Join me for British Art & Cybernetics, a talk for “Cybernetics Snacks” – convened by the School of Cybernetics at Australian National University.
TUESDAY 11 OCTOBER – 8pm Australian Eastern Daylight Time (9 am in the UK)
Info: https://cybernetics.anu.edu.au/cybernetics-snacks/catherine-mason/
I am very saddened to hear of the death of Herbert Franke (1927-2022). He was always very kind an helpful to me whenever I had a question, particularly about the early years of computer art in Germany. He was a polymath – a pioneer and innovator of algorithmic and generative art creation, right up to the last. We worked together in 2013 on an article for ITNow, the magazine of the British Computer Society, published February that year. Above is an image from that time, which he sent me in advance of its publication.
My latest research on artist Robert Mallary (1917-1997) has just been published, part of the Review of Machine Art Special Issue of Arts. Read “An Element of Perfection: The Transductive Art of Robert Mallary”. Before the realm of techno-art became a recognizable construct, Mallary was interested in a system of relationships, seeking in his words, ‘an element of perfection’ in combinations of materials and technologies to make ‘a beautiful whole’. I argue there is an art historical trajectory of a 3D immersive type of art that takes place in a specific defined environment – a concept that I link from Mexican muralist David Alfaro Siquerios through Kurt Schwitters via Mallary and the bourgeoning field of “art & technology” in the middle decades of the 20th century.
Read my review in Studio International of the new display of computer art at the Victoria & Albert Museum London – Chance and Control: Art in the age of Computers and learn of the remarkable diversity of the V&A’s collection and how it has grown from early beginnings in just ten years. Among many things of interest here are three fabulous works by Harold Cohen from his early, mid and later period. Exhibition on now until 18 November 2018.
Come to my forthcoming lecture in Dundee –
‘A huge space of endless predetermined possibilities’: Computer art and the influence of D’Arcy Thompson
On 8 November 6pm, I’m thrilled to be going to the D’Arcy Thompson Zoology Museum to talk about how the writing of code has been used to draw since digital computing technology became accessible to artists from the mid-1960s. This year is the 100th anniversary of D’Arcy W Thompson’s book On Growth and Form (1917) which had a formative influence on the pioneers of algorithmic art.
In this talk we will learn how complex and visually arresting imagery often comes from surprisingly simple sets of instructions. We will discover that the use of the computer offers ‘a huge space of endless predetermined possibilities.’ (William Latham, artist)
Co-organised with the Abertay Historical Society as part of NEoN Digital Arts Festival supported by Creative Scotland. Book your ticket here
Just a reminder that my book – A Computer in the Art Room, The Origins of British Computer Arts 1950-1980 is still available to purchase from this website (it seems to be prohibitively expensive on Amazon for some reason) – click the SHOP tab above. 
Read a synopsis here: A Computer in the Art Room synopsis Also read reviews of the book .
Andy Lomas’s new solo exhibition at Watermans, (until 21st July) provides a perfect opportunity to see his complete vision. From framed prints and moving image animations to 3D printing, Lomas explores the aesthetics of biology inspired by the theories of Alan Turing and D’Arcy Wentworth Thompson. Based on his cellular growth model, he creates intriguing, uncannily beautiful shapes with the feel of living organisms. The quality of and detail in this work is superb, I urge everyone to see this wonderful show.
the people who put posters in public places around city centres of famous art works (voted for by the public), have commissioned Antony Gormley to produce this drawing. Created by the artist using the stylus in one continuous motion on an iPad, Gormley says, “I’ve never drawn on an iPad before and was thinking should I draw on a blackened piece of glass? Then I thought this is really stupid, we’ve got this extraordinary facility that everybody knows about [..] so why don’t I give it a try?”
I think the end result is really quite fun. Only time will tell if this marks a new direction for this veteran of the British art establishment. Antony Gormley tells me that for several years he’s been using the digital as tools – all his sculptures start ‘life’ in the computer. 3D scans of his body facilitates manipulation of forms digitally, giving countless permutations and allowing valuable feedback. He also uses 3D printers. A new way of approaching the maquette?
You can see the work, which also consists of the animation of its creation, on digital screens nationwide including Piccadilly Circus & Manchester’s Trafford Centre, supported by the The Art Fund. Downloads and limited edition prints are available.
This month my BCS column investigates an interesting commission from the University of Dundee Museum
Services who have been working with theArt Fund on a £100,000 project to explore the influence of Sir D’Arcy Wentworth Thompson in the visual arts. Because of the interdisciplinary nature of the Dundee Collections and the Thompson connection, this grant funding has uniquely facilitated the creation of an art work itself with an interdisciplinary concept at its heart – On Growth and Form by Daniel Brown. Read the full article here: http://www.bcs.org/content/conWebDoc/50050
This month, to compliment the previous two discussions of Manfred Mohr
and Ernest Edmonds in my monthly BCS column, we feature new work by another of the great pioneers of algorithmic art – Prof. Herbert Franke. I am especially honored to be able to share with you the first sight of one of his new graphics from the series
Intarsia, a striking art work which demonstrates his interest in complex patterns and seems to pulsate with kaleidoscopic qualities. Full article here: http://www.bcs.org/content/conWebDoc/49847