Computer art

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José María Yturralde, Homenaje a Velázquez, «Prismas» series, 1977. Balsa wood and various techniques, 250 × 200 × 250 cm, 50 cm/cube. [1] [2]
Sonya Rapoport, Anasazi Series, Panel II, Page 2, 1977. Prismacolor, graphite, colored type, and dot-matrix print on computer printout paper, 38 x 419 cm. [3]
Grace C. Hertlein, City Painting, c.1972. Print, computer-generated, 61 x 42 cm. ZKM.
Vera Molnár, À la recherche de Paul Klee, 1970. Ink plotter drawing, 74 x 74 cm. LACMA.
Colette Bangert, Charles Bangert, Land Coils, 1968. Computer, plotter, black ink on paper, 58 x 47 cm. LACMA.
Charlotte Johannesson, Digital Human, 1981-1986. Computer graphics plotted on paper, 23.5 x 31.5 cm.

'Computer art' is the generation of aesthetic objects with the aid of software on a digital computer. Its history started in 1965. Three exhibitions took place that year, which are acknowledged as first public presentations of digital art: Georg Nees at the Studiengalerie of the University of Stuttgart (5-19 February 1965); A. Michael Noll and Bela Julesz at Howard Wise Gallery, New York (6-24 April 1965); Frieder Nake and Georg Nees at Galerie Wendelin Niedlich, Stuttgart (5-26 November 1965)... The picture changes slightly, when we closely look at the time when these researcher-artists started their experiments in algorithmic art: Noll in 1962, Nake in 1963, Nees in 1964. All these dates refer to "digital" art and computers. Ben F. Laposky had started to work with analogue equipment in 1952. Herbert W. Franke followed in Austria in 1959, and Kurd Alsleben in Hamburg around 1960."
– Frieder Nake

Artists, writers, events[edit]

Magazines[edit]

  • Leonardo, ed. Frank Malina (later Roger F. Malina), Paris (later San Francisco), 1968–present. Website.
  • PAGE, London: Computer Arts Society, 1969-1985 & 2004-2011.

Group exhibition catalogues[edit]

