually and cultur- in more than 45 museums, institutions, and corporate collections ally intimate relationship between art and science. Since 2000, worldwide. In addition, eight major commissions, help to create cancer research and biochemistry have become significant topics significant public exposure. for (art)n’s imagery and the source of major collaborations with Ellen’s knack for blending art and science in PHSColograms has universities and biomedical corporations. The cover to this catalog captivated me, a physics student turned artist/designer, for more is based on two PHSColograms based on PET scans, one show- than two decades. Some 10 years ago, some colleagues and I were ing breast cancer, the other lung cancer. (See Catalog Checklist having dinner and discussing the idea of information as entertain- numbers 13 and 14.) This collaboration between (art)n and Jim ment. I submit that PHSColograms facilitate the presentation of Strommer (of the Digital Media Group, Department of Molecular information as art—an idea totally relevant to today that happens and Medical Pharmacology, UCLA School of Medicine) had sig- to predate Leonardo by at least 3,000 years. nificant input from (art)n’s Keith Miller. It turned medical data into art with a social message. A work with a more directly scien- Michel Ségard tific purpose is Blocking Play: Stopping an Allergic Response at the Michel Ségard is a former Adjunct Assistant Professor at the School of the Art Molecular Level. (See Catalog Checklist number 15 and page 7.) Institute of Chicago, Department of Art and Technology, and a former Curator of Done in collaboration with Frank Axe and Hui Cai, from J&JPRD, the KPMG Chicago Office Art Collection. He was also a Contributing Editor to n the New Art Examiner and has curated exhibitions and written and designed and Mike Randal of Sunesis Pharmaceuticals, (art) ’s Nick Gaul exhibition catalogs for more than 20 years. played a major role. But Ellen has not ignored pure art—as long as it is “tough.” This decade has seen (art)n produce PHSColograms with Michael Dunbar, Gero Gries, Robert Lostutter, Martyl, Mr. Imagination, Ed Paschke, Miroslaw Rogala, and Karl Wirsum, to mention only those included in this exhibition. For example, Rogala’s Towers and Bridges: Brooklyn Bridge deconstructs Joseph Stella’s Precisionist version of the same subject and updates it to a 21st century Time Square virtual experience sensibility, while subtly reminding the  Townhouse Revisited (1999) Thomas J. McLeish, Ellen Sandor, Fernando Orellana, Nichole Maury, Todd Margolis, and Janine Fron, (art)n. 25”x40”x10” Digital PHSCologram Sculpture. (See Exhibition Checklist number 18.)

A. Installation view (three-quarter) B. Top C. Front D. Right side E. Back F. Left side

B

A

C D E F

10 faccia d’ore: face of gold (2002) Ed Paschke; Ellen Sandor, Keith Miller, and Pete Latrofa, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 30.)

11 Multi-dimensional Imagery…3D Pixels Realized Continued from page 3.

This process of photographing computer-combined images on the computer that are visible with special viewing apparatus is a patented process. The PHSColograms in this exhibit, covering the period 1983 to the present, represent all the techniques developed over the years. The subject matter involves artistic and technical collabora- tions with scientists, mathematicians, engineers, architects, and art- ists. Each collaboration attempts to expand our visual experience; to better understand a technical aspect of the original imagery or to enhance the communication of the content and the artistic intent of the image. Invention in art to develop new ways we can experience it is critical, but the artist collaborations that Sandor and (art)n have made and continue to make are essential to fully enable new tech- nologies; this may be the greater of the two contributions to art she has made. Robert J. Krawczyk art @ IIT Illinois Institute of Technology

12 Two Hummingbirds (2006) Robert Lostutter; Ellen Sandor, and Nick Gaul, (art)n. Special thanks to Janine Fron. 40”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. (See Exhibition Checklist number 33.)

13 Exhibition Checklist

The Art of Science

1 – Ellen Test I (1985) Dan Sandin and Tom DeFanti, Electronic Visualization Lab, University of Illinois at Chicago; Ellen Sandor and Gina Uhlmann, (art)n. 11”x14” Computer/Camera PHSCologram, Kodak Fast Film, Kodalith, Plexiglas. 49”x42”x9” Sculpture of original camera 1985–1988. The first PHSCologram with digital content and animation in which a series of 13 images were photo- graphed off of a computer monitor, combined in the darkroom, and processed with Kodak Fast Film. In addition to moving the camera and the monitor after each exposure, the image on the monitor was programmed to display a perspective corresponding to the view revealed by the barrier screen.

