Syracuse University Art Galleries Joe and Sims Hall, University '"'UT·"''',I1'''O New York 13210 March 31 May 3, 1977

Syracuse University Art Galleries

I Computer Genesis: A Vision of the 70's was organized by the second year graduate students in Museology at Syracuse University as partial fulfillment for the Master of Fine Arts degree. Although the exhibit is a realization of

effort, the following persons were re~:ponsible for the success and completion of specific assignments. S. Gail Fuller here is a curious mystique associated with computer-assisted J. Brad Benson Catalogue Production artwork. It is of as a static, two-dimensional print- Music Coordinator Registrar Exhibition Mailings James Ladd out conveying solely geometric, linear imagery. the Director artwork created in the 1950's and 1960's were of this E,XJrtlc>nICln Design Exhibition Design nature, but various artists, by on the computer as Finance Karen Loewengart an artistic instrument, have expanded the field to encompass a Technical Services Curator wealth of and inventive artforms. Douglas in Cathy Chubb Fund Raising Registrar Exhibition Design Art and the Future, says that "the computer has been called the Graphic Design Stanley Olkowski ultimate tool for the artist-scientist-engineer." 1 Georgia Coopersmith Registrar Genesis: A Vision of the '70's" was by the Catalogue Production Invitation Design Publicity Assistance Exhibition Design graduate students in Museology at University as an attempt Installation Madeline Reamy to illustrate the extent and of computer-assisted art, as Cynthia Cummings Educ. Programs Coordinator well as to provide a basis for its aesthetic evaluation. The selection Publicity Coordinator Graphic Design Reception Planning Installation of artwork appearing in this exhibition encompasses a wide range of media: painting, printmaking, Ol.;I...I.H ..'lUl Louise Shaw Lynn A. Rebbeor Curatorial Assistance Registration Assistance and music.

Cc)mpu.tel:-assistE~dart is a young movement. Its belongs in the 1970's, a decade of eXl:Jarlde:d The organizers of this exhibition wish to express their warmest gratitude to many and experimentation for many computer artists. The first elaborate who have assisted throughout the year with and computer was built in the 1940's for principally the formation and production of this show, with and scientific purposes. Successful utilization of information speCial thanks to Joseph Scala for providing the initial information and much encouragement; to processing systems for musical experimentation, as well as some Patsy Scala for offering source material and initial artistic applications during the the way for technical adVice; to Judson Rosebush for making further investigation along these lines. During the latter part of available supplementary inforrpation; to Barry Winiker, Cataloguer at the Museum of Modern Art the progressive collaboration between artists, scientists and for giving much practical adVice; to Michael engineers took place, resulting in a number of museum exhibitions, Recht, Assistant to the Dean, College of Visual Syracuse University Art Galleries at the Museum of Modern Art and the Jewish Museum and Performing Arts at Syracuse University, for offering funding advice; and especially to in New and the Institute of Contemporary Arts in London. Stanton L. Catlin, Director of Exhibitions, and This was an era which afforded artists the opportunity to to Mary Takach, Curator, both of Joe and explore experimental technological media with full support from an Emily Lowe Art Gallery, for their support. We also thank the artists of this show for interested public. Computer-assisted art was given much exposure, their help and enthusiastic cooperation as notably the 1968 landmark exhibition at the Institute of well as Dick Sheaff for his labor and assistance Contemporary Arts entitled "Cybernetic Serendipity." This important in the production of the catalogue. We remain grateful to the follOWing for providing other exhibition art as a vital and necessary assistance. growing since then the field has received little Bell Telephone public attention. Dean Freundlich, College of Visual and Cc)mputer equipment has become more and better adapted Performing Arts to fulfilling the needs of artists in the past ten years. According Drumlins Banquet FaCility to Joseph computer artist and professor at Syracuse University, The Graduate Student Organization equipment did not take into account elements that artists would be concerned with, namely sensitivity of line, texture, The IBM Corporation of available paper, size, ease of execution and natural inter- The Learning Corporation of America action." 2 The contemporary data processor is suited for New York State Council on the Arts use as an artistic tool for a number of reasons. As a memory SU Audio Visual Services device, computers possess the capability of storing information.

