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Syracuse University Art Galleries
Syracuse University Art Galleries
Syracuse University Art Galleries
Joe and Sims Hall, University '"'UT·"''',I1'''O New York 13210 March 31 May 3, 1977
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Syracuse University Art Galleries
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.
J. Brad Benson Music Coordinator Exhibition Mailings
E,XJrtlc>nICln Design Finance Technical Services
Cathy Chubb Registrar Graphic Design
Georgia Coopersmith Catalogue Production Publicity Assistance Installation
Cynthia Cummings Publicity Coordinator Reception Planning
Louise Shaw Curatorial Assistance
S. Gail Fuller Catalogue Production Registrar
James Ladd Director Exhibition Design
Karen Loewengart Curator Fund Raising Exhibition Design
Stanley Olkowski Registrar Invitation Design Exhibition Design
Madeline Reamy Educ. Programs Coordinator Graphic Design Installation
Lynn A. Rebbeor Registration Assistance
The organizers of this exhibition wish to express their warmest gratitude to many who have assisted throughout the year with the formation and production of this show, with speCial thanks to Joseph Scala for providing the initial information and much encouragement; to Patsy Scala for offering source material and technical adVice; to Judson Rosebush for making available supplementary inforrpation; to Barry Winiker, Cataloguer at the Museum of Modern Art for giving much practical adVice; to Michael Recht, Assistant to the Dean, College of Visual and Performing Arts at Syracuse University, for offering funding advice; and especially to Stanton L. Catlin, Director of Exhibitions, and to Mary Takach, Curator, both of Joe and Emily Lowe Art Gallery, for their support. We also thank the artists of this show for their help and enthusiastic cooperation as well as Dick Sheaff for his labor and assistance in the production of the catalogue. We remain grateful to the follOWing for providing other necessary assistance.
Bell Telephone
Dean Freundlich, College of Visual and Performing Arts
Drumlins Banquet FaCility
The Graduate Student Organization
The IBM Corporation
The Learning Corporation of America
New York State Council on the Arts
SU Audio Visual Services
The Syracuse University Art Collections
Dick Sheaf{, Designer Georgia Coopersmith, Editor S. Gail Fuller. Editorial Assist. Printing: Trident Printing
Corporation
Production Assistants: Cathy Chubb Karen Loewengart Stanley Olkowski Lynn A. Rebbeor
Copyright, 1977, by Joe and Emily Lowe Art Gallery College of Visual and Performing Arts, Syracuse University, Syracuse, New York
here is a curious mystique associated with computer-assisted artwork. It is of as a static, two-dimensional print-out conveying solely geometric, linear imagery. the
artwork created in the 1950's and 1960's were of this nature, but various artists, by on the computer as an artistic instrument, have expanded the field to encompass a wealth of and inventive artforms. Douglas in Art and the Future, says that "the computer has been called the ultimate tool for the artist-scientist-engineer." 1
Genesis: A Vision of the '70's" was by the graduate students in Museology at University as an attempt to illustrate the extent and of computer-assisted art, as well as to provide a basis for its aesthetic evaluation. The selection of artwork appearing in this exhibition encompasses a wide range of media: painting, printmaking, Ol.;I...I.H .. 'lUl
and music.
Cc)mpu.tel:-assistE~d art is a young movement. Its belongs in the 1970's, a decade of eXl:Jarlde:d
and experimentation for many computer artists. The first elaborate and computer was built in the 1940's for principally
and scientific purposes. Successful utilization of information processing systems for musical experimentation, as well as some initial artistic applications during the the way for further investigation along these lines. During the latter part of the progressive collaboration between artists, scientists and engineers took place, resulting in a number of museum exhibitions,
at the Museum of Modern Art and the Jewish Museum in New and the Institute of Contemporary Arts in London. This was an era which afforded artists the opportunity to explore experimental technological media with full support from an interested public. Computer-assisted art was given much exposure, notably the 1968 landmark exhibition at the Institute of Contemporary Arts entitled "Cybernetic Serendipity." This important exhibition art as a vital and growing since then the field has received little public attention.
