Cover Photo Credits

Front and Back Covers

Compositions created by Chris Kemp. Details of images from the following:

Townhouse Revisited, 1999 Thomas J. McLeisch, Ellen Sandor, Fernando Orellana, Nichole Maury, Todd Margolis, and Janine Fron, (art)n. 25”x40”x10” Digital PHSCologram Sculpture.

Passive Erschliessung (Passive Development), 2007 Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas.

The Other Window II: Distortion ‘07, 2007 Jim Zanzi, The School of the Art Institute of ; Ellen Sandor, (art)n. Special Thanks to Janine Fron and Lisa Stone. 20”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas.

Political Agenda, 1999 Institution Web Sites Charles Csuri and Matthew Lewis, ACCAD, The Ohio State Univer- sity; Ellen Sandor, Stephan Meyers, Janine Fron and Craig Ahmer, www.artn.com (art)n. 24”x20” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. www.kasiakayartprojects.com http://intelligentdesignproject.com Cryptobiology: Reconstructing Identity, 2001 Ellen Sandor, Keith Miller, Fernando Orellana and Janine Fron, (art)n; Catalog design by Chris Kemp Kathleen Helm-Bychowski, DePaul University. Special thanks to Stephan Meyers. 30”x40” Digital PHSCologram, Duratrans, Kodalith, ® 2007 Copyright Ellen Sandor and (art)n. All rights reserved. Plexiglas. ______

Table of Contents

Acknowledgements 1

New Perspectives in Virtual Dimensions 2 by Audrey Michelle Mast

______About Ellen Sandor Founding Artist & Director, (art)n 10

Exhibition Checklist 11

Commissions, Collections, Gallery Affiliations, and Selected Exhibitions 13

(art)n Contributing Artists and Major Collaborators 16 ______Acknowledgements I would like to thank the numerous individuals, institutions and collaborators over the years for all of their help and support.

Special thanks to Kasia Kay, Jeff Bourgeau and the staff at Kasia Kay Art Projects Gallery and The Museum for New Art for organizing the Intelligent Design exhibition. Special thanks to Audrey Michelle Mast for her essay contribution to the catalogue and to Janine Fron for sharing her continued passion, dedication, ______and intellect toward the historical contributions of (art)n since the beginning. A very special thanks to Chris Kemp for all of his hard work and dedication on the exhibition, catalogue and works in the show.

Special thanks to all of our collaborators who contributed to works in the exhibition, including James Bellingham, Alex Betts, Kathleen Helm-Bychowski, Yi Chao, Donna Cox, Chuck Csuri, Janine Fron, Nick Gaul, Matt Hall, Lorne Leonard, Stuart Levy, ______Matthew Lewis, Gerhard Mantz, TJ McLeish, Thomas Meeker, Stephan Meyers, Keith Miller, Fernando Orellana, Robert Pat- terson, Lisa Stone, and Jim Zanzi. I would also like to thank the craftsmen and artisans at National Graphx and Imaging (National Photo), and Spectrum Color for their tireless effort and assis- tance.

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. ______

1 ______New Perspectives in Virtual Dimensions “The boldest experiments of today are the ac- quisitions we will be accustomed to tomorrow.” --

Today, nearly twenty-five years after the Chicago-based multimedia art collective (art)n produced its first PHSCologram, wide-ranging forms of new media–particularly those con- cerned with virtual reality–are often met with the sort of thorny questions previously asked about early conceptual works of and : Who are the artists? What are the objects? How can we imagine their longevity when our media and mores transform so quickly?

It is appropriate, then, that (art)n founder Ellen Sandor’s initial inspiration was the expansive oeuvre of modernist icon Man Ray, as well as his contemporaries and László Moholy-Nagy. Although we think of him as primarily a photographer, Man Ray initially took up photography in order to reproduce his other work, including paintings and mixed media. Gegenseitige Unabhängigkeit (Mutual Independence), 2007 One of his chief innovations, the Rayograph Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n. 40”x30” Digital PHSCologram, Dura- or photogram, was a camera-less process that trans, Kodalith, Plexiglas. captured the form of objects as well as their shadows, creating ambiguous images and

2 creating a new, subjective photography. The modernist experiment as undertaken by Ray– with its enthusiasm for diverse media, emphasis on process, embrace of technical advances–and perhaps most importantly, a spirit of irrever- ence–is the driving force of (art)n team.