The Syracuse University Art Collections 1/ A digital picture, by its very nature, can be transferred and 3 restored without any loss of information. II Dick Sheaf{, Designer Production Assistants: instruments; this factor eliminates the po>ssi.biJlitv Georgia Coopersmith, Editor Cathy Chubb S. Gail Fuller. Editorial Assist. Karen Loewengart Printing: Trident Printing Stanley Olkowski Corporation Lynn A. Rebbeor

Copyright, 1977, by Joe and Emily Lowe Art Gallery College of Visual and Performing Arts, Syracuse University, Syracuse, New York I They maintain a remarkable speed which gives the artist were the most that could be achieved by the artist who chose to more time to use The random chance factor allows the =.,.",,,,,11"\" the computer in his/her this was the kind of effort computer to make unpredictable numerical selections arbitrarily and which established a critical aesthetic for computer art. This without prior an not possible. Computers aesthetic does not apply to "Computer Genesis." It does not can show immediate results, an important determinant for responsive encompass the variety of adaptation to which the computer has editing. Conceptualizing the final the computer artist can been put by contemporary artists involved in an assortment of

~.,..",...... I""" a data processor the planning stage. This enables media, from the computer-generated printout to the traditional artforms. him/her to graphically visualize the piece and make changes in Because it incorporates a of imagery and media, there is perspective, and size where to remove, distort or no way to standardize computer-assisted art nor to define it alter parts of a almost instantaneously and thereby avoiding some narrow aesthetic. The Grassland painting series Colette numerous hand-drawn revisions. Artwork done without the computer S. must be judged by a different set of criteria consumes far more time, sometimes unnecessarily, "in a fashion than that of Ed Starburst lightbox or the photographs of analogous to carving marble with a sponge.,,4 In addition to basic Lou Katz. There is an inherent in computer artists are able to obtain results to a painting and printmaking together; we have done variety of media. Some artists use a computer to do intricate so in this exhibition in order to awareness of the scope mathematical calculations in order to acquire certain precise infor­ and of computer-assistance to the field of fine art. mation. Jesse Kalfel uses the computer to obtain tOI)OC;rrapl1lici;JJ A rich variety of artwork appears in this vAl.LU.J!Ll'UH, dimensions and then translates them into sculpture. Sculptors can in media, artistic content and computer usage. view their from all thus eliminating need for for its aesthetic appeal, the body of artwork also illustrates the three-dimensional models. for printmakers and painters successful union of information processing systems with creative are on the artist's concept. Ruth human sensitivity, bringing art and technology a step closer. The LeaVitt, for example, employs the computer to reform her initial to combine art and technology is of radical importance; it imagery in order to imply a of The COmlJu·ter' requires an artist to see the field of art to our entire tech- of random chance factor and ease of editing are nological age. Computerization is prevalent in the fields of science, of great value. Computer-aided effects are of tremendous medicine, military, space architecture, textiles, journalism, importance to filmmakers and artists. The computer can education, and others; it is a reflection of our time. be extremely useful when Syracuseas animator; the artist initiates University Art GalleriesIt is only natural that the artist of our time will make use of tech­ the predominant design and utilizes the computer to simulate motion noloQPCi:ll innovation to assist in the realization of visions. and then records the details on film or videotape. Karen Critics of computer-assisted art have, in the past, attempted to Curator define a based upon the March 1977 experimentation by scientists and engineers. Until several years coml::mrer'-allQEla artwork did to a great extent on Footnotes and geometric for content. The Computerized 1.Douglas Davis, Art and the Future, A History/Prophecy of the Collaboration L.D. Harmon and K.G Knowlton Telephone Between Science, Technology and Art (New York: Praeger Publishers, Inc., Laboratori.es, Inc. in this aspect of the medium. 5 1973), p. 97. A computer-generated image derived from a photograph of a nude 2. Joseph Scala, Artist and Computer, ed. Ruth Leavitt (New York: Crown re(::liI1ina woman imitated the artistic theme of the Publishers, 1976), p. 72. classic nude female depicted by such artists as Manet and 3. Duane Palyka, Artist and Computer, sup., p. 62. Modigliani. 6 In generating this image, a 4. Aldo Giorgini, Artist and Computer, sup., p.12. a and a computer the design by incorporating 5. This computer-generated print has also been called Studies in Perception 1, a program which used symbols to produce the appearance of shading. (see Douglas Davis, Art and the Future, A History/Prophecy of the Collabora- tion Between Science, Technology and Art, p. 99). Also entitled Mural In 1967, A. Michael Noll simulations (see Herbert W. Franke, Computer Art, London: Phai- of artwork by Piet Mondrian in which the design was don Press, Ltd., 1971, p. 38). interpreted using linear imagery to contour patterns? The 6. such as Olympia (1863) by Edouard Manet, Venus of Urbino (c. 1538) by resulting two-dimensional imagery was an abstract representation of Titian and Nude (1917) by Amedeo Modigliani. an existing work. This was the type of computer art which was 7. A. Michael Noll, "The Digital Computer as a Creative Medium," IEEE Spec­ pUbllClzea and which created the impression that similar efforts trum (October 1967), p. 90.

