It is an absolute honor and privilege to share my new position as Managing Director of @1OF1_art As steward 1OF1’s collection of iconic 21st-century art, I bring a commitment to honoring and advancing the cultural legacy of not just our collection, but the digital genre as a

1968: "The machine, the artist says, may please and at the same time displease the artist. But it can never be in error, for its drawing is as perfect as the program it follows… the computer is only a tool in the designer’s or artist’s hand — a more expensive paint brush."

This Breast Cancer Awareness Month, look into Atossa Therapeutics. We’re advancing an (Z)-endoxifen (investigational) program to address important unmet needs in breast health. Review our science, our team, & our balance sheet. Then decide for yourself. Nasdaq: ATOS

1968: "Lloyd G. Sumner of Charlottesville… says computer art is 'a perfect art media' and its appeal to the artist can’t be ignored…. computer art has some distinct advantages over hand art — since it is uninhibited by many of man’s human errors." Quotes from The Kingston Whig

Computer in Art: Expensive Paintbrush 1968: "Here's something which could throw Paris' Left Bank into confusion. And send her artists flinging their palettes and brushes into the Seine. It’s the computer — which is invading the world of art."

performing at Matress Factory - Contemporary Art Museum, Pittsburgh, 2009

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Such a joy to welcome @mrheeloy and her students from @TheNewSchool @parsonsdesign to @MuseumModernArt for a generative poetry workshop and conversation on A LIVING POEM with curator Martha Joseph. The Gund Lobby — true to the legacy of Agnes Gund — is such a welcoming space for

we are pixels in da desert . . my friend ._____.

Good Morning Marfa 🌵

Big auction today for digital art executed by David Hockney on his IPad — below is a video of the artist, in process, at the Louisiana Museum of Modern Art in 2011.

Digital Art Isn’t New — The Way It’s Viewed, Is. 1973: "Not only will the way we produce [Digital Art] change, but the way that we see it will change also. We will watch images on… screens that measure in FEET, not nineteen diagonal INCHES." Clip from Electronic Graphic Arts:

We are happy to present 'Stairs & Stocks' by @andreasrau_eu in SOLO CSV, Madrid. In 'Stairs & Stocks', he combines algorithmically generated staircases with fictional stock market graphics, prompting reflection on the idea of progress and its repetitive nature. Each piece,

#ArtnetNews: The mood at Frieze London this year? Cautious but not defeated. Artnet’s Kate Brown reports on the ground from Frieze London. In her latest article she outlines how emerging dealers are navigating rising costs and tighter margins in a tougher, more pragmatic

Yayoi Kusama: Narcissus Garden. Fondation Beyeler. Full video on our website.

1964: "But Cal-Comp men decided to produce “Miss Formula” as a dramatic way of showing just how ingenious their machine can be. Because, as any man can tell you, it takes a heck of a lot more artistry to depict any woman than it does to map out isobars, thermal lows or

1964: "When it comes to shooting a rocket at the moon, a computer is a handy thing to have around, but when it comes to choosing 'the perfect woman,' that’s going entirely too far. Yet that’s what the 'brains' at California Computer Products Inc. have had a computer do."

Two Full NYT articles in less than 1.5 years about exhibitions/installations I’ve organized is not lost on me. I’m deeply grateful to NYT & Hyperallergic for spotlighting Lu Yang and MoMI Sharing the work of insightful media artists with the public is always a colossal privilege

Sooooo slooooow! Robert Breer: Osaka I, 1970 / Sculpture Garden, MoMA, New York. Robert Breer’s “Osaka I” (1970) is a kinetic sculpture, part of his series of "floats"—slow-moving, motorized works that blur the lines between sculpture, performance, and viewer interaction. Created

1968: "[Dr. Don Mittleman’s] objective is to persuade nonscientific disciplines to adapt computers. To show a computer can do more than manipulate numbers, he created computer drawings. Thus far, his portfolio contains 20 read-outs. They have been exhibited in the Indy 500…"

Good Morning 🤟🏼

Go big or go small?

Refik Anadol for MoMA: "We imagine a future where a symbiotic relationship with machines will give us new insights, knowledge, and the power to not only challenge but change existing systems." From Refik Anadol on AI, Algorithms, and the Machine as Witness by @refikanadol for