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The article introduces the eighth joint publication of SIGGRAPH Art Papers which examines the roles of artists and the methods of art-making.

Hiroshi Kawano was one of the earliest pioneers of the use of computers in the arts in Japan, and indeed the world, publishing his first ideas about aesthetics and computing in 1962 and computer-generated images in 1964. This paper provides an introductory overview to Kawano's work and influences from his earliest studies in aesthetics and his interest in the work of Max Bense in the 1950s, to his change of approach in the 1970s through his developing interest in artificial intelligence, until his final exhibition, a retrospective of his work held at the ZKM / Zentrum für Kunst und Medientechnologie in 2011. This paper utilizes previously unused sources including interviews conducted by the author with Kawano in 2009 and subsequent correspondence, as well as Kawano's rich archive that was donated to ZKM in 2010. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports within the issue on topics including the Special Interest Group on Computer Graphics and Interactive Techniques (SIGGRAPH) 2011 art exhibition, digital artworks featured in the exhibition, and artwork made using technology.

The article features the late kindergarten teacher Saburo Murakami and his connection with the Gutai movement, which was launched in Ashiya, Japan. Also cited are Murakami's death in January 1996, the 1956 exhibition "The Experimental Outdoor Exhibition of Modern Art to Challenge the Midsummer Sun" at Pine Park in Ashiya featuring Gutai works, and the Zero Society organized by Murakami with his artist friends Atsuko Tanaka, Akira Kanayama, and Kazuo Shiraga.

Bricolage is a kinetic biological artwork first exhibited at the Perth International Arts Festival in 2020. The artists used stem cell technologies to create bioengineered living entities from donated human heart muscle cells. These living entities are suspended in an incubator from the ceiling and are made visible to gallerygoers, who watch the performance of cells generating and moving independently. This paper considers how the assemblage, animation, and performance of cells embedded in Bricolage highlight questions around the conceptualizations and perceptions of life, duration, animation, and aliveness. [ABSTRACT FROM AUTHOR]

This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals in contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. [ABSTRACT FROM AUTHOR]

This paper examines the history of the influential Interactive Image computer graphics showcase, which took place at museum and conference venues from 1987 to 1988. The authors present a preliminary exploration of the historical contexts that led to the creation of this exhibition by the Electronic Visualization Lab (EVL), which included the integrated efforts of both artists and computer scientists. In addition to providing historical details about this event, the authors introduce a media archaeology approach for examining the cultural and technological contexts in which this event is situated. [ABSTRACT FROM AUTHOR]

Analyzes the sketches made by Swiss artist Max Bill for a poster of the exhibition `Concrete Art' from March 18 to April 16, 1944. Description of the designs based on geometry; Background on the exhibition; Significance of the sketches.

In 1955, Paris Police Commissioner Guy Isnard curated the exhibition Le Faux dans l'art et dans l'histoire at the Grand Palais in Paris. Featuring a wide variety of forgeries, most notably counterfeit sculptures and paintings, the exhibition was an occasion to showcase the anti-counterfeiting efforts of the National Police. But in the broader context of the politically and economically weakened Fourth Republic, more was at stake. In the immediate postwar period, French society was steeped in uncertainty and a growing fear of inauthenticity, fueled by rumors of currency manipulation by foreign powers, the perceived corruption of the French language by an increasingly influential English, and anti-Americanism in intellectual and political circles. In this environment, the organizers of the exhibition called upon culture, and art in particular, to reaffirm a strict distinction between truth and falsity while also establishing France as the uncontested guardian of truth. This essay shows that Le Faux dans l'art et dans l'histoire constituted a crucial threshold moment in twentieth-century French history, both as an attempt to preserve a rapidly fading vision of truth and originality and as a prefiguration of aesthetic and philosophical debates to come. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Adrian Piper: A Synthesis of Intuitions, 1965-2016" at the Museum of Modern Art (MoMA) in New York from March 31-July 22, 2018 featuring the works of philosopher, visual artist and yoga enthusiast Adrian Piper.

