327:, the Moderna Museet (Stockholm), Centre Pompidou (Paris), Stedelijk Museum of Art (Amsterdam), the Grand Palais Museum (Paris), and at numerous galleries and festivals worldwide. Schwartz has been a visiting member of the Computer Science Department at the University of Maryland; an adjunct professor at the Kean College, Fine Arts Department; an adjunct professor at the Rutgers University Visual Arts Department; a visiting scholar at New York University; and a Member of the Graduate Faculty of The School of Visual Arts, NYC. She has also been an Artist in Residence at Channel 13, WNET, New York. She has been a fellow of the World Academy of Science and Art since 1988.
136:. As a young girl, she 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.
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124:(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.
271:; one common counter-argument is that the similarities are due to both portraits having been created by the same person and therefore bearing the hallmarks of a characteristic style. Additionally, though the drawing on which Schwartz based the comparison is held to be a self-portrait, there is no firm historical evidence to support
181:, 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
308:. Her films have been included in the Venice Biennale and the Cannes Film Festival, among many others, and have received numerous awards. In 1984, Schwartz created a computer-generated TV spot that for the newly renovated Museum of Modern Art in New York; the public service announcement won an
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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
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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,
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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.
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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.
190:, 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:
760:
Antoinette LaFarge (Oct 1996). "The
Bearded Lady & the Shaven Man: Mona Lisa, Meet Mona/Leo". Leonardo: The Journal of the International Society of Art, Science, and Technology.
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In a similar experiment, Schwartz used a custom ray-tracing program to investigate the perspective anomalies in the drawing of da Vinci's fresco painting of the
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with the flipped left side of a red chalk self-portrait of
Leonardo. Superimposed lines drawn on the image showing the close alignments of the bottom of the
177:, where she was a "resident visitor" from 1969-2002. While there, she worked with engineers John Vollaro and others, including extensive collaboration with
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235:, matching the two faces feature by feature to show their underlying structural similarity. Specifically, she replaced the right side of the
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28th Annual New York Emmy Awards, Outstanding Public
Service Announcement Award for Museum of Modern Art public service announcement, 1984
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Schwartz has been called a pioneer in "establishing computers as a valid and fruitful artistic medium" by physicist and Nobel laureate
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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
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By 1966, Schwartz had begun working with light boxes and mechanical devices like pumps, and she became a member of the
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Information Film
Producers of America Cindy Award for the Museum of Modern Art public service announcement, 1985
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where the fresco is located, but only because of certain changes
Leonardo made to standard linear perspective.
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2014 video interview and profile by the Office for
Creative Research (running time 9 minutes and 30 seconds)
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152:(E.A.T.) group that brought together artists and engineers as collaborators. In 1968 her kinetic sculpture
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27th Annual
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eye over it. Not everyone is convinced by her argument for the identity of Leonardo da Vinci and the
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Schwartz was born in 1927 as the youngest of her parent's 13 children, and grew up during the
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Schwartz, Lillian F. (1998). "Computer-aided illusions: ambiguity, perspective and motion".
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413:"Computers and Appropriation Art: The Transformation of a Work or Idea For a New Creation."
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National Academy of Television, Arts, & Sciences, Special Award for Special Effects for
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593:"Breaking Boundaries: Celebrating Creativity with Computer Art Pioneer Lillian F. Schwartz"
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do match up with (extend) the architecture of the refectory of Santa Maria delle Grazie in
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ACM SIGGRAPH 2015 Distinguished Artist Award for Lifetime Achievement in Digital Art, 2015
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Award for Excellence at Festival International du Cinema en 16 mm. de Montreal, for
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996:"DIMACS Workshop on Algorithmic Mathematical Art: Special Cases and Their Applications"
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Pixillation, Olympiad, UFOs, Enigma, Googolplex, Apotheosis, Affinities, Kinesis, Alae
1019:'Raya And The Last Dragon' and 'Belle' among Annie nominees|Screen Daily International
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448:"Piero della Francesca and the Computer: Analysis, Reconstruction, and Inheritance."