I Laurie Spiegel 65.11-15, 1974

Ruth Leavitt 32. Diamond Variation II, 1975

T.M. Stephens Installation of Mined Warps, Electric Gallery, Toronto, June 1974 Syracuse University Art Galleries

Paul Shao, Kenneth Dunker 58. Biomorphic Transform: 201 Skull to Bug, 1974

I William and Louise Etra, Lou Katz Videotape, Ms. Muffet· sequence Michael B. Hannum Rock: A Visual Algorithm, 1973

Syracuse University Art Galleries

Joseph Scala Videotape, Our Father, 1976

Agnes Denes 9. Map Projections: The Snail, 1974

I Colette Bangert 3. Grassland (series): Leaf Circles, 1974

Syracuse University Art Galleries

George Chaikin & Caroline Stone. 6. (Untitled)

Duane M. Palyka 56. Cattoon, 1976 I Praire II Acrylic on canvas, 40 x 108," 1974 25. Demos Agonistes. Color xerox, 14 x II," 1976 Circled. on canvas, 22 x " 1972 26. 01' Three-in-One. Color xerox, 11 x 14," 1976 3. Grassland (series): Leaf Circles. on canvas, 15 x 30," 1974 27. A Twist in Time. Color xerox, 14 x II," 1976 4. Grassland (series). Acrylic on canvas, 30 x 80," 1971 5. Grassland Yellow, Blue. on canvas, 40 x " 1971 28. Boxes 1. Ink on paper, 12 x 7," 1975 29. Between Good and Evil. Ink on paper, 13 1976 6. (Untitled),.in collaboration with Caroline Stone. Intaglio, 20 x 24", 1975 30. Banana Cone. Ink on paper, 6 x 12," 1974 Transformations (from "The of Looseleaf notebook: Color xerox, 9 x 1975-1977 RUTH 31. Diamond Variation I 23 x 23," 1975 DENES 32. Diamond Variation II 23 x " 1975 in The Ink on graph 33. Diamond Variation III Serigraph, 23 x23, 1975 24 x 30", 1976 34. Diamond Variation IV Serigraph, 23 x 23," 1975 The Snail. Ink on graph paper and 24 X 30", 1976 35. Diamond Variation IV /G. 23 x 23," 1975 36. Diamond Variation V 23 x 23," 1975 ETRA 10. Profile and Color xerograph, 8 x 10," 1977 ED 11. Profile and Cityscape (series). Color 8 x 1977 37. Starburst. Film transparency in 28 x 24 x 5," 1975 12. Profile and Cityscape (series). Color xerograph, 8 x " 1977 38. Portrait of Pierre Cordier. Photograph, 16 x 12," 1974 13. Profile and (series). Color xerograph, 8 x 10," 1977 14. Profile and Cityscape (series). Color 8 x 10," 1977 15. Profile and (series). Color xerograph, 8 x 10," 1977 39. Portfolio. Forty diazo prints, 81/2 x 11," 1976 Syracuse University Art40. GalleriesRadioactive Jukebox. Lithograph, 8 1/2 x 11," 1974 41. Gravity. Lithograph, 8 1/2 x 11," 1974 16. Surfaces: A Portfolio of Cover Print. 42. Urbane Novd. Lithograph, 81/2 x II," 1974 20 x 26," 1976 43. Shades of Hades. 8 1/2 x 11," 1974 17. Surfaces: A Portfolio of Folio 1. Serigraph, 20 x 26," 1976 18. Surfaces: A Portfolio of Folio 2. MEYERS Serigraph, 20 x " 1976 44. (Urttitled) 1. Plotter line .,....~.,... ,~~ Ink on paper, 36 x II 1974 19. Surfaces: A Portfolio of Computer-aided Serigraphs Folio 3. 45. (Untitled) 3. Plotter line ril""'HATlnr<' Ink on paper, 36 x 24," 1974 26 x 20," 1976 46. 5. Plotter line Ink on paper, 36 x " 1974 20. Surfaces: A Portfolio of Computer-aided Folio 4. Serigraph, 20 x 26," 1976 M. PALYKA 21. Surfaces: A Portfolio of Folio 5. 47. Self-Portrait. Color photograph, 8 x 10," 1976 Serigraph, 20 x 26," 1976 48. Bubbles. Color photograph, 8 x 1976 49. 8 x 10," 1976 B. HANNUM 50. Patterned Bubbles. Color 8 x 10," 1976 22. Rock: A Visual Algorithm. Comrmter-'aicied Dhi:JtoarcmrlS on 51. Out of TV I Color photograph, 8 x 10," 1976 33 x 83," 1973 52. Out of TV II Color photograph, 8 x 10," 1976 Ii D 53. Strange Bird. Color 8 x 10, 1976 KALFEL 54. Face with Gloves. Color photograph, 8 x " 1976 23. Synthills. Welded steel, 36 x 84 x 17," 1975 55. Ears. Color 8 x 10," 1976 24. Self-Portrait, Another Departure. 88 x 36 x 25," 1976 56. Color photograph, 8 x 10," 1976

