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Pioneers of Computer Art
The Williams Gallery has been an avid supporter of computer art forms since their early days. We have works from several artists who helped create this genre of art. This section is dedicated to those artists. Many of these works are in stock and available.

blue and red dreams 1994
George Cramer (1938-2004) His discovery of the potential of the computer as an art-making tool in 1986 revolutionized his thinking about art, and led to his being named head of the 3-D area in the UW-Madison's art department. His classes in three-dimensional computer art and virtual reality galvanized dozens of students annually. A selection of his unique monoprints from 1993-1997 are available.

Fermat's Last Theorem, n = 3 1990
Stewart Dickson  "I have to ask myself what is the motivation for this work. The answer has to hark back to the Classical Greeks. There is deep spiritual value in the quest to understand and possess the unknown. My art is deeper than the demonstration of new technology and the novel ideas of the frontier of science. There is the change in creative process which is happening in Cyberspace. There is the collaborative dialogue of the Internet. I am attempting to express these new forces in my work" A selection of his limited edition prints from 1990 are available.

People in the Window at Monet's Garden 1991
David Scott Leibowitz  Shima Seiki Paintbox Art

In 1991, he was approached by Jim Ross and Randy Pardy of Detroit Digital Studios to bring his unique skill and vision to a Shima Seiki Image Graphics Workstation. The resulting work has produced images of extraordinary beauty and delicacy. In the past few years, this work has been published in a feature article in Confetti magazine, in Polaroid's Test magazine, twice in Computer Artist magazine, in the Jeremy Gardiner book, Digital Photo-Illustration, on the Quantum Access CD-Rom, The Virtual Gallery, and in the book Fractal Design: Painter 3 Complete.

P411a 1987-1989
Manfred Mohr "The computer became a physical and intellectual extension in the process of creating my art. I write computer algorithms i.e. rules that calculate and then generate the work which could not be realized in any other way. It is not necessarily the system or the logic I want to present in my work, but the visual invention which results from it. My artistic goal is reached, when a finished work can visually dissociate itself from its logical content and convincingly stand as an independent abstract entity". Silk screen prints from 1987-1989 are available.

Ear Ache 1989
Barbara Nessim Her works are primarily figures directly drawn on the computer but often hand colored in watercolor or acrylics. While her works represent familiar objects and humanistic figures, they convey considerations of human endeavor, social and interpersonal issues, and accomplishment. Limited edition prints from 1989-2000 are available.

Lillian Schwartz is a pioneer in the use of the computer in the arts. She uses the computer to create works of art in graphics, film/video and special effects, and in art analysis. Her work is in major art collections around the world, including the Museum of Modern Art, the Whitney Museum, and the Metropolitan Museum of Art in New York, and the Museum of Contemporary Art, the Georges Pompidou Center, and the Grand Palais in Paris.

John Von Neumann 1985
George Stibitz (1904-1995) born in York, Pennsylvania, may be considered to be the father of the modern digital computer. It is of great interest that one of the earliest developers of the binary computer was himself an accomplished artist painting in oils and a variety of other mediums. He was among the first to experiment with visual imaging on the computer in relation to military and biological imaging in the early 1940’s.

Electronic Avalanche 1991
Joan Truckenbrod is playing a leading role in creating a new vocabulary for artistic expression. Her artwork is part of the new genre of art emerging at the intersection of electronic technology and contemporary culture. Several of her Cibachrome prints from 1991-1992 are available.

Diamond Lake Apocalypse, Burning Bush 2000
Roman Verostko Around 1981 he began experimenting with computer code as a means to open new frontiers of unseen form. With computing power coupled to "form generating ideas" requiring extensive computation, he opened a new world of form. Since then, somewhat like the composer of music, Verostko spends endless hours composing his drawing instructions in the form of software. A number of his original works on paper are available.

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