32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 307
Index
A “Analogue Surface, The: Painting in Abe, Yoshiyuki the Digital Age” exhibition, ISEA exhibits by, 253–254 161–162 and Verostko, 234 Andersen, Thom, Eadweard “Abomination of artists’ Muybridge, Zoopraxographer, statements,”174 127 Abstract painting, 103–104, 198, Animal Locomotion studies, 126 258 Animation Abstract patterns, 104–105 alter ego, 178 Acrylic painting, 13–14 Bingo,84 Adley, James, 198, 304 ideal forms for, 110 Adobe Creative Suite, 39 limitations of, 29–30 Adoration of the Kings, The as problem solving, 225 (Gossaert), 244–245, 247 Apple computers, 18 Advanced painting, 46–47 Appropriation, 66 Advances in art, 246, 248 Archaeology of media, 256 Advertising, 64 Ars Electronica, 142 Aesthetic aftershock, 149 Art, testing, 204–206 Aesthetic experience, 195 Art and Language group, 142 Alexandra Palace graphics fair, 63 Art and Photography (Scharf), 126 Algorists, 233–235, 248–256 Artforum magazine, 77 Algorithmic art, 215, 227 Art II conference, 71–74 Alma-Tadema, Lawrence, 53–54 Art magazines vs. computer, 77–78 Alter ego animation, 178 Art News, 14, 78 Ambassadors (Holbein), 216 Art schools, training at, 154 Amiga computers, 18 “Art world,”meaning of, 52 Amphibians, 111 Artforum, 77, 141 Analogies, 291 Artist researchers, 220–226
307 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 308
INDEX
Artists’ statements in catalogues, Boxes, upgrading, 166–171 171–174, 176 Brand names, 64 Artist’s print, 85–86 Braque, Georges Arts Council, 206 Echo, 290 Artscribe magazine, 56, 220 low-tech, 71 Ascott, Roy, 71, 194 modern art contemporary with, Ashbery, John, 91–93, 95 62–63 Association of ideas, 156 Breaker, Jeanine, 29–30 Auerbach, Frank, 235 Brendel, Alfred, 227–228 Austen, David, 284 “British Abstract Painting” exhibit, Authenticity, 110 259 of computer graphics, 155 Broadway Boogie Woogie roughness for, 167 (Mondrian), 60 Autographic marks, 101–102 Brooks, Henry Jamyn, Private View Autonomy of digital paint, 192 of the Old Masters Exhibition, Royal Academy, 1888, 53–54, B 299, 302 Bacon, Francis, 127 Browning, John, 20 “Bad Science” Web site, 262 Browsing through art, 216–217 Baroque Thoughts for a Rainy Day Brushes in calligraphy, 158–159 (Walker), 136 Bug Box (Hall and Moline), 263 Baselitz, Georg, 258 Bug’s Life, A movie, 109 Basic-design thinking, 270 Buses, London, 44, 130–132 Bauer, Hans, 123–124 Bauhaus, 214 C BBC project, 108–109 Cage, John, 139 Beck,Harry,60 Calligraphy, 158–159 Beethoven, Ludwig van, 107 Cameras, 75, 167–170 Beginners, 25–30 Campbell, Jim, 121–122 “Being art,”124 Carnie, Andrew Beriou, 230 Eye: Through the Mirror Darkly, Berry, Rodney, 130 129 Beuys, Joseph “Slices and Snapshots,”128 in neo-Dadaist Fluxus group, Caro, Anthony, 140, 286 200 Carpets, 227–228 self-consciousness of, 214 Casio Wrist Camera Watch, 167 watercolours by, 208 Catalogues, artists’ statements in, Bicycle art, 276 171–174, 176 Bicycle ride VR, 72 Center for Digital Art, 123–124 Biennales, 32 Cezanne, Paul, 9 Bingo animation, 84 graininess in paintings by, 171 Blake, Quentin, 286 self-consciousness of, 214 Blinn, Jim Charts, 9–11 on real world, 132 Cheese obsession, 154–155 on research, 223–225, 304 Chillida, Eduardo, xvii
308 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 309
INDEX