As a major collector of 20th century fine art, photography, sculpture, and new media, Sandor’s sense of historical context is as strong as her creative drive as an artist to move forward with technical innovation. (art)n, with its unique studio processes, diverse collaborative projects, and strong sense of cultural context, has responded vigorously to these issues–if not transcended them–to truly begin an earnest, relevant dialogue between new media and the evolving art historical canon, while retaining a modernist sense of experimentation and play that make us want to look–and look again.

Formed in 1983 by Sandor with her peers at the School of the , (art)n Political Agenda, 1999 has evolved into an international, interdisciplin- Charles Csuri and Matthew Lewis, ACCAD, The Ohio State University; Ellen Sandor, Stephan ary collective of artists, scientists, and engineers Meyers, Janine Fron and Craig Ahmer, (art)n. 24”x20” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. whose works have been collected by institutions and individuals worldwide, including the Art Institute of Chicago, Museum of Contemporary

3 Art, Union League Club of Chicago, the Smith Museum of Stained Glass Windows, and numerous private collections. Public commissions include the Battle of Midway Memorial for the Public Art Program, Department of Aviation and the City of Chicago; Nuveen Investments; and the State of Illi- nois Art-in-Architecture Program for the National Center of Supercomputing Applications at the University of Illinois, Urbana-Champaign. (art)n’s works have been included in recent exhibitions at the Chicago History Museum, the Chicago Cultural Center and Kemper Room Art Gallery, Paul V. Galvin Library, at the Illinois Institute of Technology.

(art)n’s collaborative process of problem-solving and technical innova- tion is a model for artistic creation in a multimedia age. Each project is the collective effort of a team assembled specifically to execute it, yet each finished piece expresses a singular vision, focused and subject/object-ap- propriate. (art)n’s portfolio is exceptionally wide-ranging, including PHSCo- lographic renditions of iconic works by the Chicago Imagists; site-specific, visual history installations for major museums, such as virtual recreations of barracks at Auschwitz-Birkenau as part of an installation for the Museum of Jewish Heritage in New York; and biology-based works, including reveal- ing depictions of the confounding, dazzling structure of our DNA and bodily viruses.

Sandor and (art)n’s patented invention, the PHSCologram (an acronym for photography, holography, sculpture and computer graphics, pronounced skol-o-gram), which Sandor describes as a sort of “daguerreotype of virtual reality,” is a unique analog-meets-digital method of capturing immersive Cryptobiology: Reconstructing Identity, 2001 digital environments in a physical object. PHSCologram imagery is Ellen Sandor, Keith Miller, Fernando Orellana and Janine Fron, (art)n; Kathleen Helm-Bychowski, DePaul University. digitally rendered, sculpted, lit, and captured at as many as 64 slightly differ- Special thanks to Stephan Meyers. 30”x40” Digital ent positions across a horizontal plane with 3-D software applications, such PHSCologram, Duratrans, Kodalith, Plexiglas. 4 as Autodesk’s Maya. Then the frames are woven into an logram image invites our visual–even physical–participation, interleave with (art)n’s proprietary art program for final output because it transgresses the boundaries between dimensions. to transparent film. (art)n’s software generates a matching We investigate it up close, from a distance, from multiple linescreen that allows our eyes to interpret the final lightbox- angles. Even one’s smallest interaction as a viewer–a slight tilt mounted photograph (also a patented apparatus) as a three- of one’s head, perhaps–elucidates a dramatic new detail and a dimensional sculpture. captivating play of light.

