Tuesday, November 10, 2015



Interact Digital Arts is bringing the work of pioneering computer artist DP Henry to Leicester for the first. A collection of original drawings will be on show in the Phoenix
CaféBar and three pieces each by by DP Henry, Patrick Tresset, Jack Tait, Damon Roberts, Esther Rolinson and Damien Borowik are being exhibited at the LCB Depot LightBox. The exhibition is running from 2nd until 17th December and is being accompanied by a number of talks and workshops. See the website for details.

Desmond Paul Henry was a pioneering computer artist who created beautiful images in the 1960s using a modified World War Two "bombsight" computer. While receiving a degree recognition during his lifetime (his work was championed by the painter LS Lowry in 1961 and was featured at the seminal Cybernetic Serendipity exhibition at the ICA in 1968) it has only been in recent years that his importance in the history of British computer art has been fully recognised. This is largely down to the work of his daughter, Elaine O'Hanrahan, in researching and cataloging her father's work and publicising it to a wider audience.

For this exhibition have worked with Elaine O'Hanrahan to bring part of her collection of original DP Henry artworks to Leicester for the very first time. This is a rare opportunity to see so much of Henry's work in one place and I'm sure that it is one that many people from Leicester and beyond will enjoy. The exhibition is running for just over two weeks and is being accompanied by a display of artworks by contemporary artists who use drawing machines and computer technology in their work.

The show is split across two sites in Leicester's Cultural Quarter, just two minutes walk from each other and five minutes from the train station. Eleven pieces by DP Henry are on show in the Phoenix CaféBar and three pieces each by DP Henry, Patrick Tresset, Jack Tait, Damon Roberts, Esther Rolinson and Damien Borowik are being exhibited at the LCB Depot LightBox. There are also a number of computer drawing related events happening during the exhibition. Entry to all activities is free.

For more information see:


Saturday, October 31, 2015

Roman Verostko- Algorithmic Transformations

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Kim Stepinsky | for TRIB TOTAL MEDIA
Roman Verostko (left) talks about his art (shown back) with St. Vincent College President Brother Norman Hipps, OSB, during a reception held at the St. Vincent Gallery in the Robert S. Carey Student Center.

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‘Algorithmic Transformations'
An exhibit of Roman Verostko's work, “Algorithmic Transformations: From art by hand to art by code,” spans 65 years of his career. The exhibit, on display until Nov. 22, is free and open to the public during regular gallery hours from 1 to 4 p.m. Tuesday through Sunday or by appointment at the St. Vincent Gallery in the Robert S. Carey Student Center on the campus of St. Vincent College, 300 Fraser Purchase Road, Unity.
For more information, contact Ann Holmes, administrative director, at 724-805-2107 or ann.holmes@stvincent.edu

