Tuesday, January 19, 2016

Doug Dodds, Reframing art history...

From Analogue to Digital: Documenting the History of Computer-generated Art and Design
Douglas Dodds

Date

Tuesday, November 18, 2014 

Time

6:00 pm – 8:00 pm

Place

38 W 86th St.

COST

$25.00 General Admission
$20.00 Seniors
FREE for students with valid ID

bgc.bard.edu/programs 212.501.3011programs@bgc.bard.edu

Description

In the 1960’s computer art was largely ignored or dismissed by the art establishment. Today it is recognized as playing an important precursor to contemporary digital art practice. In this lecture, Dodds will provide a brief history of digital art and design, and explain how the V&A is forming an internationally significant collection of computer-generated artworks from the early 1960s onwards. He will also examine the role played by pioneering women artists and designers, including Barbara Nessim.
Douglas Dodds is Senior Curator in the Word and Image Department at the Victoria and Albert Museum, London. In 2009/10 he curated a groundbreaking V&A exhibition entitled Digital Pioneers. He is also the curator of Barbara Nessim: An Artful Life.


Event, Lectures

Monday, January 18, 2016

Desmond Paul Henry

DESMOND PAUL HENRY, GENERATIVE ARTIST (1921-2004)

*I'M HUMBLED TO admit that I've never before heard of this guy, but it's better late than never. His biography is straight out of Pynchon's GRAVITY'S RAINBOW.

http://www.desmondhenry.com/the-henry-story.html

"The Drawing Machines

"The bombsight computers, from which Henry constructed these machines in his home-based workshop in Manchester, were employed in World War Two Bomber Aircraft to calculate the accurate release of bombs onto their target. He combined these computers with other components to create electronically-operated drawing machines which relied mainly on a 'mechanics of chance'. This meant the drawing machines could not be pre-programmed or store information as in a conventional computer; nor were they precision instruments.

"As a result, Henry had only general overall control but at the same time he could intervene to direct the course of image production at any given moment of his choosing. This spontaneous interactive element of his machines pre-empted by some twenty years similar interactive features of contemporary graphic manipulation software. Today not one drawing machine remains intact.

"Using one or more mechanised drawing implements (biros at first and then tube pens with Indian ink) Henry's drawing machines produced abstract, curvilinear, repetitive line drawings. Henry compared these strangely organic-type images to those described in natural form mathematics or produced using pendulum harmonographs and ornamental geometric lathes.

"The chance element inherent in the construction and function of each Henry drawing machine ensured the unrepeatable quality of their infinitely varied visual effects. The aesthetic appeal of these 'mechanical fractals' (Henry) lies in their unique blend of order and chaos, of regularity and irregularity.

"These machine-produced images were either left untouched by Henry or embellished further by hand in response to their suggestive features…."


Stella and digital tools....

Wednesday, January 13, 2016

Mathematics + Art a Cultural History

A stunning and brilliant survey by the incredibly erudite Lyn Gamwell. And, again ever appropriately Roman Verostko is prominently featured...

re:

   
   

Sunday, January 10, 2016

Roman Verostko compared to Rembrandt and Picasso...(!)

Roman compared to Rembrandt and Picasso in Sean Cubitt's outstanding book, The Practice Of Light.

Long overdue...

Saturday, January 9, 2016

Call for Spalter Teaching Fellowships: RISD and Brown students



Spalter Teaching Fellowship