2 – Lotus (1986) Donna Cox, George Francis and Ray Idaszak, NCSA, University of Illinois at Urbana-Champaign; Ellen Sandor, (art)n, Tom DeFanti and Dan Sandin, Electronic Visualization Lab, School of Art and Design, University of Illinois at Chicago. Special thanks to Larry Smarr, NCSA, University of Illinois at Urbana-Champaign. 11”x14” Computer/Camera PHSCologram, Cromalin, Kodalith, Plexiglas. A visualization of the Rhomboy Homotopy, a four-dimensional (up-down, left-right, front-back, and another, variable axis) object.

3 – Venus at Sunset (1988) Donna Cox, George Francis and Ray Idaszak, NCSA, University of Illinois at Urbana- Champaign Tom DeFanti and Dan Sandin, Electronic Visualization Lab, School of Art and Design, University of Illinois at Chicago; Ellen Sandor, (art)n. Special thanks to Larry Smarr, NCSA, University of Illinois at Urbana-Champaign. 11”x14” Computer/Camera PHSCologram, Cromalin, Kodalith, Plexiglas. A visualization of the Rhomboy Homotopy, a four-dimensional (up-down, left-right, front-back, and another, variable axis) object juxtaposed with a video image from nature.

14 4 – Stacked Julia Set (1989/1990) Dan Sandin and Tom DeFanti, Electronic Visualization Lab, School of Art and Design, University of Illinois at Chicago; Ellen Sandor and Stephan Meyers, (art)n. 20”x24” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. A progression of two-dimensional fractals stacked on top of one another like plates, forming a single three-dimensional fractal.

5 – Fourplay (1990) John Hart, University of Illinois, Urbana-Champaign ; Ellen Sandor and Stephan Meyers, (art)n . Special thanks to Dan Sandin and Tom DeFanti, Electronic Visualization Lab, School of Art and Design, University of Illinois at Chicago. 20”x24” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. A juxtaposition of four related fractals, each of which has a certain “four-ness” about it. The fractal in front is a “Quaternion Julia Set,” and in back we see the “Mandelbrot Set” and the “Complex Subset Julia Set.” A Julia Set is a sort of Strange Attractor. A Mandelbrot Set is an encyclopedia or map of all possible Julia Sets. This map is a fractal, and it may be the most complex shape in mathematics.

6 – Wondrous Spring (1993) Charles Csuri and Steve May, ACCAD, The Ohio State University; Ellen Sandor, Stephan Meyers, Janine Fron and Craig Ahmer, (art)n. 30”x30” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. A virtual still life of color and light. Sculptor George Segal came to Ohio to judge a regional art show, gave Csuri first prize and asked to meet him. They became friends and Segal later had Csuri pose for one of his famous plaster sculptures, The Diner.

7 – CT Angiography Head I (1994) Ken Freeman, Andy Skinner, and Jeff Granita, Picker International; Ellen Sandor, Stephan Meyers and Janine Fron, (art)n. 14”x17” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. The first PHSCologram created from a patient’s CT Angiography of the head, on a CT Scanner, with a catheter placed in the Carotid Artery. This allowed for direct injection of contrast material into the arteries of one hemisphere of the brain just prior to a Spiral CT scan. A Spiral Scan is one where the X-Ray beam describes a helix across the area of interest on the patient instead of discrete slices. In this way, a continuous seamless volume of data is gathered. 15 8 – Energy-Efficient Turbine Engine (1997) Ellen Sandor, Stephan Meyers and Janine Fron, (art)n; Dr. Mark Stewart, Mary Vickerman and Rich Rinehart, NASA Lewis Research Center; Mark Turner, GE Aircraft Engines Mark Celestina, NYMA. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Scientific visualization research is used to create simulations of more energy efficient turbine engines.

