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Opening 12:00 BST 13 July 2022
\nClosing 14:00 BST 20 July 2022
\n
\nPhillips is pleased to announce Ex-Machina: A History of Generative Art, an exhibition and online auction of early computer art, video art, and digital art. Ex-Machina will illustrate the history of generative art, kicking off with a preview in our Paris galleries from 31 May – 17 June. The exhibition will then travel to our London galleries, where it will be on view from 11 July - 5 August. The works will be offered in an online auction from 13 - 20 July. Featuring unseen works by pioneers Vera Molnar, Herbert W. Franke and Gottfried Jäger, the sale also brings to market for the first time works by generative NFT artists Snowfro and Dmitri Cherniak.
\n
\nParis Preview 31 May - 17 June
\n
\nLondon Preview 11 July - 3 August (preview will remain open post-sale)

\n","auctionDetailsSmall","Online Auction 13-20 July 2022","extraInfo","

Benjamin Kandler
\nProject Lead for Digital Art, Phillips
\n+44 7393 141 146
\nbkandler@phillips.com
\n
\nAlexis Chompaisal
\nNFT Manager
\nachompaisal@phillips.com
\n
\nNFT@phillips.com

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Vera Molnar, (Des)ordres, 1974. Ex-Machina: A History of Generative Art.

\n\n

Erick "Snowfro" Calderon: Vera, I understand that access to a computer in the early days is very different than it is today. Can you please describe the feeling of being in front of a computer when you were starting your practice? What was the environment like? Did you find it energizing? Or intimidating?

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VERA MOLNAR: I started to make computer-assisted visual art around 1968 at the Centre de calcul de l'universite de Paris in Orsay. It was with gigantic grey machines, squalid, in huge rooms. To cool the computer, you needed a whole room that blew air. It was very intimidating. At first I didn't know what I could do with the computer, but I had the feeling that it was something invented for me to develop my visual ideas. I always dreamed of having an assistant as a docile, all powerful, non-unionized "slave" who would work even at night and on weekends and obey. So I said to myself, the computer must be that!

\n\n

1968 in France was a very good time for me.The students were demonstrating on the Boulevard Saint Michel, in the Latin Quarter in Paris, so I had the computers at Orsay all to myself. The technician, who was bored to death, was only too happy to help me with the programming. I came from a fine arts school; I learned Fortran by taking a training at the University of Tolbiac, but I was far from being a specialist. I learned a saying during that course that still helps me today: garbage in, garbage out. If you do something that doesn't make sense, it won't work or it will produce something that is confusing. It was in those years that I started to make the most beautiful computer pieces of my career, and also the use of computer paper rolls interested me a lot because it allowed me to introduce the dimension of time by reading from left to right, on the whole roll.

\n\n

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Vera Molnar. Photo: Laszlo Horwath.

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\n\n

Erick "Snowfro" Calderon.

\n\n

EC: Today, we get to use repetition and trial and error in developing our work on a computer. I assume time was limited in front of a computer in the early days and you had to do significant planning ahead to maximize your time on the keyboard. Can you share a little of that process or preparation?

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VM: One day, I arrived at the University of Orsay and I saw a strange thing. It was a display screen on the computer. I asked the technician what it was, and he answered: "Oh, don't worry, it's a new gadget from IBM, it will go out of fashion." I understood that this gadget was going to be my salvation. You get flashes of insight. It was something that was going to give me an answer very quickly. Before, I had to program in Fortran, with punched cards, and then wait several days to get the answer, which was almost always wrong or at least not exactly what I wanted to do.

\n\n

And here, I said to myself that with this screen it was going to be like a conversation, like a real pictorial process: you move the "brush" and you see immediately if it suits you or not, even if it means doing it differently. There is a kind of dialogue that takes place. It's like a form of visual psychoanalysis in fact, which brings to light your own nonsense, I mean the repetitions or the ramblings of something already said 10 times [...] It gives an immediacy that I really like. It's like playing Ping Pong! This IBM gadget really changed my life. It was exactly the same thing when I saw in Budapest a few years before, as a student, a first reproduction of Matisse from the Fauvist period, with brilliant colors, it changed my life.