  • Arte programmata: arte cinetica, opere moltiplicate, opera aperta [Programmed Art: Kinetic Art, Multiplied Works, Open Works], Milan: Galleria Vittorio Emanuele, 1962, 32 pp. Text by Umberto Eco. Works by Bruno Munari, Enzo Mari, Gruppo T, Gruppo N, Getulio Alviani, GRAV, et al. Organised by Bruno Munari and Giorgio Soavi; sponsored by Olivetti. Exh. held in Milan, May 1962; Piazza S. Marco, Venice, Jul-Aug 1962; Genova, 1962; Piazza Barberini, Rome, Oct 1962; Galleria La Cavana, Trieste, 1962; Tokyo, 1962; Goppinger Galerie, Düsseldorf, 1963; Royal College of Art, London, Jul 1964; Loeb Student Center, New York, 1964; and circulated across other venues in the US by the Smithsonian Institution. Video documentation (10 min). [4] (Italian),(French),(English)
  • Computer Graphics, ed. Jiří Valoch, Brno: Dům umění města Brna, 1968, 16 pp. Exh. held at the House of Arts, Brno, 4 Feb-3 Mar 1968; Oblastní Galerie Vysočiny, Jihlava, Mar 1968; Oblastní galerie výtvarného umění, Zlín, Apr 1968. (Czech)
  • Cybernetic Serendipidity. The Computer and the Arts: a Studio International Special Issue, ed. Jasia Reichardt, London: Studio International, Jul 1968; 2nd ed., rev., Sep 1968, 103 pp; repr., New York: Praeger, 1969, 101 pp; repr., London: Studio International Foundation, 2018, 101 pp. Exh. catalogue. Features a cover designed by Franciszka Themerson; an introduction by Jasia Reichardt; an overview of cybernetics and its founder, Norbert Wiener; separate sections dedicated to the connections between the computer and music, dance, poetry, painting, film, architecture, and graphics; a glossary; and a bibliography.
  • Event One, London: Computer Arts Society, 1969, [22] pp. The first exhibition from the newly-formed Computer Arts Society; held at Royal College of Art, London, 29-30 Mar 1969. Publisher.
  • Generación automática de formas plásticas. Vol. 2, Formas computables, ed. Ernesto García Camarero, Madrid: Centro de Cálculo de la Universidad de Madrid, 1969, [8]+[16] pp. Exh. held as the closing session of the seminars Automatic Generation of Plastic Forms for the 1968-69 academic year, at the Centro de Cálculo of the University of Madrid, from 25 June to 12 July 1969. [7] (Spanish)
  • Computer-Kunst: On the Eve of Tomorrow, ed. Käthe Schröder, Hannover: Clarissa -Contemporary-Art and G.-W.-Leibniz-Gesellschaft, 1969, [44] pp. Exh. held at Kubus Hannover, 19 Oct-12 Nov 1969. [8] (German)
  • Tendencije 4 / Tendencies 4: Zagreb, 1968-1969, eds. Boris Kelemen and Radoslav Putar, Zagreb: Galerija suvremene umjetnosti, 1970, [146] pp. Texts and statements by Radoslav Putar, Almir Mavignier, Matko Meštrović, Enzo Mari, Alessandro Carlini, Bernhard Schneider, Alberto Biasi, Gianni Colombo, Milan Dobeš, Herbert W. Franke, Karl Gerstner, Rolf Glasmeier, Rolf Gravenhorst, Hein Gravenhorst, Dieter Hacker, John Gabriel Harries, Gottfried Jäger, Richard Kriesche, Max H. Mahlmann, Marcello Morandini, Zoran Radović, Bernhard Sandfort, Paolo Scheggi, Klaus Staudt, Josef Hermann Stiegler, Jorrit Tornquist, Gabriele de Vecchi, Herman de Vries. (Serbo-Croatian)/(French),(German),(Italian),(English)
  • Impulse Computerkunst: Graphik, Plastik, Musik, Film, ed. Herbert W. Franke, Munich: Kunstverein München, 1970, 62 pp. Exh. held at Karl-Ernst-Osthaus Museum, Hagen, Feb 1970; Kunstverein München, Munich, 8 May-7 Jun 1970; Kunsthaus Hamburg, 12 Jun-12 Jul 1970; afterwards at Goethe-Institut internationally (Brussels, Oslo, Madrid, Zürich, Rome, Amsterdam, Lisbon, and elsewhere), 1971-1972. (German)
  • Arte y cibernética, ed. Jorge Glusberg, Montevideo: Comision Nacional de Artes Plastica, Jun 1970, [19] pp. Exh. held at Galería Bonino, Buenos Aires, Aug-Sep 1969. [9] (Spanish)
  • Interactive Sound and Visual Systems, ed. Charles A. Csuri, College of the Arts, Ohio State University, 1970, 31 pp. Exh. held at College of the Arts, Ohio State University, 25 Apr-12 May 1970.
  • Generación automática de formas plásticas, Madrid: Centro de Cálculo de la Universidad de Madrid, 1970, [24] pp. Exh. held 22 Jun-4 Jul 1970. [10] (Spanish)
  • Computer plotter art: primeira mostra na América Latina, ed. Waldemar Cordeiro, São Paulo: Mini Galeria USIS, 1970. Introduction. (Brazilian Portuguese)