9 – Political Agenda (1999) Charles Csuri and Matthew Lewis, ACCAD, The Ohio State University; Ellen Sandor, Stephan Meyers, Janine Fron and Craig Ahmer, (art)n. 24”x20” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. In the Fine Arts Department at Ohio State, Csuri met teachers who were still involved with the ideas of the 19th Century. He became friends with a fellow student, Roy Lichtenstein, who had grown up near the Museum of Modern Art in New York with a sophisticated sense of the avant-garde, which Csuri began to soak up.

10 – Nanoscape II: Viral Assembly (1999) Arthur Olson, The Scripps Research Institute; Ellen Sandor, Fernando Orellana, Nichole Maury and Janine Fron, (art)n. 30”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. This image depicts the process of assembly of a poliovirus capsid. The viral capsid, or outer shell is com- posed of 60 copies each of four distinct protein subunits, which self-assemble into a spherical particle with the icosahedral symmetry of a soccer ball. The depiction shows the final pentameric sub-assembly (composed of 5 copies each of the 4 chains) docking to the almost complete shell. The coloring is radi- ally depth cued to emphasize the hills and valleys of the viruses outer surface.

11 – Cryptobiology: Reconstructing Identity (2001) Ellen Sandor, Keith Miller, Fernando Orellana and Janine Fron, (art)n; Kathleen Helm-Bychowski, DePaul University. Special thanks to Stephan Meyers. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. The glass DNA double helix in the foreground depicts type B DNA. This particular section was taken from the human DNA sequence coding for a protein called lysozyme. This enzyme breaks open the cell walls of some types of bacteria, and is part of our defense against infections. It was the first enzyme whose 3D structure was determined by X-ray crystallography. The sepia toned images in the back- ground and the vertical strips staggered throughout the image are actual images of DNA fingerprints.

16 12 – Have a Nice Day (2002) Martyl; Ellen Sandor, Keith Miller, Pete Latrofa and Janine Fron, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. A painterly mountainscape inspired by Martyl’s Tent Rocks looms in the background, ominously juxta- posed with Martyl’s “Doomsday Clock,” initially designed in 1947 as a magazine cover for the Bulletin of the Atomic Scientists. The clock is instantly recognized as a symbol of the nuclear arms race. Its relevance is of even more importance today, with rogue nations now admitting to possessing nuclear weapons, and recent increased terrorist activity.

13 – PET Study I: Man Ray/Electricité (2003) Ellen Sandor, Keith Miller, Janine Fron and Jack Ludden, (art)n; Jim Strommer, Digital Media Group, Department of Molecular and Medical Pharmacology, UCLA School of Medicine. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. A virtual sculpture of the female torso is embellished with a mass of malignant tissue in the right breast, illustrating a concentration of breast cancer. Working from a series of processed Positron Emission Tomography (PET) images that is recontextualized with graphic elements inspired by a nude rayograph from Man Ray’s Electricité portfolio.

14 – PET Study II: Man Ray/Picabia Imitating Balzac (2003) Ellen Sandor, Keith Miller, Janine Fron and Jack Ludden, (art)n; Jim Strommer, Digital Media Group, Department of Molecular and Medical Pharmacology, UCLA School of Medicine. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. A virtual sculpture of the male torso is maligned with lung cancer at the left apex, highlighted in a yel- lowish hue. Working from a series of processed Positron Emission Tomography (PET) images, inspired by Man Ray’s portrait of Francis Picabia, this piece shows a revolutionary way of looking at the human form. In the original photograph from 1923, Man Ray captured the Dadaist artist, Francis Picabia in a rare mo- ment, imitating Rodin’s 1895 Monument of Honoré de Balzac, the famous French novelist.

15 – Blocking Play: Stopping an Allergic Response at the Molecular Level (2005) Ellen Sandor, Nick Gaul and Janine Fron, (art)n; Frank Axe and Hui Cai, J&JPRD; Mike Randal, Sunesis Pharmaceuticals. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Inappropriate response of the immune system to antigens leads to diseases like rheumatoid arthritis, multiple sclerosis, lupus, and allergies such as hay fever, asthma and dermatitis. At the center of this image is a non-covalent inhibitor (blue molecule) in a binding pocket of a cysteine protease that modulates an- tigen presentation to T-cells. Drugs that inhibit proteolytic activity in this manner might curb the allergic response. ©2005 Johnson & Johnson Pharmaceutical Research & Development, L.L.C. (J&JPRD) 17 Virtual Architecture

16 – First Illusion About Antonio G. in New York, 1994 Philippe Paul Froesch; Ellen Sandor, Stephan Meyers, Janine Fron and Craig Ahmer, (art)n. 40”x24” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. A digitally reconstructed extract from the complete picture series, 12 Illusions about Antonio G. in NY. The original series contains images of architect Antonio Gaudi’s concept to construct a modernist skyscraper in New York City in 1908. The hotel should have been 1,017 feet (310 m) high, and would have competed with the luxurious Waldorf Astoria.

