Pixillation
Photograph
ca. 1970 (made)
ca. 1970 (made)
Artist/Maker | |
Place of origin |
Lillian F. Schwartz (b. 1927) is an American artist renowned for her pioneering contributions to computer-mediated art. Schwartz is well known for her abstract films, which helped integrate computer graphics into the art world as well as her research into electronic art analysis and restoration. Schwartz's contributions also branched into scientific research, examining topics such as visual and colour perception, and sound.
Schwartz was born in Cincinnati, Ohio, to a large family of Jewish emigres. While working as a nurse in Japan, she became interested in painting and sculpture. Upon her return to New York, she became involved in the art scene, resulting in her introduction to the E.A.T. (Experiments in Art and Technology) group. At E.A.T., artists and engineers were paired together, and Lillian collaborated with Danish engineer Per Biorn to create 'Proxima Centauri'. A kinetic sculptural work that was displayed as part of 'The Machine as Seen at the End of the Mechanical Age' exhibition at the Museum of Modern Art in 1968. Following this, Lillian Schwartz joined scientists at Bell Laboratories in New Jersey, as a 'Resident Visitor'. Schwartz also went on to consult with IBM’s Thomas J. Watson Research Laboratory.
Her abstract films were a collaborative effort, where Schwartz built upon the generative algorithms written by Ken Knowlton, her counterpart at Bell Laboratories. Much of Schwartz's other significant work utilizes a computer-mediated approach to art analysis, such as her study on the perspective construction of Leonardo da Vinci’s Last Supper.
Schwartz was born in Cincinnati, Ohio, to a large family of Jewish emigres. While working as a nurse in Japan, she became interested in painting and sculpture. Upon her return to New York, she became involved in the art scene, resulting in her introduction to the E.A.T. (Experiments in Art and Technology) group. At E.A.T., artists and engineers were paired together, and Lillian collaborated with Danish engineer Per Biorn to create 'Proxima Centauri'. A kinetic sculptural work that was displayed as part of 'The Machine as Seen at the End of the Mechanical Age' exhibition at the Museum of Modern Art in 1968. Following this, Lillian Schwartz joined scientists at Bell Laboratories in New Jersey, as a 'Resident Visitor'. Schwartz also went on to consult with IBM’s Thomas J. Watson Research Laboratory.
Her abstract films were a collaborative effort, where Schwartz built upon the generative algorithms written by Ken Knowlton, her counterpart at Bell Laboratories. Much of Schwartz's other significant work utilizes a computer-mediated approach to art analysis, such as her study on the perspective construction of Leonardo da Vinci’s Last Supper.
Object details
Category | |
Object type | |
Title | Pixillation (assigned by artist) |
Materials and techniques | Photographic film stills mounted on board |
Brief description | Four black and white photographic film stills from the film entitled 'Pixillation', originally credited to Lillian Schwartz and Ken Knowlton (original animation 1970) |
Physical description | Four black and white photographic stills from a computer animation. Mounted on board. |
Dimensions |
|
Credit line | Given by the Computer Arts Society, supported by System Simulation Ltd, London |
Production | 1970 is the date of the animation 'Pixillation'. These stills may date from slightly later. |
Summary | Lillian F. Schwartz (b. 1927) is an American artist renowned for her pioneering contributions to computer-mediated art. Schwartz is well known for her abstract films, which helped integrate computer graphics into the art world as well as her research into electronic art analysis and restoration. Schwartz's contributions also branched into scientific research, examining topics such as visual and colour perception, and sound. Schwartz was born in Cincinnati, Ohio, to a large family of Jewish emigres. While working as a nurse in Japan, she became interested in painting and sculpture. Upon her return to New York, she became involved in the art scene, resulting in her introduction to the E.A.T. (Experiments in Art and Technology) group. At E.A.T., artists and engineers were paired together, and Lillian collaborated with Danish engineer Per Biorn to create 'Proxima Centauri'. A kinetic sculptural work that was displayed as part of 'The Machine as Seen at the End of the Mechanical Age' exhibition at the Museum of Modern Art in 1968. Following this, Lillian Schwartz joined scientists at Bell Laboratories in New Jersey, as a 'Resident Visitor'. Schwartz also went on to consult with IBM’s Thomas J. Watson Research Laboratory. Her abstract films were a collaborative effort, where Schwartz built upon the generative algorithms written by Ken Knowlton, her counterpart at Bell Laboratories. Much of Schwartz's other significant work utilizes a computer-mediated approach to art analysis, such as her study on the perspective construction of Leonardo da Vinci’s Last Supper. |
Other number | CAS/A/0031 - Previous owner's number |
Collection | |
Accession number | E.184-2008 |
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Record created | March 23, 2009 |
Record URL |
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