Biography
Laurence Gartel, Digital Media Artist
At the beginning: My formal training dates back to the Pels School of Art located on the second floor at 73rd Street and Broadway at the old Ansonia Hotel, at age 9. (Website provided here on the historical bldg: http://en.wikipedia.org/wiki/The_Ansonia The school was created by Albert Pels. http://www.aspireauctions.com/artist690-Albert-Pels.html It was from there that I built my portfolio and got a scholarship to go to the High School of Music & Art (Noted by everyone in the world as the Fame High School) http://en.wikipedia.org/wiki/Fiorello_H._LaGuardia_High_School
GARTEL BIO
Gartel is a globally acknowledged "PIONEER" of the Digital Art movement. He is considered the father of the Paintbox Era (circa 1986), because he actually started this technique 10 years prior to any software being written for painting and photo-manipulation. He used digital synthesizers, TVs and then output photographically as a dyesub & Polaroid prints.
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 and in the permanent collections of the Smithsonian Institution's Museum of American History and the Bibliotheque Nationale. His 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."
Born and raised in New York City, Mr. Gartel had the opportunity to teach Andy Warhol how to use the Amiga Computer, went to School of Visual Arts, with fellow art student, graffiti artist Keith Haring, where he earned his BFA degree majoring in Graphics, and started his electronic career working side by side with Nam June Paik at Media Study/Buffalo in upstate New York.
Gartel had many associations with musicians such as Debbie Harry (Blondie) Sid Vicious (Sex Pistols), Stiv Bators (Dead Boys) Johnny Thunders (New York Dolls) Ace Frehley (Kiss) and Wendy O Williams (Plasmatics). Gartel has also created artwork for such Pop Culture stars such as Justin Timberlake and Britney Spears.
Gartel has traveled the world exhibiting and projecting his work in Australia, Spain, Germany, Italy, as well as going to India, creating a Bollywood Music/Video for Universal Entertainment. He has been commissioned to produce artwork on Britney Spears, Justin Timberlake, Red Hot Chili Peppers, as well as for corporations such as Coca Cola, Philip Morris, Walt Disney, National Basketball Association, Gibson Guitars, Bang & Olufsen, and known to most for his ABSOLUT GARTEL ad for Absolut Vodka. GARTEL delivered the keynote speech at the National Art Education Association (NAEA) in San Diego, Spring 2014 and received the Globus Award in Japan 2014. (His third Lifetime Achievement Award.) GARTEL is the Official Artist of the 57th Annual Grammy Awards, Los Angeles 2015. Most recently he was the Artist of the NASA MMS Mission, Kennedy Space Center, Florida, March 12, 2015. His concentration the last several years has been focused on Art Cars, the first commission being the TESLA Electric Art Roadster during Art Basel Miami Beach in 2010. He was the “FEATURE” of the 113th New York International Auto Show with his own 30,000 square foot Pavilion in 2013. Mercedes Benz commissioned GARTEL to create a very special Art Car to celebrate their “13th Million Friend on Facebook. GARTEL unveiled a $200,000 Renntech Mercedes SL65 V-12 Art Car at Fisher Island Club during Art Basel Miami, December 2014, now an Award Winner “Best of Class” at Amelia Island 2015. This year he created the first State Art Car at the Capital Building in Concord with the New Hampshire Governor Maggie Hassan. He recently completed a commissioned Dodge.Viper during Street Art Fair in Los Angeles.
Mr. Gartel will close out the year being honored at the Monaco International Film Festival.
***
"The gallery made international history again in December 1990, when Laurence Gartel used digital cameras developed by Canon for the Gulf War to photograph visitors as they entered the gallery and the first large toner printer, the Canon Bubble Jet, to output manipulated color prints of their images. "It was fun to see how Larry could shoot photos of people as they entered the gallery, manipulate them on a computer, and then print them out right away," Miller said. "Everyone does it today, but it was phenomenal at that time." Gartel, whose book, "Laurence M. Gartel, A Cybernetic Romance" (Gibbs Smith, 1989, illustrations by Nam June Paik) is considered the first book on an individual's computer-generated art, believes the event was the first time in history digital art was produced at a gallery's opening reception."
~Virginia Miller, Artspace/Virginia Miller Galleries- Miami Art Guide, December 2004
Gartel has several monograph 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
In London, October 2007, the Victoria and Albert (V&A) Museum acquired an early (circa 1978) digital video piece for it’s permanent collection. It was both exciting and a most humbling experience. His newest series titled "AUTO MOTION" inspired by the Ferrari automobile has recently been exhibited at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida,
GARTEL's "AUTO MOTION" is an oversized, limited edition, gold embossed book. The Introduction is written by Jason Castriota, Designer of the Ferrari 599 and Maserati Gran Tourismo. The book is limited to 2,000 examples, signed and numbered. GARTEL was commissioned to produce the first Tesla Electric Art Roadster for this year’s Art Basel Miami Beach. The automobile caused so much attention that it went viral on the internet now present on over “40,000” websites.