How do we as viewers experience a PHSCologram? Here One of the key advantages of the PHSCologram format, as we are conscious of not only the history of photography, well as a chief talent of the (art)n team, is developing an aes- but the roots of modernism itself, as well as the immediate thetically elegant, conceptually cogent visual shorthand. While forebears of Sandor and her colleagues. In a catalog essay this physical “hard copy” of a multimedia experience is ideal for for the 2001-2002 Whitney retrospective Into the Light: The depicting complex information contained in visual histories and Projected Image in American Art 1964-1977, curator Chrissie scientific imaging, the PHSCologram’s backlit drama also trans- Iles notes that artists working with film, slides, video, holo- lates brilliantly to the austerity and focus of a gallery space. graphic and photographic projection “transform the param- The works on view here represent (art)n’s nuanced approach to eters of physical space” and continue Marcel Duchamp’s ex- the virtual environment as both art object and art experience. periments with “multiple perspectives, opticality, perception, and the fourth dimension, all of which laid the groundwork In The Other Window: Distortion ‘06 (2006) and The Other for…the decentering of the viewing subject.” Our experience Window II: Distortion ‘07 (the former is part of the permanent of such work is a demanding one, markedly removed from collection of the Fred Jones Jr. Museum of Art, The University a traditional linear perspective, and continues to be a signifi- of Oklahoma), Sandor, her husband Richard and longtime col- cant concern of . We viscerally experience laborator Jim Zanzi recreate the experiments of photographer this “decentering” in a PHSCologram. Most of us have not André Kertész with the very same fun house mirror the legend- been conditioned as viewers to comprehend the visual infor- ary master used to create his distorted, fragmented portraits. mation contained in virtual reality environments in the same Simultaneously referencing the historical significance of way we grasp photography and cinema, and this sensation Kertész’s pioneering manipulations of light as well as their own is exhilarating. It is not just the image that is “decentered.” place along the spectrum of photographic history, the The image is actually a series of images captured at different artists joyfully mug for their own camera. Their fractured group angles, but our eyes do not perceive it as such. The PHSCo- self-portraits are self-reflexive without self-consciousness. 5 From Left to Right and Top to Bottom:

Front Side Right Side Townhouse Revisited, 1999 Back Side Thomas J. McLeisch, Ellen Sandor, Fernando Orellana, Nichole Maury, Left Side Todd Margolis, and Janine Fron, (art)n. 25”x40”x10” Digital PHSCologram Top Side Sculpture.

6 The Other Window II: Distortion ‘07, 2007 Jim Zanzi, The School of the Art Institute of Chicago; Ellen Sandor, Chris Kemp, Thomas Meeker, (art)n. Special Thanks to Janine Fron and Lisa Stone. 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. 7 Manipulations of light and angle in the images themselves, dedicated to observing and predicting ocean processes, AVL’s captured with analog photography, call attention to that imaging of vast amounts of ocean data inspires non-expert medium. The final digital transformation of these images–in- audiences to comprehend its immense scope and variability. cluding the depth-enhancing effects of the PHSColographic As author and environmentalist Rachel Carson has observed, process, invigorates our experience of reflections, shadow the ocean is vast and eternal, yet “the face of the sea is always and light. changing.” Here, the PHSCologram fosters a concise, immer- sive visualization of this constant transformation, synthesizing In the large-scale sculpture Townhouse Revisited (1999), the effects of undersea terrain and undulating currents on the a collaborative effort with Thomas J. McLeish, a faculty ocean’s surface. member in the Department of Architecture at IIT and a con- tribution to the Graham Foundation’s “Townhouse Revisited” (art)n’s works produced in collaboration with Charles Csuri, a competition, similar forces are at play. Here, one historical pioneer in the field of computer graphics, computer animation touchstone is the ground breaking 1979 exhibition of town- and digital fine art, have an unabashedly digital aesthetic–if one house designs by the “Chicago Seven” architects. Another is can be said to exist. Csuri’s imagery is largely untethered to the the image of bodies in motion by early photographer Ead- physical world: it is conceived and executed entirely as a digital weard Muybridge, who utilized multiple cameras to capture landscape. Political Agenda (1999) is perhaps less of a land- motion in a sequence of static shots. The result is mind- scape than an enigmatic, dreamlike milieu. Like Csuri, German bendingly immersive. Formally, the fluid, undulating three- artist Gerhard Mantz’s preferred medium is digital art, though dimensional images exist on all visible surfaces of a three-di- his images are rooted in the natural world. His work with (art)n, mensional object. Conceptually, we observe links between Gegenseitige Unabhängigkeit (Mutual Independence), is an architecture, with all of its monolithic and utopian ideals, and eerie, confounding tangle of tree branches and other plant life the human body: a creative force of strength and fallibility, that recall Albert Renger-Patzsch’s photographs of trees, as interacting with the environment it builds and occupies. well as Eliot Porter’s ground breaking use of color in landscape photography. But Mantz’s landscapes, which at first glance A sense of organic motion is also evident in Oceans of are enticingly true-to-life, are instead a sophisticated digital Change, a new work produced by (art)n with the NCSA’s pastiche: evocations of reality realized as romantic geographical (National Center for Supercomputing Applications) Advanced archetypes. (art)n’s works with Csuri and Mantz could perhaps Visualization Laboratory (AVL). Led by head researcher be best described as “alternate,” rather than “virtual,” realities. Donna Cox in collaboration with twelve other institutions 8 New media may be in its infancy, yet there exists a dynamic, emerging history, of which (art)n is both a par- ticipant and curator. Since many early computer graphics, as well as today’s digital virtual environments, rely on the specific technologies of their time–hard- ware and software included–it is vital that we archive the “now” moment for future historians, collectors, and artists. The PHSCologram medium offers an exceptional way to multi-dimensionally document artists’ creations or conjure them entirely. In this way, (art)n’s bold experiment allows us to acquire the past, present and future.