Chopin, Frederic, 107 Computers Church, Ryan, 215 evolution of, 257 Clocks, 35 speed of, 118–121 Closed Circle, The (Coe), 269 upgrading, 166–171, 197 Clowes, Daniel, 286 Concept artists, 48 Coe, Jonathan, The Closed Circle, Confusion, creativity from, 169 269 Contests, digital painting, 98 Cohen, Harold, 95, 234, 286 Contexts Colby, Joy Hakanson, 302 in art, 123 Collages, 189 for critics, 173 Colour Convenience paint, 13 on computer screen, 136–137 Convergence in art, 118 in frog painting, 116 Core Image program, 184 with inkjet printers, 169 Corel Painter program. See Painter Commercial art, 202 program Commercial competition, 146–147 Cost factors, 264 Commercial illustrations, 32 Courbet, Gustave, 171 Commodore Amiga computers, 18 Coventry college, 142 “Commonplace media,”175 Cranbrook Museum, 32–33 Compasses, 160 “Creative,”meaning of, 287 Computer-aided design, 260 Creative Suite, 39 “Computer art” Creatively idle state, 6 meanings of, 277 Creativity shows, 147 from confusion, 169 Computer Art Society, 125 in software, 93 Computer Arts magazine, 77 Critical process, 56–59 Computer-based art in museums, Critics 97 contexts for, 173 Computer drawing, 286 evaluations by, 149–151 “Computer generated,”meaning of, Cubism, 189 78 Cupitt, John, 170 Computer Generated Imaging “Cybernetic Serendipity” magazine, 226 exhibition, 15, 204–205, 229 “Computer graphics,”meaning of, Cyberspace 47 artists in, 95 Computer Graphics World meaning of, 277 magazine, 77 Computer imagery, 47 D Computer in the Visual Arts Dada (Richter), 254 (Spalter), 80 David (Michelangelo), 223 Computer magazines vs. art Davies, Char magazines, 77–78 Osmose,8 Computer Museum, 110 and virtual reality, 84 Computer print, 87 Dazzle Draw program, xv–xvi Computerkunst exhibition, 250 de Bono, Edward, 286
309 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 310
INDEX
de Kooning, Willem “Drawing as Process” course, 210 graininess in paintings by, 171 Drawing Power campaigns, 279 painterliness of, 243–244 Drawing tablets, 223 painting erased by Rauschen- Dubuffet, Jean, 171 berg, 162–163 Duchamp, Marcel and physical existence of change from, 8 paintings, 104 Fountain, 138 “Dear Painter” show, 202 Dunn, John, 227–228 Degas, Edgar, 285 Durer, Albrecht, 247–248, 286 Dehlinger, Hans Kreise,43 E learning from, 44 Eadweard Muybridge, Zoopraxogra- lyrical drawings by, 238–239 pher film, 127 pencil drawing frames by, 249 East competition, 144 and Verostko, 234 East Enders show, 283 Delacroix, Eugene, 31, 302 Eight-bit paint programs, 64 Deluxe Paint program 8 Bits or Less series, 167 complexity of, 64 Electronic haiku generator, 233 limitations from, 182 Electronic Theatre tapes, 246 spinning brush in, 187 Elements of Drawing (Ruskin), Derry, John, 184, 208 40–41, 109 Dialectics, 249 Em, David, 42–43, 302 Differences, pre-digital vs. Embodied angels, 242 postdigital, 11–18 Empire DJ shop, 68 Differentiation, 146–147 Engelbart, Doug, 206 Digital Art (Paul), 274 Eno, Brian, Music for Airports, 218 Digital art, history of, 217–218 Entertainment industries, 64 Digital-art community, 213–214 Escher puzzle pictures, 285–286 Digital-art movement, 4–5 Ethnocentrism, 61 “Digital imagery,”meaning of, 277 Evolutionary geometry, 267 “Digital manipulation,”meaning Exhibitions of, 97–98, 144 proposed, 214–215 Digital Painting, 205 quality of, 143 Digital painting, 62 “Expand Your Creativity” class, 79 contests, 98 Eye: Through the Mirror Darkly hands-on work in, 83 (Carnie), 129 limitations of, 74–75 “Eyes, Lies and Illusions” searches on phrase, 5, 68 exhibition, 128 watercolours, 208 Digital pieces, 108 F Director program, 39 Fantasy Worlds, 193 Displacement activity, 106 Features, drawing, 281 Distorted view of nature, 110–111 Feedback, 205–206 DOS systems, 168 Fields, Lis, 162 Drawing, 85, 278–282 Filters, 14
