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It seems that the genre of generative art is both growing and becoming more sophisticated every day, and receiving a lot of attention in the art press and in related social networks. But there remains substantial confusion over the term, which I hope to do my part in helping to at least clear up some of the misconceptions and clarify just what is meant by the term and what many generative artists are doing. Needless to say this will be a broad overview and probably the first of several articles on this important genre of mostly, computer related art.

Generative art refers to any art practice where the artist creates a process, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is then set into motion with some degree of autonomy contributing to or resulting in a completed work of art.

Philip Galanter

Brian Eno

Marius Watz

Galanter is often quoted and teaches generative art at Texas A&M University, is an artist, theorist and curator. Note that Galanter’s definition stresses that a computer by itself is not essential to generative art, although most of the generative work done these days just so happens to be done on a computer.  Another definition of generative art is work that is derived from a process or processes, often but not strictly by the use of a computer, to define rules by which such artwork are produced. This can include the process of recursion, but generative art should not be viewed as limited only to the principles of recursion. Artists working in many other media, of course, have used recursion in their work for centuries, and while while the mathematic principle of recursion is certainly an aspect of generative art, as both a programmatic and a creative field it is much more robust.

Mark Gould

Mark Knol

Since the term “computer generated” has been around for a long time it may cause some confusion among the general public hearing the term generative – what’s the difference? Isn’t all art created on a computer generative? Well, in a word, no. Simply put, computer generated is different than the concept of generative art, which again, has more to do with the underlying process, usually having to do with code or an algorithm in some repetitive way in the creation of the work. The generative concept has been used for many years before computers in the field of music. The fugues of J.S. Bach could be considered generative, in that there is a strict underlying process that is followed by the composer. Mozart’s Musikalisches Würfelspiel (Musical Dice Game) was an early example of a generative music system.¹ Composers such as John Cage and Brian Eno have used generative systems in their works.

To many of those people both working in the field and who have either theorized about generative art seem to generally agree that the term is at some level conceptually similar to algorithmic art, which is a term that has been around much longer. So have terms like fractal art and now, procedural art. At the same time, a lot of people don’t like to get bogged down in specific terminology. Brian Eno, whose work among others has been fundamental in the fields of ambient arts and generative arts, says, “I try to stress the idea of a drawing that is the result of a collaborative process between me and the machine. Analyzing data to extrapolate data, as it applies to real human relationships, is art as much as science. And it is very specifically a collaborative process between me and the machine. Generative art may hold the clue to effectively using that data; the inspiration for computing processes that solve problems social network analysts don’t yet know that we have. (It may not, but my hypothesis is that is does.)”

Jared Tarbell

It’s an interesting personal footnote that along with a lot of other people discovering computer graphics, art and design in the 1980′s, one of the the joys and realizations I had about the computer as a new tool was the power it had in the ability to allow me to do almost countless iterations on a concept that would have been difficult or nearly impossible with other tools. I felt the same way Eno does about there being a collaborative process between myself and the machine; today, computers are exponentially so much faster the iterative process feels that much more like I’m working through an idea so fast that the computer is suggesting a version or idea I wouldn’t otherwise have thought of. What others would far more simply call a happy accident.

It’s been pointed out that this is the era of “Big Data” and while Internet versions 1.o and even 2.o were somewhat static the evolution and ease with which databases can be hooked into a variety of inputs and outputs has made all sorts of new things possible. One of the more “out front” trends in the development of live databases is data visualization. Data visualization is exciting to professionals in any number of fields because of the obvious value it has in being able filter and analyze huge amounts of real time data through some type of user interface designed to visualize that data in a much more sensible way than you ever could by just looking at the data itself. The most widely known type of data visualization might be television election night graphics, and other kinds of data visualization have been used by graphic designers for quite a while now. But now we are experiencing an explosion in this field. In the art world the potential for using data, either real or imagined, as the underlying tool for creative work along with some type of generative process appears to be what is creating this new level of explosive growth in the 21st century going forward.

In upcoming posts, in addition to Brian Eno, I’ll introduce you to the upper echelon of those working, thinking, teaching and writing in the field of generative art. May you live in exciting times!

The San Francisco and Bay Area artists at the Tenderloin’s Gauntlet Gallery seem to pull no punches when it comes to making social and political statements with their art, very often with such bright and vivid palettes. I’m drawn right in by Chilean artist and illustrator Fab Ciraolo’s pop culture rendering of Frida Kahlo, Tracy Piper’s Tomahawk Man, and the impressive way painter Drew Young blends the look of “glitch art” and other digital stylizations into his work.

