Lillian Schwartz

Lillian F. Schwartz (born 1927) is an American artist considered a pioneer of computer-mediated art and one of the first artists notable for basing almost her entire oeuvre on computational media. Many of her ground-breaking projects were done in the 1960s and 1970s, well before the desktop computer revolution made computer hardware and software widely available to artists.

Early life and artistic training

As a young girl during the Great Depression, Schwartz experimented with slate, mud, sticks, and chalk as free materials for making art. She studied to become a nurse under a World War II education program and later on found her training in anatomy, biology, and the use of plaster valuable in making art. Stationed in Japan during the postwar occupation in an area between Hiroshima and Nagasaki, she contracted polio, which paralyzed her for a time. As part of her rehabilitation, she studied calligraphy with the artist Tshiro.

After her return to the United States, she continued to experiment with media, including metal and plastic sculpture. In this period, she had to have surgery for a thyroid tumor, possibly from exposure to plastic solvents.

Career

By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the Experiments in Art and Technology (E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture ''Proxima Centauri'' was included in the important early show of machine art at the Museum of Modern Art in New York entitled "The Machine as Seen at the End of the Mechanical Age." This sculpture was later used as a special effect for a '' Star Trek'' episode, in which it served as a prison for Spock's brain.

Schwartz was brought into Bell Labs in 1968 by Leon Harmon. While there, she worked with engineers John Vollaro and others, including extensive collaboration with Ken Knowlton, a software engineer and computer artist who had also had work in the 1968 Museum of Modern Art show. That collaboration produced a series of computer-animated films, each built from the output of visual generative algorithms written by Knowlton and edited by Schwartz. She took classes in programming at The New School for Social Research around that same time. She began making paintings and films with a combination of hand painting, digital collaging, computer and other image processing, and optical post-processing, initially working with Knowlton's 1963 computer graphics language, BEFLIX, his subsequent graphics language EXPLOR and also SYMBOLICS. By 1975, Schwartz and Knowlton, in collaboration, had made ten of the first digitally created computer-animated films to be exhibited as works of fine art: ''Pixillation, Olympiad, UFOs, Enigma, Googolplex, Apotheosis, Affinities, Kinesis, Alae ''and'' Metamorphosis.

While those 10 films did not yet involve the digital editing of images or image sequences, Schwartz having edited them as physical film the conventional way, in her work of subsequent periods, Schwartz's creative cobbling together of different, often cutting-edge technologies has been said to prefigure what would later become common practice in such programs as Photoshop and Final Cut Pro.

Schwartz has contributed to scientific research on color perception and sound. She had been a consultant at AT&T Bell Laboratories, IBM’s Thomas J. Watson Research Laboratory, Exxon Research Center and Lucent Technologies Bell Labs Innovations.

Notable works

Schwartz used the works of Leonardo da Vinci extensively in experiments with computers. One notable work she created is ''Mona/Leo'', for which she compared the image of a Leonardo da Vinci self-portrait with the ''Mona Lisa'', matching the two faces feature by feature to show their underlying structural similarity. Specifically, she replaced the right side of the ''Mona Lisa'' with the flipped left side of a red chalk self-portrait of Leonardo.