17 – Interior of a Barracks at Auschwitz-Birkenau (1995) Stephanie Barish, Survivors of the Shoah Visual History Foundation, USC; Ellen Sandor, Stephan Meyers and Janine Fron, (art)n. 40”x30” Digital PHSCologram, Kodalith, Plexiglas. An image processed, black-and-white rendering of a hand-drawn image of an interior architecture of a barracks at Auschwitz-Birkenau. This piece is part of a larger commissioned installation at the Museum of Jewish Heritage in New York City. The barracks triptych includes the same image in both full color and black and white image processed renderings. The images are a tribute to those who passed through these confines.

18 – Townhouse Revisited (1999) Thomas J. McLeish, Ellen Sandor, Fernando Orellana, Nichole Maury, Todd Margolis, and Janine Fron, (art)n. 25”x40”x10” Digital PHSCologram Sculpture. Townhouse Revisited addresses issues of the body, public space, and touch in the architecture of virtual reality. The work was created in response to such questions as: If hard matter and gravity offer no im- pediment in virtual reality, what then will meeting, working, and playing spaces look like there?

19 – Towers and Bridges: Brooklyn Bridge (2006) Miroslaw Rogala; Ellen Sandor and Nick Gaul, (art)n. Special thanks to Janine Fron and Outerpretation Inc. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Towers and Bridges: Brooklyn Bridge embraces the notions of virtualization, panorama, symbolism, scale, and interactivity to create three virtual towers. It is a metaphor for contemporary life for the individual to achieve greatness through his actions. A tower represents aspiration: it can always go higher. The destruction of a tower is the destruction of a dream.

18 20 – Embarkation, Three Rivers (2006) Michael Dunbar; Ellen Sandor, (art)n. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. A digital re-creation of a bronze sculpture originally designed and constructed by Michael Dunbar. In his process, he works out the construction in wax first, developing each interlocking piece by hand with minimal drawings or reference plans. For the final assembly, the bold arcs and tight angles lock together seamlessly, creating an elegant and weightless centerpiece.

Virtual Portraits

21 – Virtual Bust/Franz K (1993) Chris Landreth; Ellen Sandor, Stephan Meyers, and Janine Fron, (art)n. 30”x30” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. Christopher Landreth is arguably one of the most imaginative filmmakers of the digital age. Between 1993 and 1999, he collaborated with (art)n on creating a unique PHSCologram series of filmstills from his award winning animations, including Data Driven: The Story of Franz K., ‘the end’ and Bingo.

22 – the end/Film Still I. Female (1995) Chris Landreth; Ellen Sandor, Stephan Meyers, and Janine Fron, (art)n. 20”x24” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. In Landreth’s surreal short ‘the end,’ the animator discovers he’s the character in his own work while trying to think of a decent ending for it. ‘the end’ received wide international recognition and numerous awards, including an Academy Award nomination in 1996 for Best Animated Short Film. 19 23 – the end/Film Still II. Male (1995) Chris Landreth; Ellen Sandor, Stephan Meyers, and Janine Fron, (art)n. 20”x24” Digital PHSCologram, Cibachrome, Kodalith, Plexiglas. In Landreth’s surreal short ‘the end,’ the animator discovers he’s the character in his own work while trying to think of a decent ending for it. ‘the end’ received wide international recognition and numerous awards, including an Academy Award nomination in 1996 for Best Animated Short Film.

