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Laurence Gartel, Advanced Digital Photography, Father of Digital Art? by Victoria Vallis Digital Media 245 Laurence Gartel (born June 5, 1956) is an American artist who has been considered by some to be the “FATHER” of the Digital Art movement around the world. Born and raised in New York City, his work has been exhibited at the Museum of Modern Art, Joan Whitney Payson Museum, Long Beach Museum of Art, Princeton Art Museum, PS 1, Norton Museum, Palm Beach Photographic Center and in the permanent collections of the Smithsonian Institution’s Museum of American History and the Bibliotheque Nationale. A biography for his pioneering efforts is included in “Who’s Who,” “Who’s Who in the East,” “Who’s Who in America,” “Who’s Who in American Art,” and “Who’s Who in the World.” Gartel attended the School of Visual Arts and associated with fellow student, graffiti artist Keith Haring, where he earned his BFA degree majoring in Graphics. Gartel started his electronic career working side by side with Nam June Paik at Media Study/Buffalo in upstate New York in 1975. While Paik was working on the moving image, Gartel saw the opportunity making still pictures that were very personal and unique in a way that the rest of the world had not considered as an approach to creating imagery. As his fame grew, Gartel reportedly taught Andy Warhol how to use the Amiga Computer, when he got the commission to do the cover of Debbie Harry’s (Blondie) album cover. Gartel also had many associations with other musicians such as Sid Vicious (Sex Pistols), Stiv Bators (Dead Boys) Johnny Thunders (New York Dolls) Ace Frehley (Kiss) and Wendy O Williams (Plasmatics). More recently, Gartel has created artwork for such stars such as Justin Timberlake and Britney Spears. His ABSOLUT GARTEL commission for Absolut Vodka is perhaps his most well known artwork gracing the pages of “ART-IN-AMERICA,” “Artforum,” “Sothebys,” “Art and Auction,””Art and Antiques,” “ArtByte,” “Scientific American,” “Technology Review,” “WIRED,” & “NY Magazine.. It is known as the first Digital Photographc ever created for this famous advertising campaign and is included in ABSOLUT BOOK by Richard Lewis. Laurence Gartel graduated from the School of Visual Arts, New York, in 1977, and has pursued a graphic style of digital art since that time. Later, Gartel attended CW Post College working on his MA in photography studying under Arthur Liepzig. His experiments with computers, starting in 1975 and continuing onward, involved the use of some of the earliest special effects synthesisers, and early video paint programs. While most of the Pioneers at Digital Art Museum started with programming, Gartel entered the field at a point in time where it had become possible to manipulate real-world images on a computer. His works represent some of the earliest artistic experiments with this technology, and a continue in the present with updated technology . Gartel's work, with its origins in video systems, has a strong relationship with video art. Gartel's early work, 1978 Digital Video was acquired into the Victoria and Albert (V&A) Museum in London. His more recent work, "FERRARI" was shown during Art Basel Miami Beach and was exhibited as a much larger Installation at the Georges Pompidou Centre, Paris, at the end of 2009. Gartel stated, "The entire world has now fully embraced the electronic aesthetic." "Coming to Alfred to work with Peer is a circle being closed." "I've known Peer for decades: We were all so young, but it was the vision of our youth that has been the diving force for the rest of the world." "While we are humble men, we are visionaries living in our time", says Gartel. Computer artist, Gartel was the keynote speaker for the opening of Design Electronica `93, a celebration of computer art and design at the Museum of Discovery and Science. The special exhibition was set up in the museum`s traveling exhibit hall to provide a look into the future of this "techno-art." Gartel is the first computer artist to have his work included in a collection at the Smithsonian Institution in Washington, D.C. Design Electronica `93 encompassed an electronic art and design exhibition and competition, interactive displays, a computer animation and video festival. Gartel judged the Digital Film making Competition at the Scottsdale International Film Festival and gave a lecture on the history of his art at the Scottsdale Museum of Contemporary Art. He created a large screen multi media project for Governor Jeb Bush's Office of Film & Entertainment. Gartel also presented during the Florida Filmmakers Reunion at the Globe Theatre, UNIVERSAL STUDIOS, Hollywood. He created a body of work interviewing filmmakers during the Miami International Film Festival, as well as hosting a panel discussion with industry leaders titled, "THE DIGITAL AGE" in conjunction with the festival's Reel Seminar Series. Gartel judged the HD Festival in South Florida. His most recent activity was to collage images live from camera phone images that were sent to him from around the world all within a five-minute period during the Mobile Imaging Summit in Monterey, California. The Palm Beach Photographic Centre Awards Committee and Executive Director's Office chose Gartel to receive the FotoMentor Award at FotoFusion 2009. The decision acknowledged Mr. Gartel's lifetime achievements and pushed photography image creation to new horizons. As a true pioneer of the digital aesthetic Gartel was honored