I 57. Stilled Time. Light-work: Fluorescent 37 1/2 x 51 1/2 x 5," 1977 Transform: 201 Skull to Bug. Plotter line drawing: Ink on paper, 10 x 10," 1974 59. Say Sab Gao 12. Plotter line Ink on paper, 10 x 10," 1973 60. Tze Yi. Plotter line drawing: Ink on paper, 18 x 10," 1973

SpirallRyrai followed by Peano 5 minutes, sound, 1976 Circle Habitat University of Illinois at Circle 61. 1- 6. Color xerox: Reproduction of a video image, 8 112 xlI", 1974 62. I 7. Color xerox: Reproduction of a video image, 8 1/2 xlI", 1974· WILLIAM ETRA 63. II - 1. Color xerox: of a video image, 8 112 xlI", 1974 Abstractions on a Bedsheet Black and 1973 64. II - 7. Color xerox: of a video image, 8 1/2 xlI", 1974 65. II -15 Color xerox: ofa video image 81/2 xlI", 1974 ETRA 66. III - If Color xerox: of a video image, 8 1/2 xlI", 1975 Video T.M. Narcissicon. Section of 2 Modules f\!=.'Yr.t·iYrn & Positive Xerox vellum print, 17 1/2 x 41", 1975 WILLIAM and LOU KATZ 68.40 Units 3 Overlap Section of Warped Planes, Ms. Muffet & Positive Xerox vellum print, 17 1/2 x41", 1975 69. 3 2 Modules Beneath 3 ncr",..",,,,,.,,,,,, with 2 Modules. 8 minutes, 1976 11l1r1rr-.c,r/ Planes Linear Luminal. PMT print from UUjlLH\.JlU 8 x lO", 1977 71. Plane with Grid. Luminal construction: 6 minutes, 1976 light; 32 x 27", 1977 Syracuse University Art GalleriesGrid & Luminal kinetic construction: PATSY light, chromed steel; 40 x 12" 1977 Wipepoem, Scope II, Mergings, in Red and Black. Color 73. 3 Warped Plane Section, Luminal construction: 1975-1976 27 x 12" dia., 1977

YALKUT The Mirror of Heaven Remirrored The Mirror of Heaven, The Whirling FILM Ecstasy. Color, 1973-1974 Inc.)

Meiosis and Mitosis. Producer: Larry Elin. Animation: Bo l:::.fehrino, Joe Silverman. Music: Todd 16mm, sound, 1974 EMMANUEL Client: CRM Educational ...... ,-.;;; ...... 0 Drew Brazen. ED Experimentu Tuo. 16mm, sound DEXTER Blocpix, Part If 16mm, sound Earth's Magnetic Field Speech Rotations.

Unquestion!ed Answer. Tumble 8, Bigtumb, Paiktu 4.

I S. JLJru ..'''''''' The Cooper Union, B.Architecture. Taught: . Group Shows: International Animation Film k=c,'hu;:,1 (1975), introduction Roberta Leach; Born: Ohio (1934). New York, 1975. Grants: National "Dynamic Visual Systems in Process: Studied: John Herron School of Endowment of the 1967; the Work of Denes," Philip 1957; Boston Univer­ Graham Foundation, 1976. Arts Magazine sity, MFA, 1958; Indiana Univ­ Publications: "Computer of Distortion Series: Map ersity; Kansas of Life/' Computers and r'rc)je(::ticms-l)(JUC;JhllUt,"introduction by Woman Shows: Lieber (May, 1975); "Control Lucy Lippard, text and illustrations Denes \.1. U.oI.LYC::l '" .LU\..UUJ.1Uj,.lV1Jl.:>, 1957, 1958; Krasner Structures for Performance \.::rr'apmc's, New 1968; Mulane SIGPLAN /SIGGRAPH Notices (in 1975-76); of the Mind 1966, "Controlled Imagery and Directed 1976); Avila College, Kansas City, 1971; Colors Educator as ComrmiE::lr Paradox and Essence (Tau/rna Northern State College, At>erl:jeE3n. Animator), Froc. NCC (1976). Italy, 1976). 1975. Group Shows: "Contem-