24 – Bingo (1999) Chris Landreth and Charles Tappan; Ellen Sandor, Fernando Orellana, Todd Margolis, Sabrina Raaf, Nichole Maury, Stephan Meyers, and Janine Fron, (art)n; Steve Boyer, Skyboy Productions. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Bingo is a five-minute computer animated adaptation of a live theatre performance calledDisregard This Play by the Chicago-based theatre company The Neo-Futurists. The recorded audio performance of this absurdist play was used in Bingo, which then incorporated bizarre visual imagery and exaggerated characterization to support the telling of the story. Bingo received wide international recognition and numerous awards, including a 1999 Genie Award.

25 – SallyB (2004) Gero Gries; Ellen Sandor, Keith Miller, and Janine Fron, (art)n. 30”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. “My subjects develop out of accuracy and carelessness. Some appear in my thoughts, like a bubble, which drifts to the surface. Most of these pictures in my head are perfect, the difficulty is to make them a reality.”—Gero Gries

26 – The Other Window: Distortion ‘06 (2006) Jim Zanzi, The School of the Art Institute of Chicago; Ellen Sandor, (art)n. Special thanks to Janine Fron and Lisa Stone. 20”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. This project began with a shared love for the work of André Kertész, who was profoundly attuned to everyday life, which he penetrated beyond, in varied and commanding bodies of work. With Kertész’s funhouse mirror in Chicago, Ellen, Richard, and I spent an afternoon making group portraits together, interacting with Kertész’s distorted, reflective, historic object.

20 27 – Ryan’s Hand (2006) Chris Landreth, from the film Ryan, directed by Chris Landreth, produced by Copper Heart Entertainment and the National Film Board of Canada; Ellen Sandor, Chris Kemp, and Janine Fron, (art)n. 24”x20” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. In his recent film, Ryan, Landreth turns his attentions to a biography of animator Ryan Larkin, while at the same time challenging our notions of documentary and animation. Landreth’s interpretative visuals go beyond “photo-realism” into a pioneer realm where the visual appearance reflects the characters’ evolving “pain, insanity, fear, mercy, shame and creativity”—a realm that he calls “psycho-realism.” In 2004, he received his first Academy Award for Best Animated Short.

Chicago Imagists

28 – No Fumare, por Favore (1997) Ed Paschke; Ellen Sandor, Stephan Meyers, and Janine Fron, (art)n. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. No Fumare, por Favore is a true collaboration of art and science, painting and sculpture, new media and virtual reality. The viewer gazes at Paschke’s Fumar and his hand-painted digital painting, which are surrounded by (art)n’s three-dimensional head and animated background. No Fumare, por Favore is rep- resented in the permanent collection of The Art Institute of Chicago, Fred Jones Jr. Museum, Museum of Contemporary Art, Union League Club and Smith Museum of Stained Glass Windows.

29 – Primondo (1997) Ed Paschke; Ellen Sandor, Stephan Meyers, and Janine Fron, (art)n. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Prima Vere, an oil painting from 1986 by Paschke is juxtaposed with a virtual found object of an Egyptian bust, immersed in animated stars and fire, hand-painted by the Imagist painter.Primondo was produced shortly after No Fumare, por Favore, and is in the permanent collection of the Union League Club. 21 30 – faccia d’ore: face of gold (2002) Ed Paschke; Ellen Sandor, Keith Miller, and Pete Latrofa, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. An exquisite example of Ed Paschke’s ability to stay true to his painterly form within the technological realms of PHSColograms.

31 – Egg Drop (2002) Karl Wirsum; Ellen Sandor, Pete Latrofa, Keith Miller, Fernando Orellana, Jack Ludden, and Janine Fron, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. A whimsical virtual portrait of fantasy characters performing in cyberspace.

32 – The Third Eye of Mr. I. (2002) Mr. Imagination; Ellen Sandor, Keith Miller, Pete Latrofa and Janine Fron, (art)n. 30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Perhaps the most significant element intrinsic to the Greg Warmack creation process, is his belief in the spiritual energies possessed by his pieces which are infused both in the creation process and by the col- laborative contributions of the spirit of people both living and dead. As the numerous labor-intensively placed pieces of objects, rubble, and memorabilia accumulate, so does the collective human spirit which simultaneously embellishes and cements the sum total of life experience that it embodies.

33 – Two Hummingbirds (2006) Robert Lostutter; Ellen Sandor, and Nick Gaul, (art)n. Special thanks to Janine Fron. 40”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. This PHSCologram is based on Robert Lostutter’s watercolor, The Humming Birds created during the late 1980’s.