at the FotoFusion banquet and was highlighted as a role model for a new generation. Previous recipients have included Gordon Parks, Sebastio Selgado, Arnold Newman, Ruth Bernhard and Duane Michals. Gartel is the first Digital Artist to ever receive the Award. His innovative and groundbreaking Digital Art over 30-years sets him apart. Going back to his original computer systems at the Experimental Television Centre, in New York, Gartel produced a multimedia video animation DVD titled, "FERRARI." The early analog systems of 35+ years, pre-date the personal computer and are still operational and completely integrate into today's technology. The work was part of a larger installation shown at the Georges Pompidou Centre, Paris in 2009. GARTEL stated in an interview, "Now that everyone in the world has a computer, what are they doing to move the electronic aesthetic to new levels?" "Most are just repeating steps that were taken ages ago." "They were completely unaware of the origins of the medium and thus both artist and curator are naive," implied Gartel. You rarely see a personal aesthetic from people working computers, but rather the "signature of the software." "There is no artistry," says GARTEL. "ART has to be in the work or otherwise it is just another rolling billboard at the mall." "FERRARI" by GARTEL is another step into digital creation. For one thing, the software, which has been employed, was custom written exclusively for Gartel's needs. He worked his magic and added his autobiographical imagery. "Since I was a boy, I had a fascination with fast cars," says GARTEL. I liked them for their speed. "Today, I like them for their sleek beauty: A motorcar that is sensual," says GARTEL. Azoulay a Miami art dealer has always had a sense of high standard and originality. Quality has always been his trademark. "When I heard what GARTEL was doing, it was something that caught my attention, He is always ahead of the curve. You never know what Gartel is going to come up with. It is both unknown and exciting at the same time. That is what ART is supposed to do," said Azoulay. References : Laurence Gartel has several books on his work: “Laurence Gartel: A Cybernetic Romance” published by Gibbs Smith, (c) 1989 Utah. Introduction to the book is written by video guru Nam June Paik. “GARTEL: Arte & Tecnologia” published by Edizioni Mazzotta, (c) 1998 Milan, Italy. Introduction to the book is written by noted art historian and critic Pierre Restany. 250 pages over 400 color plates. Mr. Gartel is included in the Italian Art History Textbook: “La Storia Dell Arte” published by Editions Giunti (c) 2001, Florence. Michelangelo at the front of the book; GARTEL represents “NEW VISUAL LANGUAGES.” Gartel is also included in the books “Creative Computer Graphics” Cambridge University Press, UK 1984, “Art Of the Digital Age” written by Professor Bruce Wands” and published by Thames and Hudson, 2006, as well as “Digital Art” published by Ullman, Germany 2009 and “The Digital Print” published by The Getty Museum, Malibu, California 2009, “THE WORLD OF DIGITAL ART” published by HF Ullman, Germany, 2010.Gordon Monro Digital Artist/Designer Difference Engine Neon Series, computer generated digital prints. Gordon Monro,65 is a digital media artist who lives in Ballarat, Victoria, Australia. He has created digital prints, abstract videos and computer-based installations and composed musical works, both computer-generated and for acoustic instruments. Monro's main interest is in algorithmic and generative music and multimedia. His work involves creating computer processes that generate sounds and images; these either make up complete works or are used as fragments in a larger composition. His compositions include pieces for instrument and tape, and for live electronic audiovisual works where sound is a major component. Much of his practice consists of writing computer programs that generate part or all of an artwork. Monro's original training was in science and mathematics at Monash University, Melbourne, and a PhD in mathematical logic at Bristol University, UK. He become creatively involved in the arts while singing in various choirs, including Sydney Philharmonia Choir, and attending a music technology composition camp in 1989.Monro began a connection with Department of Music at the University of Sydney in 1990 which continued for 10 years. He also became involved with the Watt concerts, and the Sydney Conservatorium of Music which had a strong multimedia focus. Monro assumed a Graduate position in 1996 with the Music Department. Then from 2002-7 he undertook a position at the Sydney Conservatorium of Music. This brought him back into contact with the multimedia tradition at the Conservatorium, where he started to work seriously on pieces that combined sound and images. Monro moved to Ballarat in Victoria, and in 2008 he commenced a part-time PhD in the Faculty of Art and Design at Monash University in Melbourne, working in computer-generated art. .Gordon's works have been exhibited or performed in Australia, New Zealand, Europe, and Asia. Dry Rivers was awarded an honorable mention in the 1996 Prix Ars Electronica (Linz, Austria); The Voice of the Phoenix (2) for bass flute or contrabass flute and tape was joint prize–winner at the First Australian Flute Composition Competition held in Brisbane in 1999 and was selected as an ISCM recommended work for the ISCM World Music Days in Romania in 1999. In 2007 his video Dissonant Particles was selected for the inaugural