--Audrey Michelle Mast

Oceans of Change, 2007 Donna Cox, Robert Patterson, Stuart Levy, Matt Hall, Alex Betts and Lorne Leonard, National Center for Supercomputing Applications, University of Illinois, Urbana-Champaign; Yi Chao, Jet Propulsion Laborato- ry, California Institute of Technology; James Bellingham, Monterey Bay Aquarium Research Institute; Ellen Sandor, Chris Kemp, and Janine Fron, (art)n. 40”x24” Digital PHSCologram, Duratrans, Kodalith, Plexiglas.

9 About Ellen Sandor ______Founding Artist & Director, (art)n_ Ellen Sandor is an internationally recognized multi-media artist and pioneer in digital media. Throughout the 1970’s, she created mixed media environments and sculptures, and received an MFA from The School of the Art Institute of Chicago. Her passion for photography, technology, and outsider art inspired her to 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 been produced under Sandor’s direction by the (art)n collective and numerous collaborators, with works in the permanent collections of museums and private patrons. She has co- authored papers by invitation for Computers and Graphics, IEEE, and other publications and has lectured in Europe, Canada, and the United States. She is a former Collabo- rator/Associate Professor at the Department of Art and Design at the College of Design, Iowa State University, co- founder of the Richard and Ellen Sandor Family Collection.

Sandor remains an active member of the Chicago com- munity and is the Chair of the Advisory Board of the Gene Siskel Film Center of the School of the Art Institute of Chi- cago. 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. 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.

10 Townhouse Revisited, 1999

Thomas J. McLeisch, Ellen Sandor, Fernando Orellana, Nichole Maury, Todd Margolis, and Janine Fron, (art)n. Political Agenda, 1999 25”x40”x10” Digital PHSCologram Sculpture. Charles Csuri and Matthew Lewis, ACCAD, The Ohio Townhouse Revisited addresses issues of the body in the archi- State University; Ellen Sandor, Stephan Meyers, Janine tecture of virtual reality. The work was created in response to such Fron and Craig Ahmer, (art)n. questions as: If hard matter and gravity offer no impediment in virtual reality, what then will meeting, working, and playing spaces 24”x20” Digital PHSCologram, Duratrans, Kodalith, look like there? Plexiglas.

In the Fine Arts Department at Ohio State, Csuri met teachers who were still involved with the ideas of the Cryptobiology: Reconstructing Identity, 2001 19th Century. He became friends with a fellow student, Roy Lichtenstein, who had grown up near the Museum of Ellen Sandor, Keith Miller, Fernando Orellana and Janine Fron, Modern Art in New York with a sophisticated sense of the (art)n; Kathleen Helm-Bychowski, DePaul University. Special avant-garde which Csuri began to soak up. thanks to Stephan Meyers.