of Art, r1L> I ... ~""Denes "International Watercolor Born: Ames, Iowa (1942). Studied: Stockholm, Sweden; CCNY; 1963; Studied: of New School for Social .KAsAfirc;h: "Invitational Regional," Nelson uage in Introductory Computer Columbia University. with Caroline Output (Summer , New 1974. Directions in Media," Nelson Princeton University. Awards: for the One-Artist Shows: AIR New Atkins 1970; "Computer Art," Koussevitzky Foundation 1969. Hult Foundation York, Ohio State University, Bloomfield Art liS:SOC:lan.on, 1974; Corcoran ington, Louise R. Etr a New York, 1975; "Area Painters," University of Italy, 1975; Rutgers University, Born: New York, New York (1951). 1976; "Midwestern Print­ Syracuse University Art Galleries Douglass New 1976; Studied: Hunter BA, 1971. Northeastern University, DEF ANTI Born: 1948. Studied: Inj,roT',,,,;nr of Akron, Shows: "New York Avant- 1976. Publications: "Experiences Queens College, Ohio State Newport Harbor Art Museum, Newport Garde 1972, 1973, in Drawings Ph.D. \"JU1HVllll'o., 1976; School Museum of Modern Art, Mexico and by Hand," co-authored by Assistant Professor, University of 'hi!,adE~lpJh.ia,1977; 112 Greene 1973; "Annual International Com}:>utE:!r Charles 1. Leonardo Illinois at Chicago Circle. SANDIN Street and Gloria Cortella Art If New 1975, (Fall, 1974); "Computer Grass is Born: 1942. Studied: Shimer Gallery, New York, 1977. Group "Annual Women's Video Natural " co-authored by College, BS; of Wisconsin, Shows: Museum of American New York, 1974, 1976; Charles J. Bangert, edited by Ruth MS. Professor Art, New York, 1971, 1973, 1976; "Women in Film and Video Conference," Leavitt, Artist and Computer I,",;"Y~~'M;+"of Illinois at Museum of Modern New Center for Media Study, SUNY at 1976). "Aesthetics of California Institute of the Arts, 1973- "Video Art," Museum Computer Art: Part 1," co-authored 1974; San Francisco Muse~mof of Contemporary Art, \"JU1U\..;o.,:>, Charles J. 1-1", ...,,....=.,.,+ COLLABORATION Shows: Indianapolis Museum of Art, 1974; enE3zuela, 1975; The New of the 8th National/International "The Interactive Electronics Visual­ ization Event," Chicago, Institute of Contemporary Art, Univer- Everson Museum of Syracuse. Sculpture Conference (University sity of and The Clock- Publications: Video Art (New of 1976). tower, New York, 1975; Brooklyn Bowling "Third York, 1976) edited Korot-Schneider. Mt:lsel1m, 1976. Awards: Creative International Computer Art FestivaL" ...;"''''... ,....,.. Merrill _.I.J.o.JL.t\.J.J..l Artists Public Service 1972, New 1974; National Endowment Fellowship, Born: New New York (1944). New York, 1975; Museum of Con- Etra 1974, 1975. Recent Publications: Studied: Pratt Institute, temporary Chicago, 1975; "Third "Human Dust " Visual Dialog Born: New New York