Collapse (suddenly falling down) was a dance/theater/ media production that brought together a diverse group of artists and scientists to explore the varied ways that social and natural systems collapse and the responses of human societies. This paper focuses on the nature of the collaboration, the unique products it produced and the lessons learned. Three art-science collaboration themes emerged: (1) implementation of a large-scale stereo display for 3D data; (2) exploration from a visual design perspective of digital scans of natural hazard sites normally used for scientific research; and (3) integration of optical tracking for interaction between performers and visualizations. Each theme is explored in detail and each member of the team reflects on lessons learned from the process. [ABSTRACT FROM AUTHOR]

This article presents an interview with Martha Wilson, director and founder of Franklin Furnace, an institution that provides gallery for art exhibitions and installations in the U.S., regarding her decision to sell the artist book collection of Franklin Furnace to the Museum of Modern Art and the decision's implication to the institution. According to Wilson, the decision was the right thing for the collection since she believes that the largest collection in the U.S. of artist books published internationally after 1960, made of paper, should not be stored in a loft made of wood, with no climate-control, no museum conditions. In addition, the institution was unsuccessful at raising money for conservation of individual artists' books. As discussed further, Wilson said that though artist books are now recognized by the art world as a whole category in its own right, there was no term artist books in 1976 and just of evolved out of the mud, as the term performance art also evolved during this same period, to describe whatever it was the artists were doing.

Focuses on the cinematic "Drawings" of Dawn Clemens featured in the solo exhibition in New York at Pierogi. Observation of anticipation of performance by scenic art; Reconciliation of three dimensional space in two with the viewer's own perspective of the work's realistic scale; Claim on Clemen's flawed imaging due to the renderings of single shots with multiple points of view.

The article discusses the controversy surrounding Documenta 15, an international art exhibition held in Kassel, Germany. The exhibition, curated by the artist collective ruangrupa from the Global South, was met with accusations of antisemitism and ignited tensions within the German public media sphere. It explores the clash between ruangrupa's curatorial objectives and the German public's perception, highlighting the challenges of translating different cultural perspectives.

The article discusses the concept of gathering and feasting in artistic contexts, focusing on the dynamics observed during Documenta exhibitions. It explores how the poetics of equality, globality, and shared nourishment play a role in these gatherings, including the connection between hunger and solidarity. It also mentions the history of artistic gatherings, the interwoven minor histories of capital, and the changing nature of the social category in contemporary art.

The article discusses the controversy surrounding Documenta 15, an art exhibition in Germany, which was plagued by allegations of antisemitism and political pressure. It mentions that the controversy was fueled by accusations of "post-colonial antisemitism" and "antisemitism of all types" against the exhibition, which led to the influence of political agendas.It also mentions the the interplay between accusations of antisemitism, artistic expression and the impact on the German art scene.

The article reviews the exhibition "Robert Rauschenberg: Among Friends," at the Museum of Modern Art in New York, in 2017.

During the COVID-19 pandemic, new spaces for archives, creative representation, and display created novel ways of accessing, experiencing, and cataloging media art. Leonardo's Lumen Prize 2020 exhibition offers a third space between virtual exhibition as a site of memory and an archive of knowledge and artistic production—a place of digital assemblage. Bolter and Grusin's remediation theory sheds light on the many visual strategies employed by the artists and designers of The Lumen Prize 2020 exhibition. The authors discuss pertinent questions of immediacy and hypermediacy coexperience, and accessibility in generating this site of memory. [ABSTRACT FROM AUTHOR]

This paper describes a new approach to documenting media art which seeks to place in dialogue the artist's intentions and the audience's experience. It explicitly highlights the productive tension between the ideal, conceptual existence of the work, and its actual manifestation through different iterations and exhibitions in the real world. The paper describes how the approach was developed collaboratively during the production of a documentary collection for the artwork Giver of Names, by David Rokeby. It outlines the key features of the approach including artist's interview, audience interviews and data structure. [ABSTRACT FROM AUTHOR]

In a 1953 recorded conversation with Harriet, Carroll, and Sidney Janis that was never published, Marcel Duchamp gave his earliest and most detailed description of the origin and submission of the readymade Fountain to the first exhibition of the Society of Independent Artists in 1917. In addition to featuring several notable revelations about the Fountain episode, the interview is also remarkable for the light it sheds on another nearly contemporary account of the story of Fountain, published in 1956 in the book Modern Art USA by the art and music historian Rudi Blesh. Passionate advocates for Ragtime and the Dixieland jazz revival, Blesh and Harriet Janis were frequent writing partners, publishing several music and art books, and together founded a record label to record traditional jazz artists. Through Harriet and Sidney Janis's extensive artworld connections, Blesh became a close associate of Duchamp, whose impact on Blesh's formulation of Modern Art USA has not been given adequate consideration by scholars. This article presents an analysis of both the Janis and Blesh accounts of Fountain, which together comprise the most comprehensive narrative description of this iconic work of art from Duchamp's perspective. [ABSTRACT FROM AUTHOR]

