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Art-and-Technology: Recent Efforts in Materials and Media

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References

  1. References to artists Naum Gabo and his brother Antoine Pevsner, along with much basic information on early phases of 20th century art and its pioneers, are to be found in the following books: Jack Burnham, Beyond Modern Sculpture (George Braziller, New York, NY, n.d.) preface, 1967.

  2. Douglas Davis, Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology and Art (Praeger Publishers, New York, NY, 1973).

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  3. Frank Popper, Introduction, Electra: L’électricité et l’electronique dans l’art aux XXe siècle (MAM, Paris, 1984).

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  4. A good, little-known survey: Ans van Berkum, Tom Blekkenhorst, Science * Art [sic] (Fentener van Vlissingen Fund, Utrecht, Holland, n.d.).

  5. Heronis Alexandrini Opera, Vol. 1, edited by Wilhelm Schmidt (B.G. Teubner, Leipzig, 1899).

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  6. Margarete Bieber, The History of Greek and Roman Theatre (Princeton University Press) Princeton, NJ, 1961).

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  7. Illustrations accompanying this essay may serve to give an impression of the variety in current art-and-technology; some images, with captions, may not directly refer to the text.

  8. Krisztina Passuth, Moholy-Nagy (Thames & Hudson, New York, NY, 1985).

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  16. Basic information on Robert Rauschenberg and the context of 20th century art, in H.H. Arnason, History of Modern Art (Harry N. Abrams, New York, NY, n.d.).

  17. Rudolf Arnheim et al., Gyorgy Kepes — Works in Review (Museum of Science, Boston, MA, 1975).

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  22. Harold E. Edgerton and James R. Killian Jr., Moments of Vision — The Stroboscopic Revolution in Photography (MIT Press, Cambridge, MA and London, n.d.).

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  26. Annick Bureaud, see Reference 9.

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  27. An example of Lawrence Alloway’s writing: American Pop Art (Collier Books and Whitney Museum of American Art, New York, NY, 1974).

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  33. Stewart Brand, The Media Lab: Inventing the Future at MIT (Viking, New York, NY, 1987).

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  34. Earlier pieces and performances by Paik in John Hanhardt et al., Nam June Paik (Whitney Museum & W.W. Norton, New York, NY, 1982).

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  37. LEONARDO, “Holography as an Art Medium,” 22 (3 and 4) 1989.

  38. Ante Glibota, Dieter Jung (Paris Art Center, Paris, 1989).

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  39. Otto Piene et al., Dieter Jung: Bilder-Zeichnungen-Hologramme (Wienand Verlag, Cologne, 1991).

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  40. LEONARDO, see Reference 30.

  41. LEONARDO, see Reference 30.

  42. Information in: Manfred Schneckenburger et al., Otto Piene und das CAVS (Deutscher Künstlerbund, Karlsruhe, 1988).

  43. Information in: David Galloway, Art wareKunst und Elektronik (Deutsche Messe AG and Siemens, Hannover, 1989).

  44. GAS — Get Away Specials, small space shuttle payloads of NASA (National Aeronautics and Space Administration) Washington, DC. The Last Getaway Specials: The Space Shuttle and the Artist, by Joe Davis, LEONARDO 24 (4) (1991).

  45. Elizabeth Olson Goldring, Laser Treatment: Poems and Two Stories (Blue Giant Press, Boston, MA, 1983).

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  46. Desert Sun/Desert Moon and the SKY ART Manifesto, LEONARDO 20 (4) 1987.

  47. Jean-François Lyotard, Immaterialität (Berlin, 1985).

  48. References in: Jean-Paul Fargier, Otto Piene, le degré zéro du nu, art press spécial, Paris, No. 12 (1991).

  49. Philip Ross, A Matter of Taste, (Scientific American, July 1991, New York, NY).

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  50. References in: Steve Nadis, “Antimatter,” Omni (Jan. 1991, New York, NY). Artists’ statements provided to the author for this essay.

  51. National Nanofabrication Facility, Cornell University, Ithaca, NY.

  52. MRS Bulletin XVI (4) (1991) p. 78, Figure 2.

  53. See Reference 41.

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Piene, O. Art-and-Technology: Recent Efforts in Materials and Media. MRS Bulletin 17, 18–23 (1992). https://doi.org/10.1557/S0883769400043190

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