I Studied: New York A Photo-Invitational " Terre School of the BFA. Haute, Indiana, 1976. Awards: First "Inexpensive Real-Time Gen- University of 1975; 12 Electronic Highlights, Boosey Place, "Radius '76-A Juried Photo­ eration and Control," with William York University School of the and Hawkes, SBH 3025; graphic Exhibit," Illinois. Etra, '-.J'-f,U-'/-'<"<"J-' 1972-1975. Shows: "New Desto, DC 7124. Awards: York Avant-Garde Festivat 1972, heim Fellowship, 1967; MacDowell Kalfel 1973, 1974; Museum of Modern Art, 1964-65; Annual ASCAP William Mexico City, 1973; U.S. Cultural Awards, 1967-75. Grants: National Center, Paris, 1973; U.S. Cultural Endowment for the 1974, 1975. Born: New York, New York (1949). Born: Detroit, Michigan (1947). "Annual Studied: Art Students High Studied: Michigan State University, School of Music and Art; School of International Computer Art Festival," AIda MFA. State New York, 1974, 1975, 1976; Museum Advanced Harpur College, University. One-Man Shows: "Impression SUNY at One-Man Shows: of Contemporary Art, '-''-'LU'-AH', Born: (1934). 5," Museum of Art and Tech- Venezuela, 1975; "Projected Video," Bellevue New York; nology, 1976; East Studied: Apprentice to Carlo A.F.S. Gallery, Binghamton, New Museum of American apprentice to Lansing Public Library, 1976; Hilton Broome Office '-JU.uU,U"'-i, 1975; "Tokyo Computer Art Festival," Ambrogio Casati, 1949-1953; Univer­ ./....o'... I..L.LOU.y, M.lChlgan, 1975. uu .... 'vu, New York. Group Shows: 197~ The New sita di Pavia; Politecnico di Shows: "Christian Art Show," Ascension Everson Museum of Syracuse. Studio New Lutheran East 1976;' Dr. Ing., Colorado State Univer- SUNY at Binghamton Fine Arts Publications: Video Art (New sity, 1966. One-Man Shows: "Spring " 120 in the Shade edited by Korot-Schneider. Everson Museum of New Gallery, Lansing, 1975; "Industrial Indiana, Lever Brothers Building, New 1974; Krannert Gallery, Purdue Univer- Al umni Exhibition," Art York City; Roberson Center for the Center, Michigan State University, Emman uel Ghent sity, Indiana, ME Arts and New Purdue 1975. Group Shows: 1975. Publications: "The of York. Publications: "The Aesthetic Computer Graphics," Artist and Computer, Born: Montreal, Canada (1925). Hoosier 1973, 1975; Implications of Machines That edited Ruth Leavitt (June 1976). Studied: McGill University, B.Sc., "Tippecanoe Art Show, LaFayette, Generate Computer Art," S.A.T . private with Samuel SyracuseJ.HU.J.U.Ll.U, 1974, 1975; "Indiana ArtistUniversity Art Galleries Document Series (1976); "The Function mcnaI1aj:)OUS, 1974; "Cana- Blumenthat R. deH. Tupper and Ralph of Art and Visual in General Ruth Leavitt Lecture-Demonstrations: dian Computer Show," Toronto, 1975; Systems Theory," International Journal Juilliard School of Dartmouth "Third International Art of General (Vol. 2, No.3, 1975). Born: St. Minnesota (1944). Columbia-Princeton Elec­ ,'-::,''''\'U1.'' New York, Studied: University of Minnesota, BA. tronic Music Center; California International ,-,"-"..HIo)'LU..I.C;; One- Woman Shows: Coffman Institute of the Arts. Selected Special Art Show, New Orleans, Lou Katz University of Minlll9SC)ta, Performances: Berkshire 1976. Publications: Artist and 1972; Tanglewood; Zagreb Festival, Yugo- ,-,"V"HI.JU.'.C;;J., edited Ruth Leavitt Born: New York, New York St. Paul, 1974; Southern MiSSionary Festivals of CcmtE3mporary Studied: CCNY, University of Wisconsin. College, Collegedale, 1975; Music, University of Illinois and Shows: "Annual International David Burnett 1977. Montreal. Publications: to Michael B. Hannum Computer Art Festival," New York, Shows: "Exposition Internatione Performers- A New Compositional 1973, 1975, 1976; "Garden of Elec­ d'Art a l'Ordinateur," Place DO'nR·veltl.ILlre. f:Jel"specjtiv€::sof New Music Michigan (1942). tronic Delights," The Kitchen, New Montreal; "Women in

Control of ni"·,,,.,..c,ihT of J.Vl..I."-'l..I.J.yO!!, York, 1976. Publications: "Interactive ne,ap()lls College of Art and ...... ""'0.'-1'"', Electronic Music Synthesis," Pro­ 1974. Group Shows: '-'''''.u!'-'''''''J. l::i-raphics and Representation " Minnesota Museum CeE~a111gsof the 4th Annual Confer­ "17th Mid-Michigan," Midland, Michigan, of Complex Biological Structures," St. Paul; "Cybernetic ence of the American Society of "Radius '76-A Iuried Photo­ with C. Levinthal, Ann ual Review of " Bohun COLr'.mo.sers(1969); 1/ A graphic Exhibit," Rockford, Illinois; Biophysics and Bioengineering (1972);