Cc)mputer equipment has become more and better adapted to fulfilling the needs of artists in the past ten years. According to Joseph computer artist and professor at Syracuse University,
equipment did not take into account elements that artists would be concerned with, namely sensitivity of line, texture, of available paper, size, ease of execution and natural inter-action." 2 The contemporary data processor is suited for use as an artistic tool for a number of reasons. As a memory device, computers possess the capability of storing information. 1/ A digital picture, by its very nature, can be transferred and restored without any loss of information. II 3
instruments; this factor eliminates the po>ssi.biJlitv
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Syracuse University Art Galleries
They maintain a remarkable speed which gives the artist more time to use The random chance factor allows the computer to make unpredictable numerical selections arbitrarily and without prior an not possible. Computers can show immediate results, an important determinant for responsive editing. Conceptualizing the final the computer artist can ~.,..", ...... I""" a data processor the planning stage. This enables him/her to graphically visualize the piece and make changes in perspective, and size where to remove, distort or alter parts of a almost instantaneously and thereby avoiding numerous hand-drawn revisions. Artwork done without the computer consumes far more time, sometimes unnecessarily, "in a fashion analogous to carving marble with a sponge.,,4 In addition to basic computer artists are able to obtain results to a variety of media. Some artists use a computer to do intricate mathematical calculations in order to acquire certain precise information. Jesse Kalfel uses the computer to obtain tOI)OC;rrapl1lici;JJ dimensions and then translates them into sculpture. Sculptors can view their from all thus eliminating need for three-dimensional models. for printmakers and painters are on the artist's concept. Ruth LeaVitt, for example, employs the computer to reform her initial imagery in order to imply a of The COmlJu·ter'
of random chance factor and ease of editing are of great value. Computer-aided effects are of tremendous importance to filmmakers and artists. The computer can be extremely useful when as animator; the artist initiates the predominant design and utilizes the computer to simulate motion and then records the details on film or videotape.
Critics of computer-assisted art have, in the past, attempted to define a based upon the experimentation by scientists and engineers. Until several years
coml::mrer'-allQEla artwork did to a great extent on and geometric for content. The Computerized
L.D. Harmon and K.G Knowlton Telephone Laboratori.es, Inc. in this aspect of the medium. 5
A computer-generated image derived from a photograph of a nude re(::liI1ina woman imitated the artistic theme of the classic nude female depicted by such artists as Manet and Modigliani. 6 In generating this image, a a and a computer the design by incorporating a program which used symbols to produce the appearance of shading. In 1967, A. Michael Noll simulations of artwork by Piet Mondrian in which the design was interpreted using linear imagery to contour patterns? The resulting two-dimensional imagery was an abstract representation of an existing work. This was the type of computer art which was pUbllClzea and which created the impression that similar efforts
were the most that could be achieved by the artist who chose to =.,.",,,,,11"\" the computer in his/her this was the kind of effort which established a critical aesthetic for computer art. This aesthetic does not apply to "Computer Genesis." It does not encompass the variety of adaptation to which the computer has been put by contemporary artists involved in an assortment of media, from the computer-generated printout to the traditional artforms. Because it incorporates a of imagery and media, there is no way to standardize computer-assisted art nor to define it some narrow aesthetic. The Grassland painting series Colette S. must be judged by a different set of criteria than that of Ed Starburst lightbox or the photographs of Lou Katz. There is an inherent in
painting and printmaking together; we have done so in this exhibition in order to awareness of the scope and of computer-assistance to the field of fine art.
A rich variety of artwork appears in this vAl.LU.J!Ll'UH,
in media, artistic content and computer usage. for its aesthetic appeal, the body of artwork also illustrates the successful union of information processing systems with creative human sensitivity, bringing art and technology a step closer. The
to combine art and technology is of radical importance; it requires an artist to see the field of art to our entire tech-nological age. Computerization is prevalent in the fields of science, medicine, military, space architecture, textiles, journalism,
education, and others; it is a reflection of our time. It is only natural that the artist of our time will make use of technoloQPCi:ll innovation to assist in the realization of visions.
Karen Curator March 1977
Footnotes
1. Douglas Davis, Art and the Future, A History/Prophecy of the Collaboration Between Science, Technology and Art (New York: Praeger Publishers, Inc., 1973), p. 97. 2. Joseph Scala, Artist and Computer, ed. Ruth Leavitt (New York: Crown Publishers, 1976), p. 72. 3. Duane Palyka, Artist and Computer, sup., p. 62. 4. Aldo Giorgini, Artist and Computer, sup., p.12. 5. This computer-generated print has also been called Studies in Perception 1, (see Douglas Davis, Art and the Future, A History/Prophecy of the Collabora-tion Between Science, Technology and Art, p. 99). Also entitled Mural (see Herbert W. Franke, Computer Art, London: Phai-don Press, Ltd., 1971, p. 38). 6. such as Olympia (1863) by Edouard Manet, Venus of Urbino (c. 1538) by Titian and Nude (1917) by Amedeo Modigliani. 7. A. Michael Noll, "The Digital Computer as a Creative Medium," IEEE Spectrum (October 1967), p. 90.