Fab Ciraolo, Gauntlet Gallery

Tracy Piper, Gauntlet Gallery

Over at Johansson Projects the large format work of David O’Brien explores the politics of human interaction and uses digital techniques to critique how these interactions are warped by digital networks. You get different points of view standing back and up close, as you do from a lot of artwork. O’Brien’s work leaves me feeling as though the artist makes a strong comment about people being joined together, yet floating and somehow lost.

David O’Brien, Johansson Projects

David O’Brien, Johansson Projects

A broad range of wonderful art can be seen at the Gregory Lind Gallery exhibit. Art by Christian Maychack is a highlight, as is the delightfully colorful abstract work of Jim Gaylord, whose undergraduate degree is in film, and much of his abstract work is based on imagery found within special effects or action sequences in films.

Christian Maychack, Lind Gallery

Jim Gaylord, Lind Gallery

Again ArtPad was by all measure a success and seeing so much great art in one place was a tasty treat! Look forward to seeing you landing at the art pad next year.

It’s safe to say a museum like SFMOMA doesn’t do anything small, quiet or diminutive. If they’re closing for three years for one incredible expansion project and a series of off-site programming, they will do it large, with a very visible presence. Beginning officially on May 22nd through May 26, 2014, SFMOMA will present a major outdoor exhibition of sculptor Mark di Suvero’s works near the Golden Gate Bridge. Eight large scale steel sculptures will be installed at historic Crissy Field, and will be the largest display of di Suvero’s work every shown on the West Coast and free for all visitors. The exhibition coincides with the artist’s 80th birthday.

Mark di Suvero at Crissy Field continues the National Park Service and Parks Conservancy’s ongoing commitment and deep relationship with the city that is home to the Golden Gate National Parks. “Similar to the recent di Suvero presentation at Governors Island, this exhibition provides an opportunity to further explore how art can create a new understanding and appreciation for a historic landmark like Crissy Field,” said Golden Gate National Recreation Area Superintendent, Frank Dean. “The fact that di Suvero is a sculptor with local roots and influences adds another dimension to the story,” he noted.

Through Sunday, May, 19th
Exhibition hours: 11 am–6 pm daily

A lot of art going on this weekend, but this event is one to catch – the San Francisco Art Institute MFA show, Currency, a showcase of provocative new work from nearly 100 emerging artists. Chosen as a subject during a time of ongoing and changing economic conditions, this exhibition at The Old Mint offers a unique opportunity for SFAI’s artists to juxtapose contemporary expression with a stunning National Historic Landmark that was central to the country’s economic development.

SFAI’s 2013 MFA graduates—working in painting, photography, printmaking, film, sculpture, installation, digital media, performance, and across media—will present work that embraces the Institute’s signature spirit of experimentation and conceptual risk-taking. The result of an intense period of collaboration, critical engagement, and artistic development, the work reflects both current dialogues in contemporary art and strong individual points of view. In addition, many artists have created site-specific pieces that respond to the history, character, and physical spaces of The Old Mint.

SFAI has been at the vanguard of contemporary art for more than 140 years. Currency invites curators, collectors, critics, family, friends, and the general public to discover the next generation of pioneering artists from this celebrated institution.

At the opening reception, there is a suggested donation of $20 to support SFAI’s educational and public programs.

In conjunction with this event, SFAI is presenting Gala Vernissage—an exclusive opportunity to preview the 2013 Master of Fine Arts Exhibition.

Explore the exhibition catalogue:

2013, Mark Gould, digital

I read with interest Katherine Berger’s well written analysis of how a growing number of filmmakers in the 21st century are using both handed down handmade, direct-on-film animation techniques as well as their own new ways of making use of interacting with the analogue film itself. As Berger points out, these direct-on-film techniques are by their nature process oriented, in which many artists discover the film’s form and subjects in the course of the film making. Berger goes on to point out that many art movements are based on theories of discovery and chance. The specific use of found, or appropriated footage adds a layer of questioning truth and authorship into the mix; film artists are questioning filmed or photographed images as “historical truth.”