Daily Photo Galleries

Tuesday, Oct. 27, 2015, 8:12 p.m.
Artist Roman Verostko compares the leverage and power harnessed when chopping wood with an ax to the same power created when programming a computer.
“If I had that hatchet or that ax in hand and I went ‘whack,' things happen,” he said last week during a lecture at St. Vincent College. “That is tremendous power in a machine, a very simple machine.”
Verostko, 86, of Minneapolis grew up in the village of Tarrs in East Huntingdon Township and attended the Art Institute of Pittsburgh, graduating in 1949 when he became a monk at St. Vincent Archabbey.
Now an exhibit on the Unity campus showcases his career. Works are on display through Nov. 22 at the St. Vincent Gallery.
His code-generated imagery, now known as algorithmic art, began with his aspirations as a writer and illustrator when he studied at the art institute.
Before leaving St. Vincent in 1968, he started creating synchronized audio-visual programs for spiritual retreats.
A musical idea becomes a score, a type of code, Verostko said.
“How did that code get there? How did all of that happen?” he asked during the lecture.
In the same way, he and colleagues in the art world were part of a movement to integrate electronics and art.
Verostko said he wanted to harness the power and leverage of computers, beginning with “Echoes from the Cloister” in 1969, a 30-second computer-generated animation of a cube bouncing around the screen.
“I wanted to make the computer autonomous,” he said. “Just like I have human automatism, I wanted my computer to have automatism.”
With only a few lines of code, the computer could work to generate something in place of a human, as in 1982's “The Magic Hand of Chance,” using coded sequences that never repeat.
“It's like that hatchet: ‘Wham!' You could do tremendous leverage with that mind machine,” Verostko said.
Many later works in the exhibit showcase what Verostko calls “pen plotters,” drawings made by pens attached to a machine programmed to move via computer code, beginning in 1986. Those works show swooping organic lines and thousands of lines twisting together — one after another — to form shapes.
“We are all immersed in a world now that is controlled by machines more and more, we have to understand what that is,” he said. “I'm not here to preach. I'm here to say, ‘Pay attention.' ”
After the lecture in the gallery, Emma Hamling, a St. Vincent senior art education major from New Haven, Conn., said Verostko's work is pioneering as computers and design are more integrated now than ever before.
“I think he's so revolutionary for what he did,” she said. “I just think the blending of the technology and the art speaks true even now, even though he started this in the '80s.”
Classmate Joni Mulvaney, a senior art education major from Bakerstown, said she was impressed by the use of inorganic machines to establish organic forms in his art.
“I think it's amazing how he blended something that is a digital thing, but it doesn't have a digital appearance, which is outstanding,” she said.
Stacey Federoff is a staff writer for Trib Total Media. She can be reached at 724-836-6660 or sfederoff@tribweb.com.

Read more: http://triblive.com/neighborhoods/yourlatrobe/yourlatrobemore/9298018-74/art-vincent-verostko#ixzz3q9TL8DjT 
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Thursday, August 20, 2015

Doug Dodds changing the history of art through his vision and grace....