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Syracuse University Art Galleries
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
Paul Shao, Kenneth Dunker 58. Biomorphic Transform: 201 Skull to Bug, 1974
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Syracuse University Art Galleries
Michael B. Hannum Rock: A Visual Algorithm, 1973 William and Louise Etra, Lou Katz Videotape, Ms. Muffet· sequence
Joseph Scala Videotape, Our Father, 1976
Agnes Denes 9. Map Projections: The Snail, 1974
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Syracuse University Art Galleries
Colette Bangert 3. Grassland (series): Leaf Circles, 1974
George Chaikin & Caroline Stone. 6. (Untitled)
Duane M. Palyka 56. Cattoon, 1976
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Syracuse University Art Galleries
Praire II Acrylic on canvas, 40 x 108," 1974 Circled. on canvas, 22 x " 1972
3. Grassland (series): Leaf Circles. on canvas, 15 x 30," 1974 4. Grassland (series). Acrylic on canvas, 30 x 80," 1971 5. Grassland Yellow, Blue. on canvas, 40 x " 1971
6. (Untitled),.in collaboration with Caroline Stone. Intaglio, 20 x 24", 1975
Transformations (from "The of Looseleaf notebook: Color xerox, 9 x 1975-1977
DENES in The Ink on graph
24 x 30", 1976 The Snail. Ink on graph paper and 24 X 30", 1976
ETRA 10. Profile and Color xerograph, 8 x 10," 1977 11. Profile and Cityscape (series). Color 8 x 1977 12. Profile and Cityscape (series). Color xerograph, 8 x " 1977 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
16. Surfaces: A Portfolio of Cover Print. 20 x 26," 1976
17. Surfaces: A Portfolio of Folio 1. Serigraph, 20 x 26," 1976
18. Surfaces: A Portfolio of Folio 2. Serigraph, 20 x " 1976
19. Surfaces: A Portfolio of Computer-aided Serigraphs Folio 3. 26 x 20," 1976
20. Surfaces: A Portfolio of Computer-aided Folio 4. Serigraph, 20 x 26," 1976
21. Surfaces: A Portfolio of Folio 5. Serigraph, 20 x 26," 1976
B. HANNUM 22. Rock: A Visual Algorithm.
33 x 83," 1973
KALFEL
Comrmter-'aicied Dhi:JtoarcmrlS on
23. Synthills. Welded steel, 36 x 84 x 17," 1975 24. Self-Portrait, Another Departure. 88 x 36 x 25," 1976
Ii D
25. Demos Agonistes. Color xerox, 14 x II," 1976 26. 01' Three-in-One. Color xerox, 11 x 14," 1976 27. A Twist in Time. Color xerox, 14 x II," 1976
28. Boxes 1. Ink on paper, 12 x 7," 1975 29. Between Good and Evil. Ink on paper, 13 1976 30. Banana Cone. Ink on paper, 6 x 12," 1974
RUTH 31. Diamond Variation I 23 x 23," 1975 32. Diamond Variation II 23 x " 1975 33. Diamond Variation III Serigraph, 23 x23, 1975 34. Diamond Variation IV Serigraph, 23 x 23," 1975 35. Diamond Variation IV /G. 23 x 23," 1975 36. Diamond Variation V 23 x 23," 1975
ED 37. Starburst. Film transparency in 28 x 24 x 5," 1975 38. Portrait of Pierre Cordier. Photograph, 16 x 12," 1974
39. Portfolio. Forty diazo prints, 81/2 x 11," 1976 40. Radioactive Jukebox. Lithograph, 8 1/2 x 11," 1974 41. Gravity. Lithograph, 8 1/2 x 11," 1974 42. Urbane Novd. Lithograph, 81/2 x II," 1974 43. Shades of Hades. 8 1/2 x 11," 1974
MEYERS 44. (Urttitled) 1. Plotter line .,....~., ... ,~~ Ink on paper, 36 x II 1974 45. (Untitled) 3. Plotter line ril""'HATlnr<' Ink on paper, 36 x 24," 1974 46. 5. Plotter line Ink on paper, 36 x " 1974
M. PALYKA 47. Self-Portrait. Color photograph, 8 x 10," 1976 48. Bubbles. Color photograph, 8 x 1976 49. 8 x 10," 1976 50. Patterned Bubbles. Color 8 x 10," 1976 51. Out of TV I Color photograph, 8 x 10," 1976 52. Out of TV II Color photograph, 8 x 10," 1976 53. Strange Bird. Color 8 x 10, 1976 54. Face with Gloves. Color photograph, 8 x " 1976 55. Ears. Color 8 x 10," 1976 56. Color photograph, 8 x 10," 1976
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Syracuse University Art Galleries
57. Stilled Time. Light-work: Fluorescent 37 1/2 x 51 1/2 x 5," 1977
SpirallRyrai followed by Peano 5 minutes, sound, 1976 Circle Habitat University of Illinois at Circle
WILLIAM ETRA Abstractions on a Bedsheet
ETRA Video
Narcissicon.