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SCAN: Proceedings of the Eleventh Annual Symposium on Small Computers in the Arts,
441:"Lessons from Leonardo da Vinci: Additions to His Treatise on Computers and Art."
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extensively in experiments with computers. One notable work she created is
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Barzyk, Fred; Loxton, David R.; Flacks, Niki; Conway, Kevin (1980-01-09),
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420:"Electronic Restoration: Preserving and Restoring Great Works of Art."
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prefigure what would later become common practice in such programs as
737:"Technocultures: The History of Digital Art – A Conversation | MFACA"
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Siggraph '84: Interdisciplinary Issues in Computer Art and Design,
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Director's & Purchase Award, Sinking Creek Film Festival, for
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Scientific American/International Proceedings Art Expo - Hanover,
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914:"Programmed: Rules, Codes, and Choreographies in Art, 1965–2018"
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tones in Leonardo da Vinci's self-portrait and superimposed the
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was included in the important early show of machine art at the
406:"Computer-Aided Illusion: Ambiguity, Perspective and Motion."
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the Mona Lisa is in part a cryptic self-portrait of the artist
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688:""Leon Harmon" by Lillian F. Schwartz, 1969 - The Henry Ford"
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664:"Paying Tribute to Lillian Schwartz, a Computer Art Pioneer"
259:. In further experiments along these lines, she removed the
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episode, in which it served as a prison for Spock's brain.
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Macel, Christine; Ziebinska-Lewandowska, Karolina (2021).
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and a trailblazer and virtuoso by the philosopher-artist
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939:"An Artist Makes House Calls to Treat Her Ailing Works"
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Lillian F. Schwartz with Laurens R. Schwartz (1992).
1031:"2015 Distinguished Artist Award: Lillian Schwartz"
524:"Filmmaking with Computer" (with C.B. Rubinstein).
512:
Transactions of the American Philosophical Society,
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49:. Unsourced material may be challenged and removed.
802:"PAINTING BY NUMBERS: THE ART OF LILLIAN SCHWARTZ"
759:
357:Pablo Neruda Director's & Writer's Award for
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1121:Artist & Computer book - Schwartz's Profile
315:Schwartz's artworks have been exhibited at the
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616:Garcia, Chris; Plutte, Jon (August 21, 2013).
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443:World Academy of Art and Science Proceedings,
861:Centre de Cultura Contemporània de Barcelona
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479:ed. Gregory Garvey, ACM Siggraph, Aug. 1990.
463:Pixel - Journal of Scientific Visualization,
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493:(Supplemental Issue), Pergamon Press, 1988.
354:National Endowment for the Arts Grant, 1982
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517:"Experimenting with Computer Animation."
489:"The Staging of Leonardo's Last Supper."
458:(with Laurens R. Schwartz). Norton, 1992.
109:Learn how and when to remove this message
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477:Interactive Art and Artificial Reality,
436:Computers & Graphics Special Issue,
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562:"Lillian Schwartz: Pushing the Medium"
535:ed. Ruth Leavitt, Harmony Books, 1976.
438:ed. C. Machover, Pergamon Press, 1995.
378:International ICOGRADA Jury Award for
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618:"Oral History of Lillian F. Schwartz"
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542:ed. John Halas, Hastings House, 1974.
538:"The Artist and Computer Animation."
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47:adding citations to reliable sources
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1354:21st-century American women artists
1349:20th-century American women artists
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937:Warren, Virginia Lee (1971-10-25).
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1056:"28th Annual New York Emmy Awards"
882:"Computer Creates Art in Watchung"
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526:Interdisciplinary Science Reviews
150:Experiments in Art and Technology
1116:Schwartz's New Jersey exhibition
880:Bonomo, Josephine (1975-02-02).
482:"The Mona Lisa Identification."
427:"The Art Historian's Computer."
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128:Early life and artistic training
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800:Rutkoff, Rebekah (2016-10-01).
