Digital Visions: Computers and Art | i |
 
title: Digital Visions: Computers and Art
year: 1987
Bibliographic Entry

Goodman, Cynthia 1987. Digital Visions: Computers and Art . New York (USA):Harry N. Abrams, Inc., Everson Museum of Art
Description

Abstract:
‘From music videos to paintings to special effects for ballet, Digital Visions examines for the first time the computer’s far-reaching impact on the visual arts and the creative process. Included are computer-assisted works by such prominent artists as Andy Warhol, David Hockney, Jennifer Bartlett, Larry Rivers, and Philip Pearlstein. (…)’ [Abebooks, 2008]

This classic catalogue was presented on the occassion of the exhibition “Computers and Art” shown at several places in the U.S., such as the Everson Museum of Art in Syracuse, USA. The book is written from an artistic view and Goodman focused on artists from the U.S., which all use the computer. The most elaborated chapter is on two-dimensional images, where the content of the image is exactly what is stored in the computer.

In ‘The New York Magazine’ from 13.06.1988 the catalogue is described on page 57 as follows:
‘Set artists down at a computer and you’re not likely to get the printed word: Philipp Pearlstein plays with electronic paint systems. Georg Nees creates reliefs cut out by a computer-controlled milling machine. Ronald Davis uses an opaque viewer to make paintings based on computer-generated images. Although art and technology may seem odd bedfellows, artists have always been comfortable with experimentation-just think of Leonardo da Vinci in the sixteenth century and painters’ fascination with acrylics in our time. In Digital Visions: Computers and Art, art historian Cynthia Goodman recounts the first tentative liaison and today’s enthusiastic embrace, and explores the computer’s impact on the art-making process.’

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