WILLIAM and Ms. Muffet
8 minutes, 1976
6 minutes, 1976
PATSY
Black and
LOU KATZ
Wipepoem, Scope II, Mergings, in Red and Black. Color 1975-1976
YALKUT
1973
The Mirror of Heaven Remirrored The Mirror of Heaven, The Whirling Ecstasy. Color, 1973-1974
......,-.;;; .............. 0 Drew
Earth's Magnetic Field Speech
EMMANUEL Brazen.
DEXTER Rotations.
Unquestion!ed Answer.
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
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· 63. II - 1. Color xerox: of a video image, 8 112 xlI", 1974 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 66. III - If Color xerox: of a video image, 8 1/2 xlI", 1975
T.M. Section of 2 Modules f\!=.'Yr.t·iYrn
& Positive Xerox vellum print, 17 1/2 x 41", 1975 68.40 Units 3 Overlap Section of Warped Planes,
& Positive Xerox vellum print, 17 1/2 x41", 1975 69. 3 2 Modules Beneath 3
ncr",..",,,,,.,,,,,, with 2 Modules.
11l1r1rr-.c,r/ Planes Linear Luminal. PMT print from UUjlLH\.JlU
8 x lO", 1977 71. Plane with Grid. Luminal construction:
light; 32 x 27", 1977 Grid & Luminal kinetic construction:
light, chromed steel; 40 x 12" 1977 73. 3 Warped Plane Section, Luminal construction:
27 x 12" dia., 1977
FILM
Inc.)
Meiosis and Mitosis. Producer: Larry Elin. Animation: Bo l:::.fehrino, Joe Silverman. Music: Todd 16mm, sound, 1974 Client: CRM Educational
ED Experimentu Tuo. 16mm, sound Blocpix, Part If 16mm, sound
Tumble 8, Bigtumb, Paiktu 4.
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Syracuse University Art Galleries
S. JLJru .. ' '''''''
Born: Ohio (1934). Studied: John Herron School of
1957; Boston University, MFA, 1958; Indiana University; Kansas Woman Shows: Lieber .LU\..UUJ.1Uj,.lV1Jl.:>, 1957, 1958; Krasner
New 1968; Mulane 1966,
Avila College, Kansas City, 1971; Northern State College, At>erl:jeE3n. 1975. Group Shows: "Contem-
of Art, "International Watercolor
Brooklyn 1963; "Invitational Regional," Nelson
Directions in Media," Nelson Atkins 1970; "Computer Art," Bloomfield Art liS:SOC:lan.on,
"Area Painters," University of 1976; "Midwestern PrintNortheastern University,
1976. Publications: "Experiences in Drawings and by Hand," co-authored by Charles 1. Leonardo (Fall, 1974); "Computer Grass is Natural " co-authored by Charles J. Bangert, edited by Ruth Leavitt, Artist and Computer
1976). "Aesthetics of Computer Art: Part 1," co-authored
Charles J. 1-1", ... ,,....=.,.,+
of the 8th National/International Sculpture Conference (University of 1976).
...;"'''' ... ,....,.. Merrill _.I.J.o.JL.t\.J.J..l
Born: New New York (1944). Studied: Pratt Institute,
The Cooper Union, B.Architecture. Taught: Pratt Institute. Group Shows:
uage in Introductory Computer with Caroline Output (Summer
for the Hult Foundation
DEF ANTI Born: 1948. Studied: Queens College, Ohio State
Ph.D. Assistant Professor, University of Illinois at Chicago Circle. SANDIN Born: 1942. Studied: Shimer College, BS; of Wisconsin, MS. Professor
I,",;"Y~~'M;+" of Illinois at
COLLABORATION Shows: "The Interactive Electronics Visualization Event," Chicago,
Bowling "Third International Computer Art FestivaL" New New York, 1975; Museum of Con-temporary Chicago, 1975; "Third
International Animation Film k=c,'hu;:,1
New York, 1975. Grants: National Endowment of the 1967; Graham Foundation, 1976. Publications: "Computer
of Life/' Computers and (May, 1975); "Control
Structures for Performance \.::rr'apmc's, SIGPLAN /SIGGRAPH Notices (in "Controlled Imagery and Directed Colors Educator as ComrmiE::lr Animator), Froc. NCC (1976).