Visual Music Marathon in Boston, U.S.A.; his video Triangular Vibrations appeared on the DVD Synchresis produced by the Australian Network for Art and Technology in 2007. A constant thread through his artistic work has been the use of computer programs. Letter Response...Hi Victoria, This is a surprise! You must have found my website somehow. How did I get started in digital media? You will see on my CV (http://www.gommog.com/bio. html) that I studied science and mathematics in the late 1960s and early 1970s. In those days there were only a handful of computers for a whole University, but I got some access and learnt Fortran programming. From then on, computers were in my awareness and I played around a bit with programming, really as a hobby. Though I did get professionally involved with computer-based teaching. I didn't start making media art until 1989, when I attended a music technology course. Shortly after that I met a computer musician in the then Music Department at Sydney University (where I was teaching mathematics) and got involved in composing computer music, writing programs to do so. There were people there and at the Sydney Conservatorium of Music who were doing multimedia work and I became involved in that too. This led to a graduate diploma in music composition and later a Masters in composition, much of which was in multimedia, and eventually to my present PhD studies in Art and Design at Monash University. My childhood was pretty boring. My father taught at University, and I was academically inclined. I was quite dutiful and studious, very interested in science and mathematics, and also somewhat involved in music. At University, the Vietnam war (for which we had a form of the draft) overshadowed my studies and radicalised me to some extent. Am I a scientist at heart? I take music and art on their own terms. They are certainly not areas for easy exploitation for someone with a mathematical/programming background, as people occasionally think. Creating good music or art is much harder than writing programs! I use scientific and mathematical ideas in my artwork, but so do artists who don't have a scientific background. Currently I am working with ideas from biology, and I never studied that at all (owing to changing school systems, I missed it in high school, and I didn't take it in University). At Monash I am surrounded by other people undertaking PhDs in art, and they certainly have enquiring and analytical minds, though most of them do not have scientific backgrounds. Most of them are mature-age, and they bring a lot of experience of various kinds with them. All that said, I do bring a certain scientific awareness and attitude to making art, though it is too simple to say that I am a "scientist at heart". Anything else? I have come very late to visual art, and I had no background at all in art history or art theory. I got into the PhD program through my masters in music/multimedia, and because I had a bit of a track record in electronic music. The scientific background didn't hurt either; there are academics at Monash doing work in art similar to that in my proposal (and I already knew these people though electronic music and art/science connections). The early part of my PhD (which is part-time) was spent catching up in art history and theory. I found that the visual art world to be much more different than I had expected from the music world. I can't think of anything much. I spent four weeks in California in the early 1990s but apart from that I haven't been in the US. My main time overseas has been in England and some time in Germany. Let me know if there is anything else. Cheers, This quote from Monro sums up his theory of Digital Media, "My own presentation argued that the computer can be more than a tool and that having outsourced the work of the artist's hand to machines, we are now starting to outsource the work of the artist's mind to machines also. " In comparing the two male digital media artists of about the same age from opposite sides of the world, one notices a difference of emphasis. Monro has a more subdued approach following a path of academia and seeking approval from his peers. While Gartel is flashy, bold, arrogant and confident in his accomplishments. He has worked with stars and built quite a following. The jet set crowd invites and embraces Gartel as one of their own where ever he travels. Gartel is hired as a spokesman for large clients to create commercial art . Both men use computers in their works. The general analysis of their works shows that Gartel employs many programs to enhance the photos he takes, while Monro lets the computer generate the art. In an attempt to describe, analyze, interpret, compare and contrast the artist’s works, one would need to sit down with the artists and actually watch them at work. Their processes must be fascinating. They are both pioneers in digital media considering their chosen formal and conceptual strategies. In general analysis of their works, the genre of digital prints, is still in it's infancy, having been born by two different fathers and a digital motherboard.

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Tuesday, December 20, 2011

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Monday, December 12, 2011

A Comparison of Laurence Gartel & Gordon Monro

Monday, November 28, 2011

Thursday, November 24, 2011

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Sunday, November 20, 2011

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