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Example research essay topic: Art And Technology Schwartz Moffat - 1,576 words

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... ist. Photography is always a wonderful challenge... Of course now with computer manipulations the possibilities make you exhausted even thinking about it. (Tracey Moffat, quoted in Hentschel 1998: 23) American artist Lillian Schwartz made many experiments with computer art during her long career. Computers are being used by recent artists as tools with which to analyse and create works of art. Schwartz was one of the first artists to experiment with computer images and computer effects on art.

She worked closely with scientists in the 1970 s in the early stages of computer development, and developed one of the first rock music videos. She also made one of the first digitised films to be shown as a work of art, her video Pixillation showing diagonal red squares and other shapes such as cones, pyramids on black on white backgrounds. This video is regarded as one of the most important early works of computer film art which with her other work is "now considered seminal works of computer art... composed of programmed abstract images. " (Rush 1999: 172) She worked in the early stages of her career with scientists as Bell Laboratories developing mixtures of sound, video and art. Later on, during the 1980 s, Schwartz made many experiments with artworks manipulating images using computer technology and creating some artworks of her own. Schwartz extensively used the works of Leonardo Da Vinci in experiments with computers.

These experiments showed some of the ways in which computers can be used to change and develop images. These images expand the audiences perception of artworks which they already know. She used a 3 D computer generated model to show that the lines on the Santa Maria delle Grazie in Milan match the perspective lines of Leonardo's fresco painting of the Last Supper, showing that his painting may have been designed to appear as an extension to the room from where the monks would have been sitting to observe it. Thus technology has given a new dimension to the painting by allowing viewers to better understand why it possibly had been made. Similarly, in Schwartz's most famous work, the Mona Leo (Fig. 5), she spliced the left side of the Mona Lisa (Fig. 6) with a flipped left side of the red chalk portrait of Leonardo (Fig. 7), arguing that the Mona Lisa is a self-portrait by Leonardo. She shows that the Leonardo self portrait and the Mona Lisa line up perfectly, as when the two images noses were aligned the rest of the face lined up exactly.

Using lines drawn on the image, she shows the bottom of the eye, eyebrow, nose and chin all line up together. She also removes the grey tones in the Leonardo self portrait and superimposes the Mona Lisa eye over it in further experiments to show how the images are closely related. Without the aid of a computer, these experiments would take a much longer amount of time, for instance if she was to paint the Mona Leo by hand. Her new works each function as separate works of art in themselves with all the characteristics of a work of art, so the computer is a tool which creates art just as a paintbrush does. This can be considered an art of appropriation, as where an artist has borrowed the images of another artist to create a new work. Schwartz uses computers to manipulate many other images which relate to art and art history, creating new works of art.

Schwartz's experiments with computers to manipulate images were done decades before digital art became popular in the late 1990 s. She used shapes generated by a computer to make images on the computer screen, such as using trapezium shapes to create an object recognisable as a cat (Fig. 8), as well as triangle shapes to represent a human head. (Fig. 9) She also experimented with ways to superimpose multiple images onto another recognisable image in an effect of a collage, as with Statue of Liberty (Fig. 10) and Homage to Van Gogh (Fig. 11) Computers applied in such ways can create collages and images faster than possible by hand. These images function not only as experiments with computer work, but also as works of art in themselves. Statue of Liberty is composed of different elements which have been put together using a computer, similar to Cubist collages and Dadaist photomontages of the early 20 th century.

She warped images of faces of Rembrandt into a photo of Einstein, showing similarities in the facial features (Fig. 12), a task which would be almost impossible to do by hand, but only take a few seconds with the aid of a computer. She similarly combined images of works of art in a poster for the Museum of Modern Art in New York in her poster Big MoMA (Fig. 13), an also near impossible task by hand, but relatively easy with computers, and still creating a legitimate award winning work of art. The role of computers to be used by the artist has been addressed by Schwartz. Computers can today perform many functions for the artist, from creating artworks through altering photography or by flipping shapes, changing colours, adding tones and a seemingly infinite amount of other uses. Computer artists can create interactive images, robot installations, digitalized and / or 3 dimensional images. Many of the ways which this latest technology is used to create art makes art into a genre becoming close to being a video game or a movie.