r1L> I ... ~"" Denes
Studied: Stockholm, Sweden; CCNY; New School for Social .KAsAfirc;h: Columbia University. School of Visual Arts, New 1974. One-Artist Shows: AIR New York, Ohio State University, 1974; Corcoran ington, New York, 1975; Italy, 1975; Rutgers University, Douglass New 1976;
Inj,roT',,,,;nr of Akron, Newport Harbor Art Museum, Newport
\"JU1HVllll'o., 1976; School 'hi!,adE~lpJh.ia, 1977; 112 Greene
Street and Gloria Cortella Gallery, New York, 1977. Group Shows: Museum of American Art, New York, 1971, 1973, 1976; Museum of Modern New California Institute of the Arts, 1973-1974; San Francisco Muse~m of
Indianapolis Museum of Art, 1974; Institute of Contemporary Art, Univer-sity of and The Clock-tower, New York, 1975; Brooklyn Mt:lsel1m, 1976. Awards: Creative Artists Public Service 1972, 1974; National Endowment Fellowship, 1974, 1975. Recent Publications: "Human Dust " Visual Dialog
(1975), introduction Roberta Leach; "Dynamic Visual Systems in Process: the Work of Denes," Philip
Arts Magazine of Distortion Series: Map
r'rc)je(::ticms-l)(JUC;JhllUt," introduction by Lucy Lippard, text and illustrations
Denes \.1. U.oI.LYC::l '"
1975-76); of the Mind 1976);
Paradox and Essence (Tau/rna Italy, 1976).
Born: Ames, Iowa (1942). Studied: of
Princeton University. Awards: Koussevitzky Foundation 1969.
Louise R. Etr a
Born: New York, New York (1951). Studied: Hunter BA, 1971.
Shows: "New York Avant-Garde 1972, 1973, Museum of Modern Art, Mexico 1973; "Annual International Com}:>utE:!r Art If New 1975,
"Annual Women's Video New York, 1974, 1976; "Women in Film and Video Conference," Center for Media Study, SUNY at
"Video Art," Museum of Contemporary Art, \"JU1U\..;o.,:>,
enE3zuela, 1975; The New Everson Museum of Syracuse.
Publications: Video Art (New York, 1976) edited Korot-Schneider.
Etra
Born: New New York
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Syracuse University Art Galleries
Studied: New York School of the BFA. University of 1975; York University School of the 1972-1975. Shows: "New York Avant-Garde Festivat 1972, 1973, 1974; Museum of Modern Art, Mexico City, 1973; U.S. Cultural Center, Paris, 1973; U.S. Cultural
"Annual International Computer Art Festival," New York, 1974, 1975, 1976; Museum of Contemporary Art, '-''-'LU'-AH',
Venezuela, 1975; "Projected Video," Museum of American
1975; "Tokyo Computer Art Festival," 197~ The New Everson Museum of Syracuse. Publications: Video Art (New
edited by Korot-Schneider.
Emman uel Ghent
Born: Montreal, Canada (1925). Studied: McGill University, B.Sc.,
. private with Samuel Blumenthat R. deH. Tupper and Ralph
Lecture-Demonstrations: Juilliard School of Dartmouth
Columbia-Princeton Electronic Music Center; California Institute of the Arts. Selected Performances: Berkshire Tanglewood; Zagreb Festival, Yugo-
Festivals of CcmtE3mporary Music, University of Illinois and Montreal. Publications: to Performers- A New Compositional
f:Jel"specjtiv€::s of New Music Control of
Electronic Music Synthesis," ProCeE~a111gs of the 4th Annual Conference of the American Society of
COLr'.mo.sers (1969); 1/ A
Control System," with Mimi Garrad and James
."------------------_._------------
12 Electronic Highlights, Boosey and Hawkes, SBH 3025; Desto, DC 7124. Awards: heim Fellowship, 1967; MacDowell
1964-65; Annual ASCAP Awards, 1967-75. Grants: National Endowment for the 1974, 1975.