Collecting Fifty Years of Computer-Generated Art at the V&A 
Many people assume that the history of digital art goes back decade or two, at most. As 
 show highlights, the first exhibitions of computer-generated art actually took place some fifty years ago, in Stuttgart and New York. Nevertheless, many museums and art galleries have taken very long time to acknowledge the importance of digital art, if they
 recognised it at all. In the UK, the Victoria and Albert Museum began to collect computer-based artworks as long ago as 1969, when it acquired set of prints published in conjunction with 
Cybernetic Serendipity 
the landmark exhibition held at 
 Institute of Contemporary Arts in 1968. The complete set was purchased by the V&A at cost of just £5
equivalent to about £200 or 
280 today. 
However, the Museum’s official records reveal 
that some curators 
definitely weren’t
 persuaded that computer art was worthwhile, at any price. The acquisition files for the 
Cybernetic Serendipity 
 prints include number of negative 
comments, such as “I am far from convinced about their aesthetic validity” or “they should 
be represented in the museum as characteristic aber
 The Cybernetic Serendipity Presentation Set, as it was called, 
ended up in the V&A’s Circulation Department, and w
assubsequently transferred to the Prints, Drawings and Paintings Department. The portfolio includes works by the Computer Technique Group, Charles Csuri and James Shaffer, William Fetter, Maughan S. Mason, Donald K. Robbins and Kerry Strand. The individual prints are now in great demand, and loaned to various exhibitions around the world. One of them 
Running Cola is Africa
by CTG is even due to go on semi-
permanent display in the V&A’s 
Toshiba Gallery of Japanese art and design. The Museum also acquired some screen prints from Manfred Mohr
Scratch Code
 series in 1978, but curators at the time were undoubtedly still concerned about collecting examples of computer art. Some original plotter drawings were known to be light sensitive, or produced on thin computer paper, or both. Other works were thought to be of limited aesthetic quality, or simply inappropriate for major museum. As result, the V&A collected very few computer-
based artworks until the 2000s, when the Museum’s focus 
changed significantly. An increasing awareness of the significance of digital art and design led to the acquisition of two major collections, both of which contained substantial 
number of individual artworks. First, the Museum’s newly established Word and Image 
Department acquired the Patric Prince Collection, which contained some 250 artworks plotter drawings, prints, photographs and computer files plus huge amount of supporting documentation. Patric was an art historian and archivist of computer art, and she had accumulated large library of printed books, plus correspondence, photographs, digital recordings and ephemera in addition to the individual artworks. In parallel, the V&A obtained the archives of the Computer Arts Society, established after the Cybernetic Serendipity exhibition of 1968. The CAS collection also contained around 250 artworks, plus some archival material. With more than 500 computer-based artworks by 2008, the Museum s
uddenly became one of the world’s l
eading public collections of early computer art and graphics.
 In the following years, the V&A created digital images and online catalogue records for the Patric Prince Collection and the Computer Arts Society archive, plus numerous other 
individual acquisitions.
 We also undertook research project 
funded by the UK’s Arts and 
Humanities Research Council, and this resulted in V&A exhibition entitled 
Digital Pioneers
 (2009-10). The 
Digital Pioneers
 show attempted to provide brief overview of the history 
of digital art and design, based upon the Museum’s holdings at the time. Artists 
in the show included Ben Laposky, D.P Henry, Georg Nees, Frieder Nake, Herbert Franke, Vera Molnar, Ken Knowlton, Lillian Schwartz, Charles Csuri, Harold Cohen, Manfred Mohr, Paul Brown, Jean-Pierre
Hébert, Roman Verostko, Mark Wilson, Barbara Nessim and James Faure Walker, among others. In parallel, the Museum also organised contemporary exhibition entitled 
Decode: Digital Design Sensations
 (2009-10), which was heavily interactive and hugely popular too. The 
V&A’s Word and Image Department
 subsequently acquired some of the born-digital pieces, including
Daniel Brown’s 
On Growth and Form
Koblin’s Flight Patterns
 and Karsten S
Recode Decode
 digital identity for the show itself. We also purchased some pieces 
with physical aspect to them, such as Random International’s 
Study for Mirror 
The success of 
Digital Pioneers
 certainly put the Museum on the digital art map, and our holdings have grown significantly in recent years. Highlights include additional works by Frieder Nake, A. Michael Noll, Vera Molnar, Manfred Mohr, Harold Cohen, Roman Verostko, Mark Wilson and Casey Reas, all of whom are represented in the 
 exhibition. In some cases the works were acquired with the help of DAM, which remains one of the few European galleries with real expertise in this area. Other recent acquisitions include plotter drawings by Darrell Viner and Stephen Scrivener, both of whom attended the Slade School of Art in London during the 1970s. In addition, we have an increasing number 
of “Computer Creations” by Lloyd Sumner,
 produced in the late 1960s, plus complete set of impact prints by the American hard-edge painter Frederick Hammersley. The Museum has also continued to collect works on paper and born-digital artworks by pioneering artists such as Ernest Edmonds and Paul Brown. As result, we now have some 1,500 artworks in total, plus great deal of documentary material. The Museum even has set of Fortran 
punched cards, used to create one of Manfred Mohr’s artworks
 in 1970. Of course, there are still many significant gaps in the 
 collections, and we hope that some of these can be filled in the coming years. 
The Museum’s newly established Design, 
Architecture and Digital Design department is also heavily involved in documenting the impact of digital technology, acquiring works that range from Flappy Bird to Cody Wilson
infamous 3D-printed gun. We have thus come long way from the 1960s and 
 like many other museums -are actively engaged in the ever-evolving world of digital art and design. 
Douglas Dodds, Senior Curator, Word and Image Department, Victoria and Albert Museum April 2015 
 See V&A nominal file for the publisher, Motif Editions, MA/1/M2971 
 Perhaps the largest collection at the time was held by the Kunsthalle in Bremen, which had recently acquired the Herbert W. Franke collections and published an invaluable printed catalogue of its holdings.