  • Arteônica: o uso criativo de meios eletrônicos nas artes, ed. Waldemar Cordeiro, São Paulo: das Américas, 1972. Exh. held at the FAAP (Fundação Armando Álvares Penteado) in São Paulo in March 1971. Introduction. (Brazilian Portuguese)
  • Computer Art, ed. Laxmi P. Sihare, New Delhi: National Gallery of Modern Art, 1972, 57 pp.
  • Women and Computer Graphics: An Art for the Future, Salem, VA: Roanoke College Art Gallery, 1983, [1] p. Exh. featured the work of more than twenty female artists working with technology: Marilyn Albers, Eliz Stephens-Koesters, Terry Blum, Eudice Feder, Darcy Gerbarg, Colette Bangert, Copper Giloth, Deborah Gorchos, Margot Lovejoy, Alyce Kaprow, Eleanor Kent, Vibeke Sorenson, Bonnie MacDonald, Susan Hamilton, Joan Shafran, Barbara Nessim, Sheila Pinkel, Zsuzanna Molnar, Ruth Leavitt, Joan Truckenbrod, Christa Schubert, Joanne Culver, Sonia Sheridan, Barbara Sykes. [12]
  • Bilder 43: "Computer-Bilder", Vienna: Fotogalerie Wien, Nov 1988, [12] pp. Works by Graf & Zyx (A), Ingoneu (A), Margot Pilz (A), Helmut Rainer (A), Leo Schatzl (A). [14] (German)
  • Leonardo 2: "Computer Art in Context: SIGGRAPH '89 Art Show Catalog", ed. Mark Resch, 1989. Supplemental issue. [15]
  • Počítačové umění v ČSSR a ve světě. 3. celostátní výstava s mezinárodní účastí, ed. Lucie Holá, Prague: Dům techniky, 1989, 27 pp. Exh. held 11-16 Apr 1989. Exhibition. [16] [17] [18] (Czech)
  • Počítačová grafika vo výtvarnom umení, ed. Zuzana Bartková and Martin Šperka, Banská Bystrica: Štátna galéria, 1992, [32] pp. (Slovak)
  • V&A Pattern: Digital Pioneers, eds. Honor Beddard and Douglas Dodds, London: V&A Publishing, and Harry N. Abrams, 2009, 80 pp. With a CD. Exh. held at Julie & Robert Breckman Prints and Drawings Gallery London, 7 Dec 2009-25 Apr 2010. [22] [23]
  • Computational Arts in Canada 1967-1974, ed. Adam Lauder, London, ON: McIntosh Gallery, 2020, 84 pp. TOC, [26]
  • Darko Fritz, Digitalna umjetnost u Hrvatskoj 1968. – 1984., Zagreb: Tehnički muzej Nikola Tesla (TMNT), 2020, 224 pp. Digital companion. (Croatian)
    • Digital Art in Croatia 1968-1984, Zagreb: Tehnički muzej Nikola Tesla (TMNT), 2022, 224 pp. Digital companion. (English)
  • Coded: Art Enters the Computer Age, 1952–1982, ed. Lesle Jones, forew. Michael Govan, pref. Hannah B Higgins, Los Angeles: Los Angeles County Museum of Art, and New York: DelMonico Books, 2023, 272 pp. Artists, writers, musicians, choreographers and filmmakers explore the possibilities of data, digitization and algorithms at the dawn of computer technology. Text by Bronac Ferran, Patrick Frank, Tiffany Funk, Meredith Hoy, Leslie Jones, Jennifer King, Lisa Gabrielle Mark, Joel McKim, Britt Salvesen, Edward Shanken, Staci Steinberger, Grant D. Taylor, Bobbye Tigerman, Debora Wood. Exhibition. Video. Exh. review: Kim Córdova (e-flux). [27]
  • Digital Art: 1960s to Now, eds. Pita Arreola, Corinna Gardner, and Melanie Lenz, London: V&A Museum, and Thames & Hudson, 2024, 208 pp. Publisher, [28]. Events.
  • Radical Software: Women, Art & Computing, 1960-1991, ed. Michelle Cotton, Luxembourg: Mudam Luxembourg/Musée d'art moderne Grand-Duc Jean, Vienna: Kunsthalle Wien, and Cologne: Buchhandlung Walther und Franz König, 2024, 223 pp. With three new essays by Tina Rivers Ryan, Margit Rosen and Michelle Cotton. "The publication accompanies the exhibition surveying the history of digital art from a feminist perspective, focusing on women who worked with computers as a tool or subject and artists that worked in an inherently computational way. It also features a richly illustrated timeline covering the period between 1613 and 1991 and includes twenty-seven new interviews with artists." Publisher, [29]. Exhibitions: MUDAM Luxembourg, 20 September-2 February 2025; Kunsthalle Wien, 28 February-25 May 2025, Artists & works, [30]. Exh. booklet. Symposium (28 February 2025). Exh. reviews: Emily McDermott (ArtReview), Kathrin Heinrich (Frieze), Marilena Borriello (Burlington), Will Jennings (Wallpaper), Artishock, Marika Kupková (Artalk).
    • Radical Software: Women, Art & Computing 1960–1991, Luxembourg: Mudam Luxembourg/Musée d'art moderne Grand-Duc Jean, Vienna: Kunsthalle Wien, and Cologne: Buchhandlung Walther und Franz König, 2024, 224 pp. Publisher, [31]. (German)
Exhibitions without catalogues