22 Commissions, Collections, Selected Exhibition, and Gallery Affiliations

Commissioned Installations Collections The Swiss Technorama Science Monsanto Company Center, Winterthur, Remo Besio, Nintendo of America PET Study: Reconstructing Rodin Museums Executive Director and Nanoscape 1: Encounters in Art Institute of Chicago, James Union League Club of Chicago, Nihon Silicon Graphics the Bloodstream Cuno, President and Eloise W. Marianne Richter, Art Curator Picker International Camera Work for the Santa Barbara Martin, Director Museum of Art Siemens Brauer Museum of Art, Valparaiso Academic & Research Institutions Water is Always Moving University Center for the Arts, Recent Exhibitions Cornell University Cranbrook Institute of Science Gregg Hertzlieb, Director and Iowa State University Visionary Anatomies, Mead DIVIDED WE SPEAK Curator Art Museum, Amherst College, Museum of Contemporary Art Buckminster Fuller Institute, Jet Propulsion Lab, California December 16, 2006–February Third Floor Rotunda Gallery Elizabeth Thompson, Executive Institute of Technology 25, 2007; University Gallery, Old Museum of Jewish Heritage— A Director Lawrence Berkeley Lab College, University of Delaware, Living Memorial to the Holocaust The Centre for Contemporary NASA September 19–December 10, Heart, Lung and Blood Art, Warsaw, Wojciech Krukowski, 2006; Keck Center Gallery, National The Ohio State University National Institutes of Health Director Academies, Washington D.C. Royal Airforce College September 15–December 31, Promise of things yet to be Explora, Frankfurt, Museum San Diego Supercomputing Center 2004 and the National Academy Nuveen Investments 3.Dimension, Dinkelsbühl, Gerhard of Sciences’ “Upstairs Gallery,” Battle of Midway Memorial Stief, Director The Scripps Research Institute Washington D.C. January 15– Public Art Program, Department of Fred Jones Jr. Museum of Art, The Survivors of the Shoah Visual May 1, 2005 Aviation, and the City of Chicago University of Oklahoma, Eric M. History Foundation, USC Ed Paschke: A Chicago Icon—A for Chicago Midway International Lee, PhD, Wylodean and Bill Saxon UCLA School of Medicine retrospective look at the career Airport, Richard M. Daley, Mayor Director USAE Waterways Experiment of Ed Paschke, Chicago History NaCl International Center of Station Museum, September 30, 2006– Janet Annenberg Hooker Hall Photography, Willis E. Hartshorn, February 19, 2007 University of Illinois of Geology, Gems and Minerals, Ehrenkranz Director Portrait, Stiftung Starke Gallery, National Museum of Natural La Cité des arts et des nouvelles Yale University Berlin, Germany, September History, Smithsonian Institution technologies de Montréal, 23–October 23, 2005 Universal Atmospheres Hérve Fischer and Ginette Major, Corporations Beyond the X-Ray, Museum of State of Illinois Art-in-Architecture Co-Founders Bank of Asia Science, Boston, MA, May 11, Program for the National Center Musée Carnavalet, Paris, Jean-Marc 2005–May 1, 2006 for Supercomputing Applications, The Coca-Cola Company Leri, Director AIDS in the Age of Globalization, University of Illinois, Urbana- Encyclopedia Britannica Champaign Museum of Contemporary Art, Museum of World Culture, Chicago, Robert Fitzpatrick, Pritzker Daimler-Benz Gothenberg, Sweden, December Arthritis CPK Director 2004-July 2006 The Tech Museum of Innovation Genentech Museum Victoria, Australia, IPP Lithocolor Seasons, Printworks Gallery, Chicago, Spaceborne and Airborne Synthetic Dr. George McDonald, Director IL, November 5–December 31, 2004 Aperture Radar New Orleans Museum of Art, Johnson & Johnson Pharmaceutical (art)n: virtual illusion 1994-2004/ Jet Propulsion Laboratory, California Research & Development, L.L.C. Institute of Technology E. John Bullard, Director pixels in perspective, [DAM], Berlin, Santa