310 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 311
INDEX
and critics, 151 Goldsworthy, Andy, 267 in paint programs, 114 Gossaert, Jan, Adoration of the special effect, 148 Kings, 244–245, 247 Final Cut program, 39 Graham, Beryl, 231 Fine art media, 270, 285 Graininess, 171 Fine artists, 180–181 Grand Jatte (Seurat), 55, 211–212, Fine-grained images, 169 243 Five Seconds—Lamu (Wakely), 298 Graphic fine art, 285 Flash program, 39 Greenberg, Clement, 204, 304 Flat screens on London buses, 44 Greene, Rachel Floating Windows, 22 Internet Art, 274 Fluxus exhibition, 200 surveys by, 80 Forkbeard Fantasy group, 127 Gresham, Kip, 165 Formalism, 275 Guardian, 99–100 Foster, Hal, 275 Gut (Hall and Moline), 262–263 Found, Drawn, Painted (Walker), 279 H Fountain (Duchamp), 138 Haiku generator, 233 Fractal experience, 298 Hall, Lane Francis, Sam, 208 Bug Box, 263 Frankenthaler, Helen, 14 Gut, 262–263 Free-form improvisation, 155–156 Post-Parasites, 261 Freehand lines, 67 “Hand-brushed oil on canvas” Freud, Lucien, 145 expression, 162 Friedlander, Max, From Van Eyck to Hands-on work in digital painting, Brueghel, 247–248, 304 83 Friese-Green, William, 55 Harwood, Graham, 214 Frieze Art Fair, 292, 294 Haunted Weather (Toop),290 Frieze magazine, 77 Hayter, Stanley, 235 Frith, William Powell, 53–54 Hayward Gallery, 290 Frog, Greenwood Road (Walker), Hebert, Jean-Pierre 111–117 on plotter drawings, 236–237, From Van Eyck to Brueghel 304 (Friedlander), 247–248, 304 and Verostko, 234 Fundamental painting, 145 White Jojoba, 237 Herge (Georges Remi), 285 G Heritage industry, 223 Gere, Charlie, 256 Hermetic works, 250 “Get Creative” manuals, 287 Heron, Patrick, 84 Giclee prints, 136, 138 High tech-low tech project, 210 Gilbert and George, 140 Higher-resolution images, 167 Ginsberg, Allen, 63 Hoberman, Perry, 130, 257, 264 Gladstone, William, 53–54 Hockney, David, 153 Gold, Rich, 1–2, 4, 222, 296 Hoet, Jan, 3, 70 Golden Plotter prize, 250 Holbein, Hans, Ambassadors, 216
311 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 312
INDEX
Holl, Francis Montague, 53 Institute of Contemporary Art Homeless biomorphs, 140 (ICA), 15 Horn, Roni, 286 “Interactive,”meaning of, 277 Horsing Around, Flying High Interactive Plant Growing (Ursyn), 265 (Sommerer and Mignon- Hoses, image, 157–158, 183 neau), 8, 276 Huelsenbeck, Richard, 254 Internet Art (Greene), 274 Huff, Ken Invisibility of technology, 80 2001.5,94 Iris prints, 87 cyberart by, 266–267 “Is Modern Art a Sham?,”61–62 digital painting by, 95–96 ISEA (Inter Society of Electronic Huhtamo, Erkki, 129, 256 Arts) Hunt, William Holman, 53–54 beginnings of, 121 Hydrogen Jukebox, The (Schjeldahl), digital artists at, 142 51 digital talk at, 70 Hyman, Timothy, 283 exhibits at, 251–254 Gold talk at, 1–2 I “Revolution” and “Terror” Ice skating scoring system, 173 themes at, 231 Ideal forms for animation, 110 Istvan, Horkay, 123 Ideas, developing, 156–157 Ideas and Music: Curiosity J (Walker), 7 Jacobson, Bernard, 304 “Illusion of Life, The” (Thomas), Jerwood Drawing Prize, 145 225 John, Augustus, 12 Illustrator program, 159, 180 John, Gwen, 12 Image hose, 157–158, 183 Johns, Jasper, 141 Imitation of painting, 190–192 JoJo, 272 Impressionists, 55 Judson, Jack, 129–130 Improvisation, free-form, 155–156 Inductions, 154 K Information Arts (Wilson), 3, 80, Kai’s Power tools, 187 274–275 Kandinsky, Wassily, 104 Information technology, 154 Kane, Kevin, 265 Information windows, 45 Kant, Immanuel, 273 Ingres, Jean-Auguste-Dominique, Kawaguchi, Yoichiro 171 animation by, 230 Inkjet printers at magic lantern exhibit, 130 development of, 221 nature paintings by, 267 evolution of, 66 quoted, 214 moving to, 136 Kelly, Ellsworth, States of the River, for prints, 87, 143 297 upgrading, 168–169 Kieler, Patrick, 289 Innocent, Troy, 230 Kim, Scott, 287