Resources[edit]

Literature[edit]

  • Exakte Ästhetik 5: "Kunst aus dem Computer", ed. William E. Simmat, Stuttgart: Nadolski, 1967, 72 pp. [33] (German)
  • Lloyd Sumner, Computer Art and Human Response, Charlottesville, VA: Paul B. Victorius, 1968, 96 pp. Review: Alan Sutcliffe (Leonardo).
  • Ordenadores en el arte. Generación automática de formas plásticas, Madrid: Universidad de Madrid. Centro de Cálculo, 1969. TOC. (Spanish)
  • Georg Nees, Generative Computergraphik, Munich: Siemens, 1969; repr., eds. Christoph Hoffmann and Hans-Christian von Herrmann, Zürich: diaphanes, 2006. Based on PhD thesis written under Max Bense. [34]
  • Günther Pfeiffer, "Kunst und Computer. Kybernetik – Informationsästhetik – Computer-Art", Magazin Kunst 39, Mainz, 1970. Survey article. {{de}
  • L'ordinateur et la créativité, Madrid: Centro de Cálculo de la Universidad de Madrid, 1970, 132 pp. Proceedings from conference. TOC. (French)
  • Ernesto Garcia Camarero, "Computer Art", in La scienza e l'arte: nuove metodologie di ricerca scientifica sui fenomeni artistici, ed. Ugo Volli, Milan: Gabriele Mazzotta, 1972. (Italian)
  • Viktor Ernest Maşek (ed.), Estetică, informaţie, programare [Aesthetics. Information. Programming], Bucharest: Ştiinţifică, 1972, 216 pp. Anthology comprising important texts by A. Moles, M. Bense, H. Frank, S. Maser, K. Alsleben, but also Mihai Dinu, Cezar Radu, Stefan Niculescu, and others. (Romanian)
  • Frieder Nake, Ästhetik als Informationsverarbeitung, Springer, 1974. (German)
  • Frank J. Malina (ed.), Visual Art, Mathematics and Computers: Selections from the Journal Leonardo, Elmsford, NY: Pergamon Press, 1979. Commentary: Marc H. Bornstein (Leonardo). Review: Sci, Tech & Human Values.
  • Konpyūta jidai no geijutsu: geijutsu to gijutsu no kyōsei o mezashite [コンピュータ時代の芸術: 芸術と技術の共生を目ざして], Tokyo: Shinkigensha (新紀元社), 1983, 379 pp. Proceedings of the 1st Fukushima International Seminar. (Japanese)
  • Hiroshi Kawano (川野洋), Konpyūta to bigaku: jinkō chinō no geijutsu o saguru [コンピュータと美学 : 人工知能の芸術をさぐる], Tokyo: Daigaku Shuppankai (東京大学出版会), 1984, iv+341 pp. (Japanese)
  • Koichi Omura, Yoichiro Kawaguchi, Suma Noji (eds.), CG in Japan, Tokyo: Graphic-Sha, 1985, 142 pp. (Japanese)/(English)
  • Imrich Bertók, Ivo Janoušek, Počítače a umenie, Bratislava: SPN, 1989. (Slovak)
  • Marina Gržinić (ed.), The Future of Computer Arts & The History of the International Festival of Computer Arts, Maribor, 1995-2004, Maribor: MKC, and Ljubljana: Maska, 2004. [37] (English)
  • Arie Altena, Lucas van der Velden (eds.), The Anthology of Computer Art. Sonic Acts XI, Amsterdam: Sonic Acts, 2006, 94 pp. [38] [39]
  • Catherine Mason, A Computer in the Art Room: The Origins of British Computer Arts 1950-80, London: Quiller Press, 2008, 250 pp. Reviews: Nick Lambert (Animation), Rhea Myers (Furtherfield).
  • Paul Brown, Charlie Gere, Nicholas Lambert, Catherine Mason (eds.), White Heat Cold Logic: British Computer Art 1960-1980, MIT Press (Leonardo), 2008, 464 pp, IA. Introduction; Publisher.
  • Edward A. Shanken, Art and Electronic Media, London: Phaidon, 2009. Survey essay. [41]
  • Patrick Frank, Sharing Code: Art1, Frederick Hammersley, and the Dawn of Computer Art, forew. Joseph Traugott, Museum of New Mexico Press, 2020, 160 pp. Publisher.
More
Bibliography

See also[edit]


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