A Abe, Yoshiyuki ISEA Exhibits By, 253–254 and Verostko

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,

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