312 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 313
INDEX
Kimura, Mari, 252 Louvre, scanning at, 171 Kinetic art, 57 Low-resolution photographs, 169 Klee, Paul, 156, 216, 285 Low-tech, 170 Klein, Norman, 302 Lunenfeld, Peter, 80 Koen, Victor, 123, 214 Kreise (Dehlinger), 43 M Macintosh computers, 120, 257 L MacPaint program, 258 La Grande Jatte (Seurat), 55, Magazines, computer vs. art, 77–78 211–212, 243 Magic carpet, 227 Landreth, Chris Magic Lantern Castle Museum, 129 animations by, 230 Magic lanterns, 129–131 Bingo animation, 84 Magritte, Rene, 202 Lansdown, John, 15–16 Mahler, Gustav, 251 Laptops, 35–36 Mainstream art world, 52 Lasseter, John, 109 Malevich, Kasimir Latham, William, 267 change from, 8 Laurel, Brenda, Place Holder,3,71 and spiritual realm, 104 Layers, 14 Mallen, George, 125 Learning by beginners, 27–30 Manet, Edouard, 171 Lee, Alan, 99–100 Manovich, Lev, 80, 256–257 Léger, Fernand, 62–63 Maps Legible City (Shaw), 8 of painting culture, 9–11 Leonardo’s Laptop,35 of undergrounds, 60 Lewis, John, 290 Marden, Brice, 145 Lichty, Patrick, 130, 167 Martyrdom of the Apostles Lieser, Wolfgang, 211 (Lochner), 241–242 Life drawing, 29 Mathematical spaces, 253 Life Drawing Studio, 160 Mathematics, 282 LightWave stage, 178 Matisse, Henri, 60 Lindisfarne Gospels, 235 current comments on, 62 Lines, 156 modern art contemporary with, Live demonstrations, 98 62–63 Lochner, Stephan Matisse paint system, 137 Martyrdom of the Apostles, Matter and spirit, 240–248 241–242 Maya program, 95 style of, 240–241 McEvilley, Thomas, 119–120 Loft artists, 48 McSherry, Stewart, 265 London Mechanical aids, 160 buses, 44, 130–132 Mechanical/technological Underground system, 108 intervention, 299 Long, Richard, 140 Metaphors “Looking like art,”meaning of, 124 interpreting, 225 Louis, Morris, 14 in paint programs, 67–68
313 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 314
INDEX
Metaphors (cont.) Mutation, 20 in Photoshop, 74 Mute magazine, 20 visual, 9–11 Muybridge, Eadweard, 125–126 window, 40 Muybridge festival, 127–128 Michelangelo, David, 223 Mignonneau, Laurent N demo art by, 230 Nake,Frieder,15 Interactive Plant Growing,8,276 National Gallery, close-ups at, 170 Miles, Rosie, 303 “Natural media” programs, 67 Millais, John Everett, 53–54 Nature, distorted view of, 110–111 Millennium Dome, 231 Nauman, Bruce, 84 Mind over silicon, 288 Neagu, Paul, 56 Mindscapes, 104 neo-Dadaist Fluxus group, 200 Minimal art, 141 New Image painting, 258 Miró, Joan, 62–63 “New media,”175, 277 Models, 109 New-media art, 20–21 Modern art “New Primitives” exhibition, 59 controversy over, 60 Newell, Martin, 110 Studio editorial on, 61–62 Nonexpert phase of digital art, 219 Modern Painters,3 Novelty paint, 193–199 Modernism, 55 Mohr, Manfred, 234 O Moline, Lisa Objectivity, 110 Bug Box, 263 Observation in painting, 103 Gut, 262–263 Oil paint, virtual, 190–191 Post-Parasites, 261 Old media, 277 Monday Morning, 266 Op art, 57 Mondrian, Piet Opinions, 205–206 modern art contemporary with, Optical tricks and illusions, 62–63 129–131 and spiritual realm, 104 Original prints, defined, 165 Springer on, 59–60 Osmose (Davies), 8 style of, 243 Monet, Claude P graininess in paintings by, 171 Page journal, 15 Thames work by, 296 Paint, novelty, 193–199 undigital style of, 243 Paint box, 27 Moores, John, 81–82 Paint programs Morgan, Stuart, 58, 119–120, 303 for collages, 189 Multimedia, 270 evolution of, 67–68 Museums, computer-based art in, filters in, 114 97 as novelty, 177–178 Music, visual, 228 Painter program Music for Airports (Eno), 218 for calligraphy, 159
