Difference between revisions of "Ruth Leavitt"
(Created page with "The work of '''Ruth Leavitt''' (8 March 1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming...") |
|||
| Line 1: | Line 1: | ||
| − | The work of '''Ruth Leavitt''' (8 March 1944, Saint Paul, Minnesota) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three axes. Her modular structures share a resemblance but are not identical. Leavitt published extensively on the subject of computer art including editing the book ''[https://monoskop.org/log/?p=229 Artist and Computer]'' (1976). Describing her experience of producing works at the Space Science Laboratories at the University of Minnesota Leavitt recalls: ‘My work in the lab was accomplished from 11 p.m. to 3 a.m. when no one else was working there because science professors regarded time on the computer too valuable to pursue artistic endeavours. However, after a few years, seeing my results and publications, the director of the lab awarded me a grant. The “stretching” program [was] created during this time ... At the time, unlike the scientific community which eventually came to believe computer art credible, the art world was vehemently opposed to using computers to make art.’ [https://www.mudam.com/ruth-leavitt (2024)] | + | The work of '''Ruth Leavitt''' (8 March 1944, Saint Paul, Minnesota - 16 January 2025, Baltimore, Maryland) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three axes. Her modular structures share a resemblance but are not identical. Leavitt published extensively on the subject of computer art including editing the book ''[https://monoskop.org/log/?p=229 Artist and Computer]'' (1976). Describing her experience of producing works at the Space Science Laboratories at the University of Minnesota Leavitt recalls: ‘My work in the lab was accomplished from 11 p.m. to 3 a.m. when no one else was working there because science professors regarded time on the computer too valuable to pursue artistic endeavours. However, after a few years, seeing my results and publications, the director of the lab awarded me a grant. The “stretching” program [was] created during this time ... At the time, unlike the scientific community which eventually came to believe computer art credible, the art world was vehemently opposed to using computers to make art.’ [https://www.mudam.com/ruth-leavitt (2024)] |
; Publications | ; Publications | ||
| Line 8: | Line 8: | ||
* [https://www.rcmgalerie.com/leavitt/ rcm galerie] | * [https://www.rcmgalerie.com/leavitt/ rcm galerie] | ||
* [http://dada.compart-bremen.de/item/agent/551 compArt] | * [http://dada.compart-bremen.de/item/agent/551 compArt] | ||
| + | * Tribute: [https://www.facebook.com/mudamlux/posts/it-is-with-profound-sadness-that-we-share-the-news-of-ruth-leavitts-passing-1944/1029477812559128/ MUDAM]. | ||
[[Series:Computer art]] | [[Series:Computer art]] | ||
{{DEFAULTSORT:Leavitt, Ruth}} | {{DEFAULTSORT:Leavitt, Ruth}} | ||
Latest revision as of 09:42, 17 June 2025
The work of Ruth Leavitt (8 March 1944, Saint Paul, Minnesota - 16 January 2025, Baltimore, Maryland) employs computation to manipulate and alter abstract forms by virtually stretching, rotating and deforming them across three axes. Her modular structures share a resemblance but are not identical. Leavitt published extensively on the subject of computer art including editing the book Artist and Computer (1976). Describing her experience of producing works at the Space Science Laboratories at the University of Minnesota Leavitt recalls: ‘My work in the lab was accomplished from 11 p.m. to 3 a.m. when no one else was working there because science professors regarded time on the computer too valuable to pursue artistic endeavours. However, after a few years, seeing my results and publications, the director of the lab awarded me a grant. The “stretching” program [was] created during this time ... At the time, unlike the scientific community which eventually came to believe computer art credible, the art world was vehemently opposed to using computers to make art.’ (2024)
- Publications
- editor, Artist and Computer, Harmony Books, 1976, 121 pp.
- Ruth Leavitt: Computer Derivative, Paris: rcm galerie, 2022, [36] pp. Exh. cat.
- Links
- rcm galerie
- compArt
- Tribute: MUDAM.