In her research on computers, Schwartz discusses whether art produced wholly by computers can be considered as art, the question is asked as to what a work of art means, "Is it the final piece of art (or output) by which creativity is judged, or is creativity independent of the art. " (Schwartz 1992: 256) She asks whether it means that something must be produced creatively, or are people impressed with the craftsmanship and effort that has gone into a work such as a Michelangelo or Titian when they think of it as art. For if it is only the craftsmanship which makes a work of art then computers can surely produce artworks since they have the ability to work faster than humans in many ways. Paint and brushes can be regarded as technology of sorts because they are implements which are made for the artist to use in his painting, just as a painting computer program is there for an artist to create his works on. The Renaissance artists had assistants to mix paints, prepare canvases, or in the case of Rubens even finish off the painting. The computer can be regarded as assistant which allows the artist greater time to put into creative ideas, and less into repetitive tasks which can easily handled by a computer.

The computer is very much like an apprentice... Since the master (the programmer or artist) does not have to be present for many of these operations, it seems as if the computer is acting in place of the artist. We have again found our scientist-artist, and it is the computer itself. (Schwartz 1992: 233) Video and computers are having a huge influence on modern art. Modern art exhibitions are increasingly incorporating the use of both video and computers, as well as other technologies. In addition, artists such as Moffat are using ideas obtained from new media such as television and Hollywood movies which are being displayed in art galleries.

Schwartz uses computers to manipulate images and create new works of art. Art is continuing to change with the introduction of new technologies. Artists are effectively using these technologies in their works, and will almost certainly continue to do so in the future. Moffat's use of film and Schwartz's use of computers shows that these new media can and are often used in art, and are every bit as valid a medium as a paintbrush or pencil. Reference List - Books Cooke, Lynne and Kelly, Karen 1998, Tracey Moffat: Free-Falling. Dia Center for the Arts, New York, USA Duckrey, Timothy 1999, Ars Electronica: Facing the Future.

A Survey of Two Decades, Massachusetts institute of Technology, USA Goodman, Cynthia 1987, Digital Visions. Computers and Art. Harry N. Abrams inc. publishers, New York, USA Hentschel, Martin 1998, Tracey Moffat, Wurttembergischer Kunstverein, Stuttgart, Germany Hertz, Richard and Klein, Norman 1990, Twentieth Century Art Theory. Urbanism, Politics and Mass Culture, Prentice-Hall Inc. , New Jersey, USA.

Lucie-Smith, Edward 1995, Movements in art since 1945. Issues and concepts, Thames and Hudson, London, UK Paul, Christiane 2003, Digital Art, Thames & Hudson, London, UK Popper, Frank 1997, Art of the Electronic Age, Thames & Hudson, London, UK Reinhardt, Brigitte 1999, Tracey Moffatt. Laudanum, Have Can Publishers, Ostfildern, Germany Rush, Michael 1999, New Media in Late 20 th Century Art. Thames & Hudson, London, UK Schwartz, Lillian F. 1992, The Computer Artist's Handbook. Concepts, Techniques and Applications. WW Norton & Co.

Inc, New York, USA Sever, Nancy 2001, Tracey Moffat. Invocations, ANU Drill Hall Gallery, Australia Reference List - Internet web web web web web exhibition Info / exhibition / 13238 web web search? q = cache: 7 BzhkXM 58 u YJ: web archive 2004 /content/ media/ 046 Tracey% 2520 Moffatt. pdf+tracey+moffat+video+artist& hl = en web web web web web web bibliographies pdfs / tracey moffatt. pdf +tracey+moffat+video+artist&hl = en web makers / fm 253. htm web web web web web web lillian's.

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