\n\n

EC: When did you first get your own personal computer at home? What did you do with it?

\n\n

VM: In 1980 I was able to have a personal computer in my studio. This also completely changed my life. First of all, I was the owner of this machine, so I could work as I wanted and when I wanted. I made the most of that computer. It was great to go to bed at night and hear the computer and the plotter working by themselves in the workshop; it was my "slave" doing the work...

\n\n

\n\n

Vera Molnar. Photo: Laszlo Horwath.

\n\n

Recommended Reading

\n\n

NFTs, Past and Future >

\n\n

Ex Machina: A History of Generative Art >

\n","publishDate","2022-06-30T18:55:04.000000Z","authorCredit","Arian Murati","coverPosX",50,"coverPosY",0,"articleUrl","https://www.phillips.com/article/98991415/ex-machina-snowfro-in-conversation-with-vera-molnar","displayOrder","auctionEditorialID",1618,"editorialID",3930,"flocklerID",98991415,"https://flockler.com/thumbs/sites/889/snofro-d16b5dcb-77ec-4f2d-bf47-f193c3e1f8ab_s600x0.jpg","Georg Bak on the advancements that merged art and computer technology, and the artists who wielded their convergence to create groundbreaking works. ","

Snowfro, Chromie Squiggle #9304, 2022. Ex-Machina: A History of Generative Art.

\n\n

Written by Georg Bak

\n\n

The new age of information technology began with the invention of the Turing machine and the first mainframe computers by Konrad Zuse during and after the Second World War. As early as the late 1940s, Norbert Wiener and Claude Shannon formulated the first theoretical approaches to cybernetics, which form important foundations for information aesthetics. The binary system, electronic communication, algorithms and early programming languages also inspired artists. Herbert W. Franke is among the pioneers of computer art, who created works of art – so‐called oscillograms – with analogue computing systems and cathode ray oscillographs in the mid‐1950s. On the control panel, he turned, calculated and manipulated, and sine curves and sawtooth curves, which were photographed with the camera, were superimposed on the screen. Even then there was a group of artists who were open to new technology. Large corporations, namely Olivetti, Siemens and Bell Laboratories, provided them with electronic engineering equipment and the know‐how of their specialists.

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Looking back, 1968 is considered the high point of the computer art movement. At the Institute of Contemporary Art (ICA), London, Jasia Reichardt curated the groundbreaking group exhibition Cybernetic Serendipity, featuring computer‐animated films, plotter graphics, generative music, robots and painting machines. Among the participating artists were Frieder Nake, Georg Nees, Desmond Paul Henry, and Vera Molnar. As a result, the Computer Art Society and the computer art magazine PAGE, edited by Gustav Metzger, were founded in London. Today, the Victoria & Albert Museum in London preserves a large part of the heritage of this period of promoterism. Abraham A. Moles opened the Computers and Visual Research symposium as a parallel event as part of the Nove Tendencije (New Tendencies) exhibition series in Zagreb, as well as a small accompanying exhibition with computer graphic by Charles Csuri, Vladimir Bonacic, and other artists. As a result, a major new art magazine, bit international (1968‐1972), was launched in Zagreb.

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\n\n

Dmitri Cherniak, Ringers #29, 2021. Ex-Machina: A History of Generative Art.

\n\n

At the same time, the German photographer Gottfried Jäger introduced the concept of generative photography with the exhibition of the same name in the Städtische Kunsthaus in Bielefeld, where his pinhole structures can be seen together with works by Kilian Breier (photograms), Pierre Cordier (chemigrams), and Hein Gravenhorst (photomechanical transformations). Gottfried Jäger defined the production principle common to the artists and inherent in generative photography as follows: “Creation of aesthetic structures based on defined programs, realized through photochemical, photooptical, or phototechnical operations, with the aim of achieving an optimal and functional relationship of all the elements involved in the construction of the aesthetic structure.” Characteristic of generative photography is the experimental and serial process, along with the mathematical structure (program) and often the devices designed by the artists themselves.