30”x40” Digital PHSCologram, Duratrans, Kodalith, Plexiglas.

The glass DNA double helix in the foreground depicts type B DNA. The Other Window II: Distortion ‘07, 2007 This particular section was taken from the human DNA sequence coding for a protein called lysozume. This enzyme breaks open Jim Zanzi, The School of the Art Institute of Chicago; the cell walls of some types of bacteria, and is part of our defense Ellen Sandor, Chris Kemp, Thomas Meeker, (art)n. Special against infections. It was the first enzyme whose 3D structure was Thanks to Janine Fron and Lisa Stone. determined by X-ray crystallography. The sepia toned images in the background and the vertical strips staggered throughout the 40”x30” Digital PHSCologram, Duratrans, Kodalith, image are actual images of DNA fingerprints. Plexiglas.

Inspired by The Other Window: Distortion ‘06, this piece The Other Window: Distortion ‘06, 2006 creates a distorted fun house view of three generations of artists in homage to Andre Kertész that celebrates the pro- Jim Zanzi, The School of the Art Institute of Chicago; Ellen Sandor, cess and history of photography as an art form, featuring (art)n. Special Thanks to Janine Fron and Lisa Stone. portraits of Ellen and Richard Sandor with Jim Zanzi.

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 fun house mirror in Chicago, Ellen and Richard Sandor, along with Jim Zanzi, spent an afternoon making group portraits together, interacting with Kertész ’s distorted, reflective, historic object. 11 Gegenseitige Unabhängigkeit Passive Erschliessung (Mutual Independence), 2007 (Passive Development), 2007

Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n. Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)nn.

40”x30” Digital PHSCologram, Duratrans, Kodalith, 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas. Plexiglas.

The tangled and intertwined trees are independent This incredibly in-depth piece is a truly enchanting multi- from each other, yet can’t help but find themselves dimensional space that engages people to get lost from growing in and around one another. The intricate set- within the senses, creating a feeling of being completely ting in nature is a powerful metaphor for a relationship taken over by the virtual space. just as complicated between two people. As separate as they intend to be, they too find themselves intermin- gling in patterns of an equally confusing design.

Oceans of Change, 2007 Flüchtige Gewissheit (Fleeting Certainty), 2007 Donna Cox, Robert Patterson, Stuart Levy, Matt Hall, Alex Betts and Lorne Leonard, National Center for Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n Supercomputing Applications, University of Illinois, Ur- bana-Champaign; Yi Chao, Jet Propulsion Laboratory, 40”x30” Digital PHSCologram, Duratrans, Kodalith, California Institute of Technology; James Bellingham, Plexiglas. Monterey Bay Aquarium Research Institute; Ellen n Sandor, Chris Kemp, and Janine Fron, (art) . This work introduces an ominous yet truly enchanting virtual rainforest environment. The viewer is placed 40”x24” Digital PHSCologram, Duratrans, Kodalith, in the position of a protagonist making way through Plexiglas. the thick and imposing jungle. One might imagine wading through the water, even swimming, but this is Twelve different institutions contributed to the effort, an insecure and ambivalent area. There is a branch to which was lead by the Monterey Bay Aquarium grab hold of for safety and a sunny world in the clearing, Research Institute. The observing system included a but both are too far out of reach for any comfort or communication framework that allowed observations to conclusion. be transmitted to two real-time oceanographic models. The resulting system provided the oceanic equivalent of atmospheric weather prediction, with all the advantages that prediction entails. The visual models generated nowcasts and forecasts of ocean conditions, which in turn were adaptive sampling with the mobile platforms. The image shown here is a visualization of ocean currents and temperature. 12 Commissions, Collections, ______Gallery Affiliations, and Selected___ Exhibition Commissioned Installations

PET Study: Reconstructing Rodin and Nanoscape I: Encounters in the Bloodstream Camera Work for the Santa Barbara Museum of Art

Water is Always Moving Cranbrook Institute of Science

DIVIDED WE SPEAK Museum of Contemporary Art

Third Floor Rotunda Gallery Museum of Jewish Heritage — A Living Memorial to the Holocaust