AIda
Born: (1934). Studied: Apprentice to Carlo
apprentice to Ambrogio Casati, 1949-1953; Universita di Pavia; Politecnico di Dr. Ing., Colorado State Univer-sity, 1966. One-Man Shows:
Indiana, 1974; Krannert Gallery, Purdue Univer-sity, Indiana, ME Purdue 1975. Group Shows: Hoosier 1973, 1975; "Tippecanoe Art Show, LaFayette, J.HU.J.U.Ll.U, 1974, 1975; "Indiana Artist
mcnaI1aj:)OUS, 1974; "Cana-dian Computer Show," Toronto, 1975; "Third International Art ,'-::,''''\'U1.'' New York, International ,-,"-" .. HIo)'LU..I.C;;
Special Art Show, New Orleans, 1976. Publications: Artist and ,-,"V"HI.JU.'.C;;J., edited Ruth Leavitt
Michael B. Hannum
Michigan (1942). ni"·,,,.,..c,ihT of J.Vl..I."-'l..I.J.yO!!,
1974. Group Shows: "17th Mid-Michigan," Midland, Michigan,
"Radius '76-A Iuried Photographic Exhibit," Rockford, Illinois; "New '74," .l...dH:;ilJ.i:lJ.-'C;;.1.
Washington; "Alternate
A Photo-Invitational " Terre Haute, Indiana, 1976. Awards: First Place, "Radius '76-A Juried Photographic Exhibit," Illinois.
Kalfel
Born: New York, New York (1949). Studied: Art Students High School of Music and Art; School of Advanced Harpur College, SUNY at One-Man Shows: Bellevue New York; A.F.S. Gallery, Binghamton, New Broome Office '-JU.uU,U"'-i,
uu .... 'vu, New York. Group Shows: Studio New SUNY at Binghamton Fine Arts Everson Museum of New
Lever Brothers Building, New York City; Roberson Center for the Arts and New York. Publications: "The Aesthetic Implications of Machines That Generate Computer Art," S.A.T Document Series (1976); "The Function of Art and Visual in General Systems Theory," International Journal of General (Vol. 2, No.3, 1975).
Lou Katz
Born: New York, New York Studied: CCNY, University of Wisconsin.
Shows: "Annual International Computer Art Festival," New York, 1973, 1975, 1976; "Garden of Electronic Delights," The Kitchen, New York, 1976. Publications: "Interactive '-'''''.u!'-'''''''J. l::i-raphics and Representation of Complex Biological Structures," with C. Levinthal, Ann ual Review of Biophysics and Bioengineering (1972); "A for Picture Control in a Real-Time Mode," with William Etra,
"Inexpensive Real-Time Gen-eration and Control," with William Etra, '-.J'-f,U-'/-'<"<"J-'
William
Born: Detroit, Michigan (1947). Studied: Michigan State University,
MFA. State University. One-Man Shows: "Impression 5," Museum of Art and Tech-nology, 1976; East Lansing Public Library, 1976; Hilton
./....o' ... I..L.LOU.y, M.lChlgan, 1975. Shows: "Christian Art Show," Ascension Lutheran East 1976;' "Spring " 120 in the Shade Gallery, Lansing, 1975; "Industrial
Al umni Exhibition," Art Center, Michigan State University, 1975. Publications: "The of Computer Graphics," Artist and Computer, edited Ruth Leavitt (June 1976).
Ruth Leavitt
Born: St. Minnesota (1944). Studied: University of Minnesota, BA. One-Woman Shows: Coffman University of Minlll9SC)ta,
1972; St. Paul, 1974; Southern MiSSionary College, Collegedale, 1975; David Burnett 1977.
Shows: "Exposition Internatione d'Art a l'Ordinateur," Place DO'nR·veltl.ILlre.
Montreal; "Women in ne,ap()lls College of Art and ....... ""'0.'-1'"',
" Minnesota Museum St. Paul; "Cybernetic
" Bohun
" Montreal Museum of 1975; "Ninth National
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Syracuse University Art Galleries
North
The Print Club, International Computer Arts Festival,"
New York; "Watson Wheaton College, Norton,
inr,.nitr<~'Ql' Gallery, Pittsburgh, 1976; Tokyo, 1977; "ARS Ex Machina/'
Austria. Publications: Editor, Artist an.d
"Pictures Based on Computer Made Ue'!or'ming an Initial " Leonardo (Vol. 9, 1976); Computers in the Humanities, edited by J.L. Mitchell
T. Manning
Born: New (1920). Studied: University of Tennessee; Columbia of
Shows: "N a tional ComJ,:mtE~r C:onJterEmce," New York, 1976; American Film Institute, Awards for Independent Filmmakers, 1976; New York Film Festival, 1976.