Gartel tests Prototype Apple II
Neo Pop: The Rise and Fall of an Empire and now: GARTELISM
It's a thankless job but who else is going to thank you if not yourself in this post-neo-pop world. Laurence Gartel hails from the Pop Art movement in New York as an early pioneer of digital art and continues to engage with new technologies to record his world, GARTELWORLD. He documents by way of creative endeavour who and what dares to jump in for the ride. Gartel continues to redefine what it is to be Gartel. From early consumerist influences employed by a post-war expression was a world preoccupied to the pursuit of materialism. We now find ourselves fully immersed in era directed by mass media, technology and very sophisticated mimetic engineering, such as viral branding, thanks to the internet. Gartel is fully fledged and at the centre of our universe.
The mechanisms of Neo Pop (such as gallerist hype, collector influence and secondary market hysteria) created such spectacle the art world had never previously encountered. Miami culture, especially prone to spectacle and feverish hype sees opening and closing parties being almost indigenous to the culture where "A" listers swoon to be photographed on red carpet (art) events. Artists like Jeff Koons function as celebrity, and the art they make is seen as the ultimate symbol of power and wealth for the gallery and collector. Even after the financial crisis in 2008, this new 21st century art paradigm of artist as celebrity indicates a new stage in the commodification of art. Warhol was right, everyone seems to be scrambling for their 15 minutes but only few survive the cut. Social media permits a global audience to indulge in a saturation of mediocrity where anyone can be star.
Gartel creates a formidable connection between object, event and artist, and the time it takes to develop and understand the language and make no mistake, it is a very specific language he uses. Gartel's art has evolved from early pioneering digital explorations to large scale installations of technology using everything from vehicle parts, live models and mannequins, musical instruments, multi-channel video projections to collaborations with philharmonic orchestras, corporate commissions with companies like ABSOLUT Vodka and Gibson guitars, Gartel TV, decal-wrapping prestige cars, LCD panelled musical instruments, haute couture fashion and most recently eye wear. It is about Gartel as Art - GARTELISM the marketeer, raconteur, inventor, viral engineer, party-man, consummate salesman, ego maniac and artist - make no mistake about the value Gartel brings to the table.
Gartel's digital collages provide an extraordinary survey of America's social history as complex and multi-layered portals. They are iconic. They reveal fragments dripping with America's excesses, dominance and extreme addiction to consumerism. Since the economic collapse, Gartel's culture-specific art has become even more poignant as America re-identifies itself on the world stage. Current cultural trends to see neo-pop-urban-street-contemporary artists as recorders of social history, have a habit of falling short, providing only a one dimensional view. Often young graffiti artists are plucked off the street (or rather from in the back alley spray can still in hand) by opportunistic gallerists hungry to pounce and make a quick bang - fashions come and go in a blink.
Laurence's loyalty to art history remains integral to his practice. Clearly a genius as a social observer and marketeer, he rejected gallery representation early to be in charge of his own game. Gartel's work is highly competent, extremely informed, and supremely cerebral. It is autobiographical and of its time. No artist is before their time and this makes a critical point about Gartel having his vision and feet firmly on the ground (although always running). From the age of 5 Gartel's mother told him to follow his dream without exception and for the past 40 years keeping up with Gartel has not been for the faint hearted.
Stephen Danzig
Director International Digital Media Art Foundation
London
Vintage 1970s gear: "Color Sync Generation" 1971
Beginnings
LG 92
How did you get started?
I took a semester off from my third year in college at the School of Visual Arts to take art history classes at Buffalo State. The purpose was so that I could be with my High School girlfriend, as we were separated, going to different schools. I was chasing love.
The "love of my life" I found instead was the "Future of Art." I was sitting in the back of a classroom watching the Charlie Chaplin film Modern Times. I was taking pictures of the screen with a long lens and wondering if I could capture a moving picture with a still camera. Randomly, a guy tapped me on the shoulder and told me that there was a place to do all sorts of experimental imaging and that I should meet him at this location in downtown Buffalo, New York. The area was not the best, but this person had my curiosity. For all I knew he could have been setting me up to steal my wallet and to take my camera. I had to go anyway.