Heart, Lung and Blood National Institutes of Health

Promise of things yet to be Nuveen Investments Passive Erschliessung (Passive Development), 2007 Battle of Midway Memorial Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n Public Art Program, Department of Aviation, and the City of Chicago for 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas Chicago Midway International Airport, Richard M. Daley, Mayor

NaCl Janet Annenberg Hooker Hall of Geology, Gems and Minerals Arthritis CPK National Museum of Natural History, Smithsonian Institution The Tech Museum of Innovation

Universal Atmospheres Spaceborne and Airborne Synthetic Aperture Radar State of Illinois Art-in-Architecture Program for the National Center for Jet Propulsion Laboratory, California Supercomputing Applications, University of Illinois, Urbana-Champaign Institute of Technology

13 Collections Museum of Contemporary Art, Chicago USAE Waterways Experiment Robert Fitzpatrick, Pritzker, Director Station Museums University of Illinois Museum Victoria, Australia Yale University Art Institute of Chicago Dr. George McDonald, Director James Cuno, President and Eloise W. Martin, Director Corporations New Orleans Museum of Art Bank of Asia E. John Bullard, Director Brauer Museum of Art, Valparaiso The Coca-Cola Company Santa Barbara Museum of Art University Center for the Arts Encyclopedia Britannica Phillip M. Johnston, Director Gregg Hertzlieb, Director and Curator Daimler-Benz Genentech Smith Museum of Stained Glass Windows Buckminster Fuller Institute IPP Lithocolor E.B. and Maureen Smith, Co-Founders Elizabeth Thompson, Executive Director Johnson & Johnson Pharmaceutical The Swiss Technorama Science The Centre for Contemporary Art, Warsaw Research & Development, L.L.C. Center, Winterthur, Remo Besio, Wojciech Krukowski, Director Kodak Executive Director Konami Explora, Frankfurt, Museum 3.Dimension Leo Burnett Union League Club of Chicago Dinkelsbühl, Gerhard Stief, Director McDonald’s Corporation Marianne Richter, Art Curator meta29 Fred Jones Jr. Museum of Art, Monsanto Company The University of Oklahoma Academic & Research Institutions Nintendo of America Eric M. Lee, PhD, Wylodean and Cornell University Nihon Silicon Graphics Bill Saxon, Director Iowa State University Picker International Jet Propulsion Lab, California Siemens International Center of Photography Institute of Technology Willis E. Hartshorn, Ehrenkranz Director Lawrence Berkeley Lab Gallery Affiliations NASA The Ohio State University La Cité des arts et des nouvelles technologies Kasia Kay Art Projects, Chicago, IL, 2007-present Royal Airforce College de Montréal Jean Albano Gallery, Chicago, IL, 2000–present San Diego Supercomputing Center Hérve Fischer and Ginette Major, Co-Founders Maya Polsky Gallery, Chicago, IL, 1997–present The Scripps Research Institute Oskar Friedl Gallery, Chicago, IL, 1995–present Survivors of the Shoah Visual Musée Carnavalet, Paris Rhona Hoffman Gallery, Chicago, IL, 1993–94 History Foundation, USC Jean-Marc Leri, Director Feature Inc., New York, NY, 1985–93 UCLA School of Medicine 14 Recent Exhibitions Notions of Wilderness Kasia Kay Art Projects, Chicago, IL, June 1-July 28, 2007 No Name Fever Museum of World Culture, Gothenberg, Sweden, 2007-2008 European : WINSOME WORKS(SOME): A retrospective - 1960’s to the traveling exhibition present Chicago Cultural Center, Chicago, IL, April 14-June 27, 2007 Ed Paschke: Electronicon Lewis and Clark College, September 22- October 19, 2007 Bridge Art Fair, Art Chicago 2007, Chicago, IL, April 26-30, 2006

n Intelligent Design Ellen Sandor (art) : 3D pixels realized 1982-2006 The Museum of New Art, Detroit, MI, September 15- October 13, 2007 art@IIT, Kemper Room Art Gallery, Paul V. Galvin Library, Illinois Institute of Technology, Chicago, IL, November 16, 2006–January 20, 2007 Vision 12: The Business of Art Kasia Kay Art Projects, Chicago, IL, July 13-28, 2007 Ed Paschke: A Chicago Icon - A retrospective look at the career of Ed Paschke Chicago History Museum, Chicago, IL, September 30, 2006-February 19, 2007