An essay is presented focusing on contemporary artist Peter Fend. Topics discussed include Fend's incorporation of Ocean Earth in 1980 to challenge artistic barriers between earth art, performance, ecology and activism, the inspiration he gets from Marcel Duchamp's "Fountain," for his basin-mapping work and engagement with biomass harvesting as an alternative fuel source, and Richard Prince's reference to Fend as the "Lawrence of Arabia of the art world."

An essay is presented focusing on contemporary artist Klaus Dauven, who creates art on a huge scale by piping water through a high-pressure cleaner. Topics discussed include how Dauven's art began on more intimate scale, his "Wild-Wechsel (Wildlife Variations)" drawing in 2007, and the notable conflict in his work, being green that it does not need spraying paint onto a subway car or wall, but also celebrating industry. It also mentions how curator Wolfgang Becker talked about Dauven's work.

Rosalind Krauss argues that the 2020 Donald Judd retrospective at the Museum of Modern Art shows that the painterly side of this famously "anti-painter" artist was more pronounced than he would have ever admitted. [ABSTRACT FROM AUTHOR]

New digital and physical fabrication tools are increasingly being integrated with traditional craft techniques to enable hybrid crafting practices. Inspired by the traditional lithophane technique whereby designs are molded in porcelain and visible only when backlit, the authors developed Lithobox: a software system, physical kit and workflow for creating illuminated 3D-printed lithophanes. They explored Lithobox as a creative tool in workshops with nine artists and presented the finished 3D-printed lithophanes and software tool as part of an international art exhibition. Through these collaborations and creative interactions, the authors' work reveals how the amalgamation of material, technology and productive constraints can influence current art practices. [ABSTRACT FROM AUTHOR]

The article discusses the post-World War II design of exhibitions by artist Richard Hamilton. They include the 1957 exhibition "an Exhibit" at the Hatton Gallery in Newcastle upon Tyne, England and at the Institute of Contemporary Arts (ICA) in London, England, and the 1959 exhibition "Exhibit 2" at the Hatton Gallery. Topics include the automated production of the materials used by Hamilton, the work of the ICA artist organization Independent Group (IG) in relation to modernism, and Hamilton's 1951 exhibition "Growth and Form," also at the ICA in London, England. Hamilton's 1955 exhibition "Man, Machine, and Motion" at the ICA is also noted.

The quest for new information is an inborn human trait and has always been quintessential for human survival and progress. Novelty drives curiosity, which in turn drives innovation. In Natural Language Processing (NLP), Novelty Detection refers to finding text that has some new information to offer with respect to whatever is earlier seen or known. With the exponential growth of information all across the Web, there is an accompanying menace of redundancy. A considerable portion of the Web contents are duplicates, and we need efficient mechanisms to retain new information and filter out redundant information. However, detecting redundancy at the semantic level and identifying novel text is not straightforward because the text may have less lexical overlap yet convey the same information. On top of that, non-novel/redundant information in a document may have assimilated from multiple source documents, not just one. The problem surmounts when the subject of the discourse is documents, and numerous prior documents need to be processed to ascertain the novelty/non-novelty of the current one in concern. In this work, we build upon our earlier investigations for document-level novelty detection and present a comprehensive account of our efforts toward the problem. We explore the role of pre-trained Textual Entailment (TE) models to deal with multiple source contexts and present the outcome of our current investigations. We argue that a multipremise entailment task is one close approximation toward identifying semantic-level non-novelty. Our recent approach either performs comparably or achieves significant improvement over the latest reported results on several datasets and across several related tasks (paraphrasing, plagiarism, rewrite). We critically analyze our performance with respect to the existing state of the art and show the superiority and promise of our approach for future investigations. We also present our enhanced dataset TAP-DLND 2.0 and several baselines to the community for further research on document-level novelty detection. [ABSTRACT FROM AUTHOR]