314 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 315
INDEX
guides for, 79, 93–94 Place Holder (Laurel), 3, 71 image hose in, 157–158, 183 Plato, ideal forms of, 110 introduction of, 182–183 Plotters, 234–237, 260 painter orientation of, 39 Pluralism, 153 upgrades for, 180 Poetic image, 141 version IX, 207, 215 Poetry by Ashbery, 91–93 Painterly look, 47 Polke, Sigmar, 153, 201, 276 Painters, training for, 196–197 Pollock, Jackson “Painting digital,”meaning of, 38 graininess in paintings by, 171 PAIR program, 2 and physical existence of Palettes, developing, 187 paintings, 104 Panofsky, Erwin, 246 realism rejected by, 46 Paper stencils, 114–116 self-consciousness of, 214 Parallel streams of work, 103 Pop art collages, 143 Pattern Painting, 258 Post-Parasites (Hall and Moline), Paul, Christiane 261 Digital Art, 274 Postdigital painting, 32–33 surveys by, 80 Postmodernism, 17 Pearl Park Scripture (Verostko), 234 Power tools, 187 Peer exhibition, 284–285 PowerBook computers, 18 Persian carpets exhibit, 227–228 PowerPC computers, 18 Philosophy students, 83 PowerPoint program, 222 Photographic etching process, 31 Poynter, Edward John, 53–54 Photographs, low-resolution, 169 “Practising artist,”meaning of, 161 Photography, 31, 75 Pre-digital vs. postdigital age, Photoshop program 11–18 metaphors in, 74 Presence, 141 performance of, 186 Prince’s Drawing School, 282–285 training for, 154 Printers upgrades for, 180 development of, 221 Photoshop user groups, digital evolution of, 66 painting contests by, 98 moving to, 136 Pianos, 75, 107 for prints, 87, 143 Picasso, Pablo upgrading, 168–169 current comments on, 62 Prints, 164–166 graininess in paintings by, 171 computer, 87 low-tech, 71 exhibitions of, 143 modern art contemporary with, quality of, 144–145 62–63 Private View of the Old Masters realism rejected by, 46 Exhibition, Royal Academy, self-consciousness of, 214 1888 (Brooks), 53–54 Pigeons Kyoto (Walker), xvi Private views, 51 Pigments, 13, 75–76 Projectors, 223 Pioneers, 256 Protestant work ethic, 65
315 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 316
INDEX
Psychedelic geometry, 193–194 Richter, Hans, Dada, 254 Public views, 51 Riley, Bridget, xvii River theme, xviii–xix Q Roberts, David, 264 Quality, opinions about, 206 Roughness for authenticity, 167 Quantel paint system, 27, 137, Rousseau, Douanier, 70–71 182–183 Royal Academy Quattrocento painting, 240 Establishment at, 299 painting of, 53–54 R Royal College of Art Rapaport, Sonya, 121 Computing department at, 21 Rauch, Neo teaching at, 86–87 digital artists compared to, 153 Rubin, Cynthia Beth, View from the Unschuld, 202–203 Women’s Window, 254 Rauschenberg, Robert Ruskin, John, xv collages by, 251 in Brooks painting, 53 de Kooning drawing erased by, complexity by, 296 162–163 Elements of Drawing, 40–41, 109 programming by, 139 on teaching, 301 programs influenced by, 184 Russell, Vera, 135 Real vs. virtual, 240 Realism S in digital painting, 98 Saatchi Collection, 206 relativity of, 246 Saatchi Gallery, 148 Reality Engine, 276 Saunders, Gill, 303 Rehearsing for paint simulators, 23 Scanners, 66 Reichardt, Jasia, 15, 229 Scharf, Aaron, Art