![]() In particular, she could use software developed at Bell Labs (as, e.g., the early animation language, BEFLIX, by Ken Knowlton). ![]() Most of the works connected with her name have their roots in those years of collaboration between art and technology, artists and technical people. Michael Noll, Manfred Schroeder, and others). At Bell, she met a group of persons who were for a few years working experimentally on various projects of art and technology, in particular on computer art ( Leon Harmon, Bela Julesz, Ken Knowlton, A. Leon Harmon invited Schwartz to come to the Bell Laboratories in Murray Hill, NJ ( USA), as an artist in residence and consultant, a position she was able to keep from 1969 on for about 30 years. With Danish engineer, Per Biorn, Schwartz submitted the installation Proxima Centauri that was also included in several shows later. Pontus Hultén at the Museum of Modern Art, New York (from 25 November, 1968, to 9 February, 1969)). A selection of works submitted to the competition were to be included in an extension of the landmark show, The Machine as Seen at the End of the Mechanical Age (curated by K.G. announced, in November 1967, a competition that should lead to close cooperations between artists and engineers. It was a logical step for her to get in touch with the “Experiments in Art and Technology” (E.A.T.) movement when E.A.T. She has always been interested in the cross-over or mixing of methods and techniques from art, science, and technology. She is one of the first female artists using computers as an instrument to create works of artistic value. ![]() But she is mainly known for her contributions to early computer-generated art, particularly for her animated films. Schwartz has been an artist of many kinds.
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