Aaron
Born: Omaha, Nebraska (1943). Studied: Princeton University, BA; Yale MFA. One-Man Shows: New Museum of Fine Arts, Trenton, 1974; Art Museum, Princeton University, 1974; Sewall Art Gallery, Rice Houston, Texas, 1 Print Gallery, Form Meditation Amsterdam, 1976; Worcester Art Center, Lawrence
Wif3consin, 1977. Group Shows: "Some More ./:jeglIlmngrs, Brooklyn 1968; "Messages," American Institute of
New York, 1973; "Circuit," Cranbrook Academy, Bloomfield 1973; "Seventh Bienelle of ' .... HL'I."'.'L1'.,
Czechoslovakia, 1976; "',...,.",-" .... ,.".,,," Museum of Modern
Brazil, 1976. Soft Where Aaron
"An Introduction to
"Aaron Marcus: ueSlCmE~r and Graphic De-Signer," Midori Idea Vol. 24, No. 137, (July 1976); "Aaron Marcus and His Katsume Masaru, Graphic Design
No. 57, March
York 1976); "Aaron Portfolio of Computer Graphics," IBM Information, No. 13 (Paris).
Leonard IVIIt:.:n.TIt:."T"I
Born: New New York. Studied: Stanford University, Ph.D. Group Shows: "Annual International COml:mtE~r Art FestivaL" New 1974, 1975; "National Computer Conference," LAJ.ll.I..J.LL.l.V,l.I., 1974, 1976; "Canadian
Center for Arts, Buffalo,
1975;
"International Audio-Visual Aids Conference and Exhibition," Stereo-scopic Section, 1974.
Dexter Morrill
Born: 1938. Studied: Colgate Stanford
Private Leonard Rainer, Robert Palmer.
Performances: At Munson-Williams Proctor Institute of Utica, New York; Lincoln Center, New York; the and the Baltimore Symphony.
H. Norris
Born: Baltimore, Maryland (1951). Studied: Clark University, Massachusetts. Group Shows: Clark
1976. Publications: "Cabodian Spring/' in collaboration with Stuart Lavin, Black Box (Washington, D.C.).
Duane M.
Born: Pittsburg, Pennsylvania (1944). Studied: Carnegie-Mellon University,
1968, 1969; University of Utah, MFA, 1970. One-Man Shows: Hewlett 1967; Union Gallery, Salt Lake City, Utah, 1971. Group Shows: ::"el:endlI=llty /I Institute of ContE3mporary Arts, London, 1968; "Some More
Kl"I'",,-.,IrI'un .... .l.UWC'A.l.H, 1969; "Tendencies 4/' Yugoslavia, 1969; Corcoran Gallery of Washington, "On The Eve Of Tomorrow," West Germany,
Tweed Museum of Minnesota, 1971; "Annual International Comr:mtE3r Art " New York, 1974,
"ICCH," University of Southern California, Los 1975; "Canadian Computer Show," J.UJ,U.l.JLLU.
1975; "Computer Art Show," 1976; "National " New York, 1976. Publications: "Computer
" Studio International (Sept. Art and the Future, Douglas
and People (Aug. 1975); Computer Graphics and
and Aug. 1976); "Computer Painting," Artist and (1976), edited by Ruth
1976).
Shows: Everson Museum, ..... "''"'''''r'"c·o
New 1975. Shows: Martha Jackson West, New York, 1975; "Suite New 1975; "National Computer Conference," New "International Computer Exhibition Computer' Age)," 1976.
Thomas A. and ......,<;, ............ ., M. Drew ............ u ... v ..... ., ... 'uu.i:) in Time and
Both are curreiDtJv e:mCllOii'ed as Communication Designers in New York.
COLLABORATION Performances: (with pianist Robert James) Pictures at an Exhibition and Book I of the uelJU,SSY Rochester Memorial Art Rochester, New York, 1976.
JU:!S8IDll Scala
Born: Queens, New York Studied: C.W. Post College, BS; Cornell University, MFA.
Syracuse University. One-Man Shows: Cornell University, 1971; Everson Museum,
West Broadway Gallery, New York, 1976. Group
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Syracuse University Art Galleries
Museum; Ward-Nasse Galleria D' Arte Moderna, Ferrara, Italy; Lincoln "Inter-national Video Exposition, Buenos Aires. Publications: Computer Art," Artist and ,-",VH1j.JUL'::::n
edited Ruth Leavitt; AFIPS "N ational Computer
Conference," (l 976); Who's Who in American Art of "Best Art Shows in N.Y.C. 1976"
Born: Tennessee (1941). Studied: Currently, Ph.D. Call01rd.ate, S.L Newhouse School of Communications, Syracuse
Shows: 9th, 10th, 11th and 12th "Annual New York Festival of the Avant Garde;" "International Video " Galleria D'Ane Moderna, Italy; "Inter-national Video Exposition," Buenos Aires; "W oodstock Video Everson Museum, New York. Publications: "How I Became Involved in Computer-Assisted Art; A
in and ImpatIence, Artist and Computer edited
Ruth Leavitt.