Barbara Museum of Art, Kodak Germany, September 21– Universal Atmospheres November 5, 2004 State of Illinois Art-in-Architecture Phillip M. Johnston, Director Konami (Continued on page 24.) Program for the National Center Smith Museum of Stained Glass Leo Burnett for Supercomputing Applications, Windows, E.B. and Maureen Smith, University of Illinois, Urbana- Co-Founders McDonald’s Corporation Champaign meta29 23 Recent Exhibitions (continued) Genomic Art: Portrait of the 21st n Century, University of California (art) Contributing Artists and Major The Art of Science Imaging the Santa Cruz, Santa Cruz, CA, Collaborators Future: The Intersection of Science, June 18–August 27, 2001 Technology and Photography, Chorus of Light: Photographs International Center of Photography, from the Sir Elton John Collection, New York, NY, March 12–May 30, High Museum of Art, Atlanta, GA, Contributing Artists, 1983-2006 Major Individual 2004 November 4, 2000–January 8, 2001 Janine Fron Collaborators Art of the Americas, Santa Barbara Paris in 3D: From Stereoscopy to Nick Gaul Stephanie Barish Museum of Art, Santa Barbara, CA, Virtual Reality 1850–2000, Musée Randy Johnson BINO & COOL March 13–November 21, 2004 Carnavalet, Paris, France, Gary Justis Steve Boyer The Art of Science, International October 4–December 31, 2000 Christopher Kemp Donna Cox Center of Photography, New York, NY, March 12–May 30, 2004 Pete Latrofa Carolina Cruz-Neira Jack Ludden Charles Csuri Gene(sis): Contemporary Art Gallery Affiliations Explores Human Genomics, Todd Margolis Tom DeFanti Jean Albano Gallery, Chicago, IL, Nichole Maury Margaret Dolinsky Frederick R. Weisman Art Museum, 2000–present University of Minnesota, Minneapolis, TJ McLeish Michael Dunbar MN, January 31–May 2, 2004 Maya Polsky Gallery, Chicago, IL, Keith Miller Andre Ferella 1997–present A Decade of Collecting, The Santa Stephan Meyers Barry Flanary Barbara Museum of Art, Santa Oskar Friedl Gallery, Chicago, IL, Fernando Orellana George Francis 1995–present Barbara, CA, March 8–June 15, 2003 Sabrina Raaf Phillipe Paul Froesch Genomic Issue(s): Art and Science, Rhona Hoffman Gallery, Chicago, IL, Mark Resch David Goodsell 1993–94 The Graduate Center Art Gallery, Dien Truong Gero Gries City University of New York, New Feature Inc., New York, NY, 1985–93 Gina Uhlmann Mr. Imagination York, NY, February 25–April 5, 2003 Jim Zanzi Chris Landreth How Human: Life in the Post- Robert Lostutter Genome Era, International Center of Photography, New York, Major Institutional and Corporate Gerhard Mantz February 28–May 25, 2003 Collaborators Feng Mengbo PhotoGENEsis: Opus 2: Artists’ Cornell University TJ O’Donnell Arthur Olson Response to the Genetic Genentech, Inc. Information Age, Santa Barbara Ed Paschke Museum of Art, November 9, Iowa State University Bob Patterson 2002–February 9, 2003 Jet Propulsion Laboratory, Dana Plepys (art)n Virtual Visions: Three California Institute of Technology Miroslaw Rogala Decades of Collaboration, Brunnier Johnson & Johnson Pharmaceutical Cynthia Beth Rubin Art Museum, Iowa State University, Research & Development, L.L.C. Dan Sandin October 29, 2002–January 5, 2003 Lawrence Berkeley Lab Larry Smarr n Selected Works by (art) , New Monsanto Corporation Lisa Stone Center for Art and Technology, September–December 2002 NASA Ames, Langley, and Lewis Margaret Watson Research Centers Karl Wirsum (art)n, Tarble Arts Center, Brainard Art Gallery, Eastern Illinois University, San Diego Supercomputing Center Zhou Brothers September 2001 The Scripps Research Institute Digital: Revolutions in Print Making, UCLA School of Medicine Brooklyn Museum of Art, USAE Waterways Experiment Station June 22–September 2, 2001 University of Illinois Yale University

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