Control System," "New '74," .l...dH:;ilJ.i:lJ.-'C;;.1. "A for Picture Control in " Montreal Museum of with Mimi Garrad and James Washington; "Alternate a Real-Time Mode," with William Etra, 1975; "Ninth National

."------_._------I North New York, 1973; "Circuit," Cranbrook Performances: At Munson-Williams and Aug. 1976); "Computer Academy, Bloomfield Proctor Institute of Utica, New Painting," Artist and (1976), 1973; "Seventh Bienelle of '.... HL'I."'.'L1'., York; Lincoln Center, New York; edited by Ruth The Print Club, Czechoslovakia, 1976; the and the 1976). International Computer Arts Festival," "',...,.",-"....,.".,,," Museum of Modern Baltimore Symphony. New York; "Watson Brazil, 1976. Wheaton College, Norton, Soft Where Aaron

inr,.nitr<~'Ql'Gallery, "An Introduction to H. Norris Pittsburgh, 1976; Tokyo, 1977; "ARS Ex Machina/' Born: Baltimore, Maryland (1951). Austria. "Aaron Marcus: Studied: Clark University, Publications: Editor, Artist an.d ueSlCmE~rand Graphic De-Signer," Massachusetts. Group Shows: Clark Shows: Everson Museum, ....."''"'''''r'"c·o "Pictures Midori Idea Vol. 24, 1976. Publications: New 1975. Shows: Based on Computer Made No. 137, (July 1976); "Aaron Marcus "Cabodian Spring/' in collaboration with Martha Jackson West, New York, 1975; Ue'!or'ming an Initial " Leonardo and His Stuart Lavin, Black Box (Washington, "Suite New (Vol. 9, 1976); Computers in the Katsume Masaru, Graphic Design D.C.). 1975; "National Computer Conference," Humanities, edited by J.L. Mitchell No. 57, March New "International Computer Exhibition Computer' York 1976); Duane M. Age)," 1976. T. Manning "Aaron Portfolio of Computer Graphics," IBM Information, No. 13 (Paris). Born: Pittsburg, Pennsylvania (1944). Studied: Carnegie-Mellon University, Born: New (1920). Thomas A. and 1968, 1969; University Studied: University of Tennessee; ...... ,<;,...... , M. Drew Columbia of Leonard IVIIt:.:n.TIt:."T"I of Utah, MFA, 1970. One-Man Shows: ...... u ...v ...... , ...'uu.i:) in Time and Shows: "N a tional Hewlett 1967; Born: New New York. ComJ,:mtE~rC:onJterEmce," New York, 1976; Union Gallery, Salt Lake City, Utah, SyracuseStudied: Stanford University, Ph.D.University Art Galleries Both are curreiDtJv e:mCllOii'ed as American Film Institute, Awards 1971. Group Shows: Communication Designers for Independent Filmmakers, 1976; New Group Shows: "Annual International ::"el:endlI=llty /I Institute of ContE3mporary in New York. York Film Festival, 1976. COml:mtE~rArt FestivaL" New Arts, London, 1968; "Some More 1974, 1975; "National Computer Kl"I'",,-.,IrI'un .... .l.UWC'A.l.H, 1969; COLLABORATION Performances: Conference," "Tendencies 4/' Yugoslavia, (with pianist Robert James) Pictures Aaron LAJ.ll.I..J.LL.l.V,l.I., 1974, 1976; "Canadian 1969; Corcoran Gallery of at an Exhibition 1975; Washington, "On The Eve and Book I of the uelJU,SSY Born: Omaha, Nebraska (1943). Center for Of Tomorrow," West Germany, Rochester Memorial Art Studied: Princeton University, BA; Arts, Buffalo, Tweed Museum of Rochester, New York, 1976. Yale MFA. One-Man "International Audio-Visual Aids Minnesota, 1971; "Annual International Shows: New Museum Conference and Exhibition," Stereo- Comr:mtE3r Art " New York, 1974, of Fine Arts, Trenton, 1974; Art scopic Section, 1974. "ICCH," University of Southern JU:!S8IDll Scala Museum, Princeton University, 1974; California, Los 1975; Sewall Art Gallery, Rice "Canadian Computer Show," J.UJ,U.l.JLLU. Born: Queens, New York Houston, Texas, 1 Print Gallery, Dexter Morrill 1975; "Computer Art Show," 1976; Studied: C.W. Post College, BS; Form Meditation Amsterdam, "National " New Cornell University, MFA. 1976; Worcester Art Center, Lawrence Born: 1938. Studied: Colgate York, 1976. Publications: "Computer Syracuse University. Wif3consin, 1977. Group Stanford " Studio International (Sept. One-Man Shows: Cornell Univer­ Shows: "Some More ./:jeglIlmngrs, Art and the Future, Douglas sity, 1971; Everson Museum, Brooklyn 1968; "Messages," Private and People (Aug. West Broadway American Institute of Leonard Rainer, Robert Palmer. 1975); Computer Graphics and Gallery, New York, 1976. Group