776:excelsior.biosci.ohio-state.edu
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510:"The Computer and Creativity."
34:needs additional citations for
1334:American women digital artists
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640:The Computer Artist's Handbook
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560:Brock, David C. (2021-11-17).
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496:"From UFO's to Pablo Neruda."
456:The Computer Artist's Handbook
325:Whitney Museum of American Art
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772:"Section 9: Computer Artists"
713:"Art at the Edge of Tomorrow"
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475:"Real-Time Art by Computer."
392:CINE Golden Eagle Award for
7:
662:Voon, Claire (2016-10-19).
461:"The Mask of Shakespeare."
255:prompted her to argue that
221:Schwartz used the works of
16:American artist (born 1927)
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321:Metropolitan Museum of Art
169:Schwartz was brought into
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331:List of awards and grants
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1359:American women animators
1329:American digital artists
533:Artist and the Computer,
503:"Leonardo's Mona Lisa."
452:, Springer-Verlag, 1993.
434:"The Morphing of Mona."
625:Computer History Museum
597:Computer History Museum
566:Computer History Museum
514:vol. 75, part 6, 1985.
486:Springer-Verlag, 1988.
465:3:3, March/April 1992.
1086:10.1007/s003710050123
857:"Lillian F. Schwartz"
531:"Art-Film-Computer."
972:Women in Abstraction
711:Thorp (2014-10-17).
692:www.thehenryford.org
484:The Visual Computer,
429:Scientific American,
422:SCAN '95 Proceedings
401:List of publications
317:Museum of Modern Art
296:Reception and legacy
158:Museum of Modern Art
43:improve this article
1074:The Visual Computer
837:The Lathe of Heaven
540:Computer Animation,
505:Art & Antiques,
122:Lillian F. Schwartz
1162:Winsor McCay Award
1000:dimacs.rutgers.edu
943:The New York Times
886:The New York Times
359:Poet of His People
337:Winsor McCay Award
58:"Lillian Schwartz"
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472:Nov. 15–17, 1991.
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431:April 1995.
417:29:1, 1996.
394:Pixillation
286:Last Supper
281:Last Supper
273:this theory
175:Leon Harmon
1323:Categories
1265:Marcy Page
1177:Willie Ito
1041:2016-12-20
1005:2024-08-05
956:2024-08-06
923:2024-08-05
899:2024-08-05
866:2024-08-05
843:2016-12-21
811:2024-08-05
781:2016-12-21
746:2016-12-21
722:2016-02-08
697:2024-08-05
673:2024-08-05
602:2024-07-28
571:2024-07-25
547:References
507:Jan. 1987.
445:Dec. 1992.
410:June 1998.
310:Emmy Award
69:newspapers
1094:0178-2789
951:0362-4331
894:0362-4331
415:Leonardo,
269:Mona Lisa
265:Mona Lisa
237:Mona Lisa
232:Mona Lisa
203:Photoshop
171:Bell Labs
163:Star Trek
99:July 2024
806:Artforum
491:Leonardo
380:U.F.O.'s
366:L'Oiseau
227:Mona/Leo
1164:(2020s)
424:, 1995.
245:eyebrow
83:scholar
1092:
978:
949:
892:
717:Medium
396:, 1971
389:, 1972
387:Enigma
382:, 1972
375:, 1972
373:Enigma
368:, 1978
361:, 1978
339:, 2021
323:, the
188:BEFLIX
144:Career
85:
78:
71:
64:
56:
1308:2020s
1303:2010s
1298:2000s
1293:1990s
1288:1980s
1283:1970s
1059:(PDF)
621:(PDF)
521:1984.
500:1988.
290:Milan
90:JSTOR
76:books
1248:2023
1222:2022
1196:2021
1170:2020
1090:ISSN
976:ISBN
947:ISSN
890:ISSN
261:gray
253:chin
251:and
249:nose
205:and
62:news
1082:doi
241:eye
194:and
173:by
45:by
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