SHAO Born: China (1940). Studied: China Art College, 1966; University of Massachusetts,
1970. Iowa State DUNKER Born:
Wisconsin Studied: Univer-
sHy of Michigan, Cornell University, MS, 1967. Taught: Iowa State
COLLABORATION Solo Shows: Iowa
State University, Waterloo Municipal 1972; Clinton Art AS!30clation, Iowa, 1974.
Shows: "Circuit .I...J ...... iiU .. JlL1IJ11,
Bloomfield Art Association, "National Conference," Chicago, "The Art and Skill of
and
1975; "Printout," Watson Wheaton Massachusetts, 1975; "Canadian Computer " Exhibition
Toronto, 1975; "The Touring Exhibition of and the Humanities," (ICCH 2) 1975-76. Publications: "Iowa State Develops New Perspective l:-'rciQT<lm," Calcomp newsletter (JulyAugust, 1972); "Tenth Annual ,-,V1HI-JUL,:;a Art Contest," Computers and Automation (Aug. "Eleventh Annual Computer Art sition," Computers and Automation and 1974); Asiatic Influences in Pre-Columbian American
by Paul Shabo
Laurie
Studied: Shimer '-JVH'-"'-,j'-',
1967; Lake Forest '-''-''<LV,"! v,
Illinois; University of Illinois at Oxford University,
England; private study under lW .. Duarte, England; Juilliard New private study under Michael Czajkowski,
Jacob Druckman, and Emmanuel Ghent; Brooklyn College, CUNY,
1975. Performances: The Kitchen, New
Expe:riITlenltal Intermedia Foundation; SoHo Center for the
Museum of Modern Art, New York; Mind; 2nd, 3rd and 4th "International Computer Art
" New York; New School for Social N ew York; "International Computer Arts sition," Awards: American Music Center, Creative Artists Public 1975-76; N ew York State Council on the ASCAP, 1976; WNET Experimental Television 1976.
Thomas Michael L')n~nnens
Born: Elkins, Arkansas (1941). Studied: of Kansas. Taught: Maple Woods Community ",-"V'!lv'yv, Kansas Missouri. One-Man Shows: "Mined Warps," Electric Toronto, 1974; The Perfect Image I-'h,-,t",("fl"rlnh
Gallery, Kansas City, 1975; "Mined II," Lawrence Whittington
Gallery, Kansas City, 1976. Shows: "Art Research Center Exhibition 2, Kansas City, 1967; "New Tendencies 4," Zagreb, Yugoslavia, 1973; "International of '-JVHLt ... JU.L'';;~ Art," Place Bonaventure, Montreal, "MATRIX International Exhibition," Art Research Center Exhibition Hall, 1972-73: "Art Research Center 10th Anniversary Exhibition "1976-77. Publications: Art Research Center lVlI'J0i':1Z1nR
MATRIX Exhibition CataKansas City Star,
art and news columns (1964-74, 1976);
Toronto Globe Research Center 10th Anniversary Exhibition Series" (Feb. 1977).
Born: New New York (1938). Studied: CCNY; McGill Montreal. One-Man Shows: Film Retrospective, Everson Museum,
'-"l,H;;C} .. nvJ...Jv," Museum of Modern The New
"From Film to Video, Anthology Film New York,
"Filmmakers Cinematheque," New York; "Canyon Cinematheque," San
Projected Images and Movie Machines," Heistand Art
Miami Oxford, State '-'V'llv<....!G,
Belgium, vision," Rose Art Museum, Brandeis UniverSity, "New American Film-makers" series, American Art, New
" Everson Museum, Syracuse, 1973-1974; "Open Circuit," Museum of Modern New York, 1974; "Tokyo-New York Video Express," Under-
1975; "Luminous Realities," Wright State Art
Dayton, Ohio, 1975. Publications: Critique writer, Arts MCK]O'Zln'e (1966-1969); critic, West Side News and New York Free Press (1967-1968); film and video East Other (1969-1970); Video Art (New York, 1976), edited by Korot and Schneider.
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Syracuse University Art Galleries
a History/Prophecy of the eC.nn'OlC'OY and Art. (New York:
iJE!sic;,rning and Planning 2.
Conn.:
"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)
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Syracuse University Art Galleries
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