SIGGRAPH 2003: CG03: Computer Graphics 2003


 

Chair(s):

  • Michael Wright -
    • Otis College of Art & Design
    • M Ragsdale Wright Studios

Location:

San Diego, California

Dates:

July 27th-July 31st, 2003

Overview:

Introduction:

The Art Gallery celebrates 30 years of annual SIGGRAPH conferences with CG03: The Art of SIGGRAPH 2003. Returning to its roots, the gallery emphasizes prints, painting, sculpture, animation, and video that have a digital component in their creation.

CG03 is both a curated and juried exhibition presenting a visual force both driven by and reflective of the postmodern mosaic. Exceptional examples of state-of-the-art computer art and design selected by a group of distinguished professionals from all areas of the art community are integrated throughout the conference and in the immediate San Diego community, allowing for a greater focus on art as part of the overall media matrix. In this way, artists’ ideas, thoughts, and truths, reflecting the layered, non-linear, pluralistic nature of our times, are presented to a wider audience that can view the art in a totally different, inclusive context that emphasizes art’s non-isolated global voice. The works are international in scope, representing the diversity of interests in both theme and technique of the current artistic community yet exhibiting common visual threads: an interest in visual perception, the penetration of the Cartesian grid, and a commitment to personal artistic vision.

Following this introduction are six essays by computer graphics professionals who are involved in this year’s exhibition. These artists, art historians, authors, and curators, who have been involved in the field since the 1970s, give their perspective on the current integration of visual arts and the computer.

Michael Wright

SIGGRAPH 2003 Art Gallery Chair

Otis College of Art & Design

M. Ragsdale Wright Studios

Art Gallery Administrative Assistants

April Ramey, Capstone Solutions, Art Gallery Subcommittee, Program Coordinator

Susan Parker, Parker and Associates, Art Gallery Subcommittee, Administrative Assistant

Art Gallery Subcommittee, Local Venues

Carol Hobson, University of California, San Diego

Steven Burns, San Diego PhotoShop Users Group, Art Gallery Subcommittee, Local Venues, Chair

Joe Nalven, Artist, Anthropologist, Lawyer

Patric D. Prince, Independent Curator

Art Gallery Subcommittee, Institution Venues

Dr. Jeffrey W. Kirsch, Reuben H. Fleet Science Center, Art Gallery Subcommittee, Institution Venues, Chair

Timothy Field, The San Diego Art Institute

Rachel Teagle, Museum of Contemporary Art San Diego

Lynn Whitehouse, San Diego Public Library

Paul Siboroski, Reuben H. Fleet Science Center

Jean Branon, The Art Institute of California San Diego

Kerstin Gottke-Hough, Reuben H. Fleet Science Center

Renata Spiazzi, San Diego Art Institute

John Gordon, San Diego State University

Dan Dement, The Art Institute of California

Art Gallery Subcommittee, Conference

Dena Elisabeth Eber, Bowling Green State University

Sue Gollifer, University of Brighton, Art Gallery Chair SIGGRAPH 2004

Bonnie Mitchell, Bowling Green State University, Art Gallery Subcommittee, Web/Video Development

Dan During, New York Institute of Technology, Art Gallery Subcommittee Installation

Karen Sullivan, Ringling School of Art and Design, Art Gallery Subcommittee, Installation

Victor Acevedo, School of Visual Arts, Art Gallery Subcommittee, Installation

Tracy Colby, Otis College of Art and Design, Art Gallery Subcommittee, Installation

Marcie Medina, Otis College of Art and Design, Art Gallery Subcommittee, Student Volunteer Co-Coordinator

Eric Acevedo, Monterey Digital, Art Gallery Subcommittee, Video Production


Committee Members:

Writing Reviewers:


Exhibition Artworks:


Exhibition Writings and Presentations:


    Title: Why Digital Prints Matter
    Writing Type: Essay
    Author(s): Victor Acevedo
    Abstract Summary:

    In the beginning(s) was the digital image.

    It has been established that “computer art” started approximately in 1950 with Ben Laposky’s oscilloscope images, which he generated with analog electronics and then recorded onto high-speed film. This event occurred in the wake of the then-recent developments of the first electronic digital computers: a machine built by John Atanasoff and Clifford Berry in 1941 and then the well known Electronic Numerical Integrator and Computer (ENIAC), the first major general purpose computer, introduced in 1946. Completed in 1951, the Whirlwind
    Computer was the very first to be equipped with a (vector scope) video display monitor. A “bouncing ball” animation was actually produced to demo this feature.


    Title: Recovering History: Critical and Archival Histories of the Computer-Based Arts
    Writing Type: Essay
    Author(s): Paul Brown
    Abstract Summary:

    During the 1960s, artists first began to get involved with digital computing. By 1968, it was possible for Jasia Reichardt to curate a survey of digital work in the influential Cybernetic Serendipity exhibition held at London’s Institute of Contemporary Art (ICA). The show went on to tour the United States and Japan, and many young artists were inspired to get involved with computers after seeing it.


    Title: Is the Age of Expertise Over?
    Writing Type: Essay
    Author(s): Michael Masucci
    Abstract Summary:

    As I read journalists’ reports about the decline in confidence in many financial institutions, the troubles in modern education, and the failure of diplomacy to solve international problems, I am faced with the question: Is the age of expertise over?


    Title: The Art of Understanding: Or, A Primer on Why We Study History
    Writing Type: Essay
    Author(s): Patric D. Prince
    Abstract Summary:

    Why did a substantial number of submissions to the SIGGRAPH 2003 Art Gallery demonstrate a lack of knowledge of the history of digital art? There is an art to understanding creative invention that involves information as well as experience and personal preference.


    Title: Will There Be "Computer Art" in 2020?
    Writing Type: Essay
    Author(s): Anne Morgan Spalter
    Abstract Summary:

    It is ironic that the more computers infiltrate our daily lives, the more they seem to disappear. Computer-driven technologies like ATMs and email are part of the subconscious landscape of modern life and require no more attention to use than, say, tuning the radio while driving the car. As the science of computer graphics continues to progress, will computer art become a more prominent feature of the art world? Or will it, like the technology it uses, merge, at least in part, with the background of other art materials and methods?


    Title: The Digital Becomes Contemporary
    Writing Type: Essay
    Author(s): Bruce Wands
    Abstract Summary:

    We are at a special and paradoxical moment in the development of digital art. Now that it is finally gaining widespread public and critical attention, digital art is also being quickly absorbed into the world of contemporary art. The next generation of artists and critics will not look at making art with a computer as something extraordinary or unusual. This phenomenon is already quite apparent in galleries in New York and abroad. While galleries like Postmasters and Bitforms specialize in new-media art, numerous other galleries in Chelsea exhibit similar work, but do not make the distinction that it is new-media art. Another growing trend in New York is for artists to display prints along with new media as an integral part of the exhibition. The return to the object is due in part to the recent widespread availability of archival printing methods. Museums are also in the process of refitting to accommodate the next wave of contemporary art. The Museum of Modern Art in New York has closed for two years to update its galleries, and the Stedelijk Museum of Modern Art in Amsterdam is planning a major renovation for 2004. For those of us who have followed the SIGGRAPH Art Gallery for many years, this acceptance of digital art by the contemporary art world is refreshing,
    but also raises many questions. Digital art has operated outside the art establishment for many years, and this has allowed it to remain relatively free.