Shift 2-four
Print
1970 (made)
1970 (made)
| Artist/Maker | |
| Place of origin |
Auro Lecci was one of the first artists to exhibit computer graphics at a biennale, initially at Nuremberg (1969) and then at Venice (1970). Lecci started to generate computer graphics in 1968 in collaboration with Cnuce (Centro Nazionale Universitario di Calcolo Elettronico), the national university computing centre in Pisa, Italy. He experimented with algorithmic procedures and taught himself to program. His use of geometric forms, characterised by exactitude and formal order, reflect the constructivist influence of ‘machine aesthetics’ on his practice.
Object details
| Category | |
| Object type | |
| Title | Shift 2-four (assigned by artist) |
| Materials and techniques | ink, photographic paper, cyanotype print |
| Brief description | Shift 2-Four, 1970, cyanotype print by Auro Lecci |
| Physical description | Hexagon formed on white lines on a indigo background |
| Dimensions |
|
| Production type | Limited edition |
| Copy number | 1/2 |
| Gallery label | Chance and Control: Art in the Age of Computers (2018)
AURO LECCI (born 1938)
Shift 2-Four
Italy, 1970
Auro Lecci began generating computer graphics in 1968, in collaboration with the computing centre in Pisa. He taught himself to program, then experimented with creating algorithmic procedures. His work is characterised by precision and formal order, reflecting the constructivist influence of ‘machine aesthetics’ on his practice. This is one of a series of images illustrating shifts or rotations in a geometric form.
Cyanotype print, after a computer-generated image
Given by the artist
Museum no. E.2670-2016(07/07/2018-18/11/2018) |
| Credit line | Given by the artist |
| Summary | Auro Lecci was one of the first artists to exhibit computer graphics at a biennale, initially at Nuremberg (1969) and then at Venice (1970). Lecci started to generate computer graphics in 1968 in collaboration with Cnuce (Centro Nazionale Universitario di Calcolo Elettronico), the national university computing centre in Pisa, Italy. He experimented with algorithmic procedures and taught himself to program. His use of geometric forms, characterised by exactitude and formal order, reflect the constructivist influence of ‘machine aesthetics’ on his practice. |
| Collection | |
| Accession number | E.2670-2016 |
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| Record created | December 11, 2015 |
| Record URL |
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