Susanne Kriemann's Pechblende explores the material histories and visual (im)possibilities of uranium. Through a focus on the materiality of uranium, the article explores how the medium of photography is entangled with atomic histories by focusing on a series of exhibitions that explore the histories of photography, mining, and the damage slowly wrought by environmental change. While the violence of uranium exposure eludes vision, atomic light materially challenges the boundaries of the visible and the invisible, most tangibly shown in X-rays and autoradiographs, the camera-less exposures "taken" by uranium. Reading Kriemann's work through an eco-critical lens that centers environmental justice and labor, I explore the role of photography and the archive in the Anthropocene. Kriemann's counter-archival photographic practice draws attention to the socio-ecological costs of resource extraction while probing the limits of the visible. The materiality of the climate crisis necessitates thinking about materials—and the tangible consequences of their use—alongside questions of representation. [ABSTRACT FROM AUTHOR]

In the late 1980s, the commercialization of digital reproduction technology led copy art in a new direction, ushering in a new era of events with global impact and significance. Among these events was the second International Electrography and Copy Art Biennial, held in Valencia, Spain, in October 1988, which commemorated the 50th anniversary of the first electrophotographic copy. This landmark occasion marked the beginning of a new and prosperous digital era that would continue throughout the following decade and was spearheaded by artists of the so-called third generation. [ABSTRACT FROM AUTHOR]

Displaying digital art in the late twentieth and early twenty-first centuries is already proving to be a challenge. Exhibiting this same art in the distant future will depend upon new thinking and practices developed today by artists, conservators, and curators. Established software engineering methods for dealing with aging systems can provide a new model for the conservation of digital art, and a foundation for the enhancement of art-historical scholarship. Artists with an interest in a more reined approach to the programming that underpins their work will also be interested in software engineering concepts. [ABSTRACT FROM AUTHOR]

The authors invite readers and others, including aliens (provided they claim to have female first names), to submit "things" to the MARS PATENT project for interplanetary exhibition on Mars and on the Internet. The MARS PATENT High Reality Machine will teleport sculptures, theories, web art and other things, imaginable or not fully imaginable, to the exhibition site on the red planet. The authors have also established the Oldenburg-Reiche Prize, an open competition challenging artists, scientists and others to come up with a satisfying explanation for how the High Reality Machine works. [ABSTRACT FROM AUTHOR]

In 1959 the United States Information Agency coordinated the American National Exhibition that was sent to Moscow. Included in the displays of American culture, science, and technology was an art exhibit that was intended to highlight the broad range of American painting and sculpture and, by doing so, the freedom of Americans to express themselves as they desired. Chosen by a jury of respected art museum directors, artists, and art professors, the exhibit became embroiled in a controversy instigated by Representative Francis E. Walter, the chair of the House Committee on Un-American Activities. Walter charged that more than 50 percent of the artists represented in the exhibition had prior Communist affiliations. He attempted to recall the exhibition from Moscow and convened congressional hearings on the matter. Although the hearings detracted from the use of cultural diplomacy in the Cold War, Walter failed to block the exhibit. [ABSTRACT FROM AUTHOR]

Features several artworks presented at the School of Visual Arts in New York City in November 2000. `Egg Machine,' by Casey Reas; `Vortex Temple,' by Anne Marie Banks; `Scenic Views Abound,' by Dan Younger.

Presents information on the art exhibition `Art/Fashion' which was held at the Solomon R. Guggenheim Museum in New York. Relationship between art and fashion; Features of the exhibition.

The author presents postdoctoral research on the concept of art exhibitions presented as virtual artist's books. The author's intent was to conduct theoretical research on emerging trends in art curation and virtual artists' books, in addition to creating a digital art exhibition to be displayed in museums and other cultural venues. The research resulted in the creation of a hybrid augmented reality book titled Acropolis Remix, which can be exhibited in galleries, museums, libraries, gardens, private homes, etc. [ABSTRACT FROM AUTHOR]

The Lovely Weather Donegal Residencies was a Leonardo/Olats art-and-climate project that took place in Donegal, Ireland, in 2010. In this paper, the curator reflects on the art-science-local communities approach taken as a basis for the residencies and the results of the process, which caused her in the end to reconsider the universal versus the specific context for creation. [ABSTRACT FROM AUTHOR]

The article reviews the art exhibition "Suzanne Lacy: We Are Here" at Yerba Buena Center for the Arts and the San Francisco Museum of Modern Art in San Francisco, California from April 20, 2019– August 4, 2019.