Faculty Sabbatical Exhibition Betty Rymer Gallery, The School of the Art Institute of Chicago, Chicago, IL, October 6 – November 3, 2006

BINO & COOL Galleri Bergman, Stockholm, Sweden, March 18-April 9, 2006

Visionary Anatomies Keck Center Gallery, National Academies, Washington D.C. September 15- December 31, 2004 and the National Academy of Sciences’ “Upstairs Gallery,” Washington D.C. January 15-May 1, 2005; University of Delaware Museum. September 16-November 26, 2006; Mead Art Museum, Amherst College, December 16, 2006-February 25, 2007; Art League of Long Island, April 7-June 17, 2007; and Art Museum of Western Virginia, August 10- October 28, 2007

portrait Flüchtige Gewissheit (Fleeting Certainty), 2007 Stiftung Starke Gallery, Berlin, Germany, September 23-October 23, 2005 Gerhard Mantz; Ellen Sandor, and Chris Kemp, (art)n 40”x30” Digital PHSCologram, Duratrans, Kodalith, Plexiglas

15 Beyond the X-Ray (art)n Contributing Artists and Major Collaborators Museum of Science, Boston, MA, May 11, 2005-May 1, 2006 ______Contributing Artists, 1983-2007 Major Individual Collaborators Ed Paschke Memorial Exhibition Maya Polsky Gallery, Chicago, IL, February 4-March 15, 2005 Janine Fron Nick Gaul Stephanie Barish BINO & COOL Randy Johnson Gary Justis Steve Boyer Donna Cox Special Treatment Christopher Kemp Pete Latrofa Carolina Cruz-Neira Charles Csuri n (art) , Chicago, IL, January 7-8, 2005 Jack Ludden Todd Margolis Tom DeFanti Margaret Dolinsky Nichole Maury TJ McLeish Michael Dunbar Andre Ferella AIDS in the Age of Globalization Keith Miller Stephan Meyers Barry Flanary George Francis Museum of World Culture, Gothenberg, Sweden, December 2004-July 2006 Fernando Orellana Sabrina Raaf Phillipe Paul Froesch David Goodsell Mark Resch Dien Truong Gero Gries Mr. Imagination Seasons Gina Uhlmann Jim Zanzi Chris Landreth Printworks Gallery, Chicago, IL, November 5-December 31, 2004 Gerhard Mantz Feng Mengbo Major Institutional and Corporate TJ O’Donnell Arthur Olson (art)n: virtual illusion 1994-2004/pixels in perspective Collaborators Ed Paschke Bob Patterson [DAM], Berlin, Germany, September 21-November 5, 2004 Dana Plepys Miroslaw Rogala Cynthia Beth Rubin Dan Sandin Cornell University The Art of Science Imaging the Future: The Intersection of Science, Larry Smarr Lisa Stone Genentech, Inc. Technology and Photography Margaret Watson Karl Wirsum Iowa State University International Center of Photography, New York, NY, March 12-May 30, 2004 Zhou Brothers Jet Propulsion Laboratory Art of the Americas California Institute of Technology Santa Barbara Museum of Art, March 13 - November 21, 2004 Johnson & Johnson Pharmaceutical Research & Development, L.L.C. The Art of Science Lawrence Berkeley Lab International Center of Photography, New York, March 12-May 30, 2004 Monsanto Corporation NASA Gene(sis): Contemporary Art Explores Human Genomics Ames, Langley, and Lewis Frederick R. Weisman Art Museum, University of Minnesota, January31- Research Centers May 2, 2004 San Diego Supercomputing Center The Scripps Research Institute Goddesses ex Machina: Techno Art Perspectives UCLA School of Medicine Merlino Gallery, California State University, Long Beach, September 26- USAE Waterways Experiment Station October 2, 2003 University of Illinois Yale University

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