|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.
MONALEO © 1985
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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