and Photography, Rembrandt, 286 126 “Representational,”meaning of, Schjeldahl, Peter 103 on art, 63 Reptiles, 111 on artists’ statements, 174, 303 Research, 220–226 The Hydrogen Jukebox,51 Resolution of images, 167–170 Schnabel, Julian, 146, 258 “Revolution” theme, 231 Schneider, Wolfgang, 250 Reynolds, Joshua Schneiderman, Ben, 35, 302 on education, 244 Schongauer, Martin, 248 on painting as intellectual, Schwarz, Steve, 221 105–106, 303 Science art, 276 Rhizome.org site, 80 Sculptural thinking, 286 Richmond, George, 53 Sculptures, 140–141, 189 Richter, Gerhard, 170 Sedgeley, Peter, xvii on consumer society, 201–202 SellArtSmart magazine, 164 digital artists compared to, 153 “Sensation” exhibition, 230 influence of, 146 Sensibility, 258 philosophy of, 199–200 Sequin, Carlo, 266
316 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 317
INDEX
“Serious Games” exhibition, 231 Slacker art, 229–230 Serra, Richard, 285 “Slices and Snapshots” exhibition, Seurat, Georges 128 graininess in paintings by, 171 Smith, Alvy Ray, 124, 303 Grand Jatte, 55, 211–212, 243 Snobbery, 1–2, 292–293 Shaw, Jeffrey Societe Anonyme, 59 bicycle ride, 72, 276 Software programs Legible City,8 creativity in, 93 and virtual reality, 84 limitations from, 182, 188 Sheridan, Jamy, 227–229, 246 painting imitation by, 190–192 “Shooting Shakespeare,”127 upgrading, 222 Shoup SuperPaint system, 110 Sommerer, Christa SIGGRAPH art shows and demo art by, 230 conferences, 257 Interactive Plant Growing,8,276 for 2D works, 81 Song for Upper Street, A (Walker), alter ego animation at, 178 36 catalogues at, 80 Sonic, Wearable, and Wireless commercial exhibition space at, Experience theme, 9 282 Space organisation, xvii critics at, 153 Space use in studios, 88–89 digital artists at, 142 Spalter, Anne Morgan, Computer in Electronic Theatre tapes from, the Visual Arts, 80, 302 246 Special effect filters, 148 exhibitions at, 27–28, 82 Specialisation, 84 Magic Lantern Castle Museum Specialists, 154 at, 129 Speed optical test talks at, 110 of computers, 118–121 plotter drawings at, 236–237 pre-digital vs. postdigital, 11–12 sculptures at, 141 Spielberg, Steven, 80 teapot at, 244 Spinning brush, 187 tree drawings at, 109 Spinoza, Baruch, 243 video footage into paintings talk Spirit and matter, 240–248 at, 65 Spiritual geometric abstractions, Wright exhibit at, 149–150 143 Sight size, 110 Spiritual realm, 104 “Silent Motion” exhibition, 125, Spitz, Rejane, 130 128, 263 Springer, Nelson Junius, 59, 302 Sims, The, 276 Stain paintings, 14 Simulations Star Trek TV series, 73 benefits in, 179 Starting points for paintings, 111 by software, 190–192 States of the River (Kelly), 297 Sketch pads, 192 Stelarc, 214, 230, 252 Sketchbooks, 156 Stella, Frank, 45, 141, 229 SketchUp program, 282 Stencils, 114–116 Skills training, 152–153 Stereoscope, 131
317 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 318
INDEX
Sterling, Bruce, 133, 256 Threads, 156 Stewart, Doug, 286 3D elements Stockwell, Dean, 127 animation, 110, 178 Storr, Robert, 304 editing, 178 Student perceptions, 269–271 modelling, 223 Studio 8 program, 67, 86–87 mouse, 178 Studio magazine, 60–61 prototyping, 141 Studio International magazine, 13, rendering, 179 56, 276 teapot, 244 Studio School, 279 visualisation, 28 Studios Threinen-Pendarvis, Cher, 302 atmosphere of, 196–197 Thumbprints, 110–111 physical vs. digital, 157 Tiger operating system, 184 traditional vs. digital, 5–7, Tintin illustrations, 285 10–11, 99, 102 Tools, effect of, 42–43 work process based on, 87–89 Toop, Dav