This text was published as an exhibition review of 50 Years Bauhaus, the first major survey exhibition of the German art school, which traveled across Europe and North America. Her main concern is the "image" of the Bauhaus that is conveyed in this survey, which took a very loose approach to what counted as representative of the school. Moholy was the first to draw attention to the exhibition's unorthodox approaches, which many later criticized as historically inaccurate. She also discusses image-making at the Bauhaus in relation to painting, printmaking, and photography. [ABSTRACT FROM AUTHOR]

In September 2019, Marina Abramović's exhibition, The Cleaner, billed as her "European retrospective," opened in Belgrade. The funding for the exhibit was secured through a direct intervention that came from Serbian prime minister Ana Brnabić. The Cleaner quickly became the center of a vigorous political debate, which exposed hypocrisies of the regime of illiberal democracy currently in power in Serbia. [ABSTRACT FROM AUTHOR]

When performativity pervades iconography, the result is a destabilization of aesthetic categories and a transformation of ontological boundaries. [ABSTRACT FROM AUTHOR]

The article reviews several art exhibitions held during the Institute of Electrical and Electronics Engineers (IEEE) VIS Arts Program in 2016 and 2017 and includes "Roads to Rome," featuring works of artists like Philipp Schmitt; and "Geode" featuring work by artists like Jorge Garcia.

The Met iteration of Eiko Otake's A Body in Places presents the artist's ongoing engagement with the Fukushima triple disaster of 11 March 2011. This durational performance, which took place during the opening hours of The Met's three locations in November 2017, develops its own politics of representation in the face of the most alarming nuclear catastrophe since Chernobyl. [ABSTRACT FROM AUTHOR]

How and to what extent can the materiality of the body be manipulated to effect a transformation of sex and gender? A psychoanalytically informed reading of Cassils's performances of (un)becoming reveals that the artist contests the binaries of sex and gender at the level of bodily morphology and through transference and resignification of the phallus. [ABSTRACT FROM AUTHOR]

This article, or artist's inquiry, was written in concert with the exhibition Instinct Extinct: The Great Pacific Flyway. Beginning with introductions to bird migration, the concept of global flyways and the history of conservation, the text considers the poetics of art-making relative to academic research. Areas of artistic exploration include a map depicting California's changing waterscape, video portraits of people of the flyway and assemblages of invented and found avian artifacts. The article concludes with a review of current environmental conditions affecting migratory birds and some reflective passages. [ABSTRACT FROM AUTHOR]

The article offers information on artist Sol LeWitt and his work in wall drawings. Topics discussed include a series of wall drawings produced by LeWitt for an exhibition at Torre Bonomo in Italy in 1977; the makeshift, trial-and-error working method of LeWitt; and LeWitt's method of combining shapes and joining dots in the drawings. Also mentioned are LeWitt's artistic process and technique, the critical imagination of LeWitt which focused on ethical dimension of constraints, and the relationship between mapping and subjectivity.

Diastrophisms is a sound installation with a modular system that sends images through rhythmic patterns. It is built on a set of debris from the Alto Río building that was destroyed by the 27F earthquake in 2010 in Chile. Diastrophisms explores poetical, critical and political crossings between technology and matter in order to raise questions about the relationship between human beings and nature, to consider the construction of memory in a community by questioning the notion of monument, and to imagine new forms of communication in times of crisis. [ABSTRACT FROM AUTHOR]

The article reviews the performance art "Ten Artists Respond to Locus" that was presented in association with Yerba Buena Center for the Arts in San Francisco, California on October 14 and 15, 2016, featuring several artists including Isaiah Bindel, Hope Mohr, and Xandra Ibarra.

The article reviews the performance art "speculative friend/ships" by Keith Hennessy and Jassem Hindi at the CounterPulse in San Francisco, California in December 2016.

This article examines the exhibition series Sound Garden (1987-1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations. [ABSTRACT FROM AUTHOR]