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\n\n

Anne Spalter, Unconstructed Dream Space #2: Inner and Outer Space, 2022. Ex-Machina: A History of Generative Art.

\n\n

Twenty years later, when the personal computer conquered office desks in the 1980s, the media theorist Vilém Flusser stated with foresight: “Changing the world is up to machines: they do it much better than humans. It is up to humans (for the time being) to program machines to change the world. So it is not people’s business to work, but to give work a meaning (to prescribe it). Rules are codified commands.” At the end of the 1970s it was again Herbert W. Franke who took the initiative to organize a large exhibition Ars Ex Machina at Künstlerhaus Wien with the aim of creating an annual show highlighting the current artistic expressions in relation to the most cutting-edge technology. Unfortunately, the project could not be realized at the given time due to a lack of financial support. As a result of these ambitious efforts, Ars Electronica was founded in 1979, which has taken place annually in Linz (Austria) ever since and is still one of the most important exhibitions of media art today.

\n\n

With the explosive rise of blockchain technology and the conquest of the art market by NFTs and digital art, Phillips is undertaking, for the first time in auction history, the endeavor to highlight the most important and overlooked art movement of generative art with the major artists of now and then.

\n\n

Recommended Reading

\n\n

NFTs, Past and Future >

\n\n

The Art Lover's Guide to Rio de Janeiro >

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Pioneer Charles "Chuck" Csuri (1922-2022), was dubbed “The father of Computer Art” by both Smithsonian Magazine in 1995 and Artnews in 2022. As a professor, fine artist and computer scientist, his research and artistic vision led to advances in software that created new artistic tools for 3D computer graphics, computer animation, gaming and 3D printing - all in advance of their broad commercial applications. Starting in the 1960s, Csuri experimented with computer-based multimedia in the form of plotter drawings, canvas and screen prints, milling machine sculpture, holograms, animation, and now NFTs. His art is a record of advances in a digital artistic movement and creates a unique historic marker for the history of art + computer technology.

\n\n

Csuri lived a life of remarkable achievement, as documented by CNN’s Portrait of America. As team captain of the Ohio State University (OSU) football team, he led his team to win the national championship in 1942. Csuri then fought in the Battle of the Bulge in 1945, receiving the Bronze Star medal for his heroism during World War II. After the war Csuri returned to Ohio, becoming the youngest professor at OSU with academic degrees in Fine Art, Engineering and Computer Science. Csuri also made history when he was the first fine artist to receive a major research grant from The National Science Foundation. In 1963, Csuri experimented with computer graphics technology, and in 1964 began creating the first computer animated films. He created the very first computer animation, Hummingbird, in 1967 which is in the permanent collection of the Museum of Modern Art in New York. After spearheading developments in the field of computer graphics, he created the world's first computer animation company, Cranston Csuri Productions in 1984. In addition to Portrait of America, Csuri's historic artistic and technological journey was featured on both The Today Show and Entertainment Tonight, as well as a cover feature in Smithsonian Magazine.

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The seller of this Lot has informed Phillips that at the buyer’s written request, it will transfer to the buyer on a complimentary basis, a Non-Fungible Token (NFT) identifying a digital image of the physical artwork comprising this Lot Six Bearded Men. To claim the NFT the buyer must (i) make the request within 30 days of the Closing Date of the auction and (ii) have paid for the Lot in full. Following Phillips’ receipt of the buyer’s payment for the Lot in full and cleared funds, Phillips will provide the buyer with the seller’s contact details for this purpose.

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Please note:

\n\n

\n\t
The NFT does not form part of the Lot offered by Phillips and is not covered by Phillips’ Authorship Warranty.
\n\t
\n\t
Phillips makes no representations or warranties about the NFT, its nature, condition, description, uniqueness, durability, or availability either now or in the future.
\n\t
\n\t
Arrangements for the transfer of the NFT will be made directly between the seller and the buyer. Phillips will not be involved and will at no stage have possession of or be responsible for any physical loss or damage to the NFT.
\n\t

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36

Charles Csuri

Six Bearded Men

Further Details

Full-Cataloguing

Charles Csuri