id Summer Show, 296, 299 Haunted Weather, 290 Superrealistic illustration, 193 on music, 289 Surfaces in art, 123 Torn abstractions, 146 Surrealistic montages, 143 Toy Story movie, 29 Sylvester, David, 228 Tractatus (Wittgenstein), 141 Training Y at art schools, 154 Tapies,Antoni, 171 for paint simulators, 23 Tartans, 183 for painters, 196–197 Tate Britain, 12 requirements, 152–153 Tate Modern, 17–18, 206 Tram ride video, 289 Teapots,110, 244 Trees, drawing, 109 Technical drawing, 286 Truckenbrod, Joan, 194, 255 Technical paragraphs in artists’ Tucker, William, 140 statements, 171–174, 176 Turner, Joseph Mallord William, Technology, invisibility of, 80 xvii–xviii Technology artists, 126 Thames work by, 296 Telematic art, 232 tools used by, 209 Terms, common, 103–104 Tutorials, 209 “Terror” theme, 231 Tuymans, Luc, 153, 170, 201 Testing art, 204–206 Twelfth Discourse (Reynolds), Textbooks, 80 105–106 Thames, The (Kelly), 297 2D paint programs, 178–179 Thames river, 296–297 2001.5 (Huff), 94 Thin slicing, 233 Thin stain painting, 14 U Thomas, Frank, Illusion of Life, “Ubi-Lunch-Box, The,”2–3 225 Ubiquitous computing, 2
318 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 319
INDEX
Underground system, 60, 108 Visual thinking, teaching, 286 Unschuld (Rauch), 202–203 Vocabulary, visual, 286 Upgrade anxiety, 168 Upgrading W computers, 166–171, 197 Wacom tablets, 5, 100–101 software, 222 Wakely, Shelagh, Five Seconds— Ursyn, Anna Lamu, 298 Horsing Around, Flying High, Walk-through art, 231 265 Walker, James Faure Zen of driving in traffic Baroque Thoughts for a Rainy comments by, 266, 304 Day, 136 Found, Drawn, Painted, 279 V Frog, Greenwood Road, Value of works of art, 204 111–117 Van Dyke, Dick, 178 Ideas and Music: Curiosity,7 varnishing day, 296 Pigeons Kyoto,xvi VB3T134 (Wilson), 237 Song for Upper Street,36 Vector programs, 159 Wands, Bruce, 304 Vermeer, Jan, View of Delft, Warhol, Andy, 141 253–254 self-consciousness of, 214 Verostko, Roman silk-screened images by, 163 ISEA exhibits by, 252 Warhol’s Factory, 45 Pearl Park Scripture, 234 Watercolour plotter drawings by, 234–235 digital, 208 self-description, 249 virtual, 190–192 Victory Cafe, 259 Watts, George Frederic, 53–54 Video editing, 178 Web View from the Women’s Window art on, 62 (Rubin), 254 ignorance of, 84 View of Delft (Vermeer), 253–254 as spirit, 240 Viola, Bill, 121 Weintraub, Annette, 254 “Virtual art,”meaning of, 277 “Wet in wet” technique, 12 Virtual oil paint and watercolour, “What if” questions, 295 190–192 Whistler, James, Thames work by, Virtual-reality (VR), 3, 84 296 evolution of, 71–74 White Jojoba (Hebert), 237 Place Holder,71 Wicked problems, 22–23 Rousseau as inspiration for, Wild Palms TV series, 21 70–71 Wilson, Mark Virtual Tennis Pro program, 68 VB3T134, 237 Virtuality in painting, 84 and Verostko, 234 Visual metaphors, 9–11 Wilson, Stephen, 3, 80, 274–275, Visual music, 228 301 Visual noise, digital art as, 148 Window metaphor, 40
319 32791 99 307-330 WALKER r4j.ps 12/22/05 12:57 PM Page 320
INDEX
Windows, painting on, 22–24 Y Wingate, Richard, 128 Young British Artists (YBAs), 299 Wired magazine, 20, 77, 232 Wired UK magazine, 20 Z Witt, Sol Le, 127, 163, 303 Zap Factor, xvii Wittgenstein, Ludwig Zen of driving in traffic talk, 266 on aesthetic feeling, 194 Zimmer, Mark Tractatus, 141 on contemporary art, 184–185 Wood-shedding, 6 Core Image program by, 184 Wright, Mike, 149–150 paint simulation by, 190 Wrist Camera Watch, 167 Painter program by, 182–183 WYSIWYG acronym, 45 ZKM publications, 80
320