Direct-On-Found Footage Filmmaking: Mining the debris of image consumption & co-directing with nature

by Katherine Berger

Owen says, “I paint what I see around me. The physical union of individuals with objects that occur in my paintings suggests that although the individuals are in control of the objects – a car, an I-pod, an office desk – we are also paradoxically controlled by the objects.” His world view and intentions translate into his work in a bold and figurative way, representing his unique, creative vision. I’d like to see the artist explore more vivid colors in his palette; he’s got a long career ahead to make such explorations if he wishes.

Hilton Owen catalogue (PDF)

This great abstraction remains unblemished, unfortunately some people in The Mission and other neighborhoods are taking to the awfully distasteful, horrible habit of tagging street art that an artist has probably spent hours, days or weeks working on. Ah, the price you pay if you post your work out in the open. I know, right? Still, you’d like to believe we could live in a world where whoever needs to vent their anger, frustration, creativity or any other mood that strikes he or she upon pulling out the spray paint,  would find somewhere else to do it and not destroy somebody else’s work. Or, not do it at all since, well, it’s illegal. Graffiti on graffiti? Somewhat oxymoron-ish, isn’t it? Suppose city supervisors and lawyers would have trouble trying to fashion a law protecting street art. So we leave it to neighbors and other local residents to LEAVE THE STREET ART ALONE!

James Hetfield of Metallica performs the national anthem before the #SFGiants game AT&T Park bit.ly/15rZ3pj twitter.com/sfsthetik/stat…

(@sfsthetik) May 6, 2013

Original Photo: Getty Photos, Copyright 2013 at

http://www.google.com/hostednews/getty/article/ALeqM5iz8LFX4hfQfaoVk3xhtdmOw0it3w?docId=167984810

The 55th International Art Exhibition will take place in Venice from 1 June to 24 November 2013 at the Giardini and at the Arsenale (Preview: May 29 30 31) and in various venues around the city, titled The Encyclopedic Palace and curated by Massimiliano Gioni.

Interview with Laurie Anderson, at the Art Biennale 2011 with an informal lecture / discussion “A Short Talk on Places” Full information at http://www.labiennale.org

56th #SanFrancisco International #Film Festival April 25–May 9 #SFIFF List of films, trailers bit.ly/15Zutmf twitter.com/sfsthetik/stat…

— sfsthetik (@sfsthetik) April 27, 2013

had a great time working on this one – an exploration within an exploration, searching within. Earth tones, terrestrial looking visual themes continue to be explored, a sense of movement – on the way somewhere, or watching others in motion.

Watz has exhibited at venues like the Victoria & Albert Museum (London), Todaysart (The Hague), ITAU Cultural (Sao Paulo), Museumsquartier (Vienna), and Galleri ROM (Oslo). He is a lecturer in Interaction Design at the Oslo School of Architecture and Design.

Watz is also considered to be one of the primary theorists of generative art, what it is and what it could be, analyzing technology, culture and art theory to continually investigate the rapidly evolving generative art aesthetic. He gave this presentation to the Eyeo Festival in 2012; the 2013 Festival is June 5-8 in Minneapolis, MN – full details here.

20120610 A Movement in 3 Parts. (1.Shock & Awe, 2.Algorithm Critique, 3.The New Aesthetic And Its Disco… by Marius Watz

Another generative art pioneer and co-inventor of the Processing media programming language is Casey Reas. His speech to Eyeo 2012 is embedded here, a full list of video recorded presentations from last year’s conference is on Vimeo.

Eyeo2012 – Casey Reas from Eyeo Festival on Vimeo.

Clarion Alley, Mission District, San Francisco

Here’s this year’s list of grant opportunities for artists and art organizations listed with the California Arts Council, with deadlines, links and detailed information. Read the full list, in the meantime here are a few of the grant opportunities with deadlines approaching in the next few months:

Elevate the Arts with American Girls
American Girls

Full list at California Arts Council

Muti Randolph takes new media and lighting installation technology to bring visual arts literally into a new dimension. In 2013, interactive art installations are exploding out from 2 dimensional containers and  becoming wearable designs or room ambiance or video art experiences.

Step inside Muti Randolph’s interactive light installation Deep Screen at The Creators Project New York Event.

Watch more on Muti Randolph:
The Coachella Dance Tent Transformed: http://youtu.be/Jq0UguR7-08
Designing Total Immersion Experiences: http://youtu.be/F8k14e7W5PE

The Creators Project is a partnership between Intel and VICE: http://thecreatorsproject.com/

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