I sHy of Michigan, Jacob Druckman, and Emmanuel Cornell University, MS, 1967. Ghent; Brooklyn College, CUNY, Toronto Globe Museum; Ward-Nasse Taught: Iowa State 1975. Performances: Research Center 10th Anniversary Galleria D' Arte Moderna, Ferrara, COLLABORATION Solo Shows: The Kitchen, New Exhibition Series" (Feb. 1977). Italy; Lincoln "Inter- Iowa Expe:riITlenltal Intermedia national Video Exposition, Buenos State University, Waterloo Foundation; SoHo Center for the Aires. Publications: Computer Municipal 1972; Museum of Modern Art, New Art," Artist and ,-",VH1j.JUL'::::n Clinton Art AS!30clation, Iowa, 1974. York; Mind; 2nd, 3rd and edited Ruth Leavitt; AFIPS Shows: "Circuit .I...J ...... iiU ..JlL1IJ11, 4th "International Computer Art Born: New New York (1938). "N ational Computer Bloomfield Art Association, " New York; New School Studied: CCNY; McGill Conference," (l 976); Who's Who in "National Conference," for Social N ew York; Montreal. One-Man Shows: Film Retro­ American Art Chicago, "The Art and Skill "International Computer Arts spective, Everson Museum, of "Best Art Shows in N.Y.C. of sition," Awards: American '-"l,H;;C} ..nvJ...Jv," Museum of Modern 1976" Music Center, Creative The New and Artists Public 1975-76; "From Film to Video, N ew York State Council on the Anthology Film New York, ASCAP, 1976; WNET Experimental "Filmmakers Cinematheque," New 1975; "Printout," Watson Television 1976. York; "Canyon Cinematheque," San Born: Tennessee (1941). Wheaton Massachusetts, 1975; Projected Images Studied: Currently, Ph.D. Call01rd.ate, "Canadian Computer " Exhibition and Movie Machines," Heistand Art S.L Newhouse School of Commun­ Toronto, 1975; "The Touring Thomas Michael L')n~nnens Miami Oxford, ications, Syracuse Exhibition of and the State '-'V'llv<....!G, Shows: 9th, 10th, 11th and Humanities," (ICCH 2) 1975-76. Born: Elkins, Arkansas (1941). 12th "Annual New York Festival of Publications: "Iowa State Studied: of Kansas. the Avant Garde;" "International Develops New Perspective Taught: Maple Woods Community Video " Galleria D'Ane Syracusel:-'rciQT

I a History/Prophecy of the eC.nn'OlC'OYand Art. (New York:

iJE!sic;,rning and Planning 2.

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Syracuse University Art Galleries

"Comments on Visual Fine Arts Produced by Vol. 4, No.3, Summer 1971, pp.263-265 Mallary, Robert "Computer Sculpture: Six Levels ot Artforum, Vol. 7, No.9, May 1969, pp 29-35 Noll, A. Michael "The Digital Computer as a Creative Medium." IEEE October pp. 88-90 Thompson, Michael "Intelligent Computers and Visual Artists." Vol. 7, No.3, Summer 1974, pp. 227-234 VanDerBeek, Stan "New Talent- The Computer." Art in .n..U-ltllJ'I,.;U, Vol. 58, No. I, 1970, pp. 86-91 John H. "Computer Art for the Video Picture Wall; A Word About Matrix." Art InternationaL Vol. IS, No.6, pp.35-38

"Printout: An Exhibition of Computer-Generated Graphics." Watson Wheaton Massachusetts (March 1975) "Software-Information Its New for Art." The Jewish Museum, New York (September 16-November 8, 1970)

I Syracuse University Art Galleries

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