What I found was this bizarre place called, Media Study/Buffalo that was a huge loft filled with all sorts of electronic apparatus. It was there that I met video guru Nam June Paik who was making experimental videos with 1" black and white reel to reel tape on a huge video recorder and an enormous video camera the kind they used in television studios. There were also all these strange pieces of equipment that altered images electronically.
Right then and there I knew I was looking at the "Future of ART." Paik thought I was crazy for photographing the screen to make still pictures. But I thought that electronic works of ART should replace paintings on the wall. He thought I was nuts, but I took that as a compliment! (What did I know, I was just a kid of 19 years old?) From that day on I never looked back and have continued on the very same path, experimenting with the latest hardware/software in the desire of making imagery that people have never seen before. Who or what are your influences?
Growing up in New York, access to the greatest museums was always at arm's length. I don't think there is a single artist per se, but more so what I saw in museums at an early age. Always interested in the works of the Impressionists: Manet, Monet, Van Gogh, Degas from the Metropolitan Museum of Art. At the Guggenheim I was always fasscinated with Klee, Miro and Kandinsky. In my reckless teenage years, I was out and about and always in the clubs. Max's Kansas City, CBGB's, Mudd Club, AREA, were all heavily frequented by the Glitter/Punk impresarios of the day: Stiv Bators of the Dead Boys, Sid Vicious of the Sex Pistols, Wendy O Williams of the Plasmatics, Debbie Harry of Blondie were all people that I got to know and hang out with.
There were many stories and artist collaborations happening. I had met Andy Warhol at Studio 54 and we struck up a conversation about Digital Art. He was totally fascinated. He invited me to his studio to help him work on the album cover commission he got for Debbie Harry. I showed him how the Amiga Computer operated. He wasn't very technology savvy. Nobody really was in those early days. The majority of people dismissed technology because they were in fear of it. They were afraid it might change their world and it was mysterious. They were so right, except for the fact that the new paradigm was about to offer everyone a greater understanding of the world.
How did you get started?
I took a semester off from my third year in college at the School of Visual Arts to take art history classes at Buffalo State. The purpose was so that I could be with my High School girlfriend, as we were separated, going to different schools. I was chasing love.
The "love of my life" I found instead was the "Future of Art." I was sitting in the back of a classroom watching the Charlie Chaplin film Modern Times. I was taking pictures of the screen with a long lens and wondering if I could capture a moving picture with a still camera. Randomly, a guy tapped me on the shoulder and told me that there was a place to do all sorts of experimental imaging and that I should meet him at this location in downtown Buffalo, New York. The area was not the best, but this person had my curiosity. For all I knew he could have been setting me up to steal my wallet and to take my camera. I had to go anyway.
What I found was this bizarre place called, Media Study/Buffalo that was a huge loft filled with all sorts of electronic apparatus. It was there that I met video guru Nam June Paik who was making experimental videos with 1" black and white reel to reel tape on a huge video recorder and an enormous video camera the kind they used in television studios. There were also all these strange pieces of equipment that altered images electronically.
Right then and there I knew I was looking at the "Future of ART." Paik thought I was crazy for photographing the screen to make still pictures. But I thought that electronic works of ART should replace paintings on the wall. He thought I was nuts, but I took that as a compliment! (What did I know, I was just a kid of 19 years old?) From that day on I never looked back and have continued on the very same path, experimenting with the latest hardware/software in the desire of making imagery that people have never seen before. Who or what are your influences?
Growing up in New York, access to the greatest museums was always at arm's length. I don't think there is a single artist per se, but more so what I saw in museums at an early age. Always interested in the works of the Impressionists: Manet, Monet, Van Gogh, Degas from the Metropolitan Museum of Art. At the Guggenheim I was always fasscinated with Klee, Miro and Kandinsky. In my reckless teenage years, I was out and about and always in the clubs. Max's Kansas City, CBGB's, Mudd Club, AREA, were all heavily frequented by the Glitter/Punk impresarios of the day: Stiv Bators of the Dead Boys, Sid Vicious of the Sex Pistols, Wendy O Williams of the Plasmatics, Debbie Harry of Blondie were all people that I got to know and hang out with.
There were many stories and artist collaborations happening. I had met Andy Warhol at Studio 54 and we struck up a conversation about Digital Art. He was totally fascinated. He invited me to his studio to help him work on the album cover commission he got for Debbie Harry. I showed him how the Amiga Computer operated. He wasn't very technology savvy. Nobody really was in those early days. The majority of people dismissed technology because they were in fear of it. They were afraid it might change their world and it was mysterious. They were so right, except for the fact that the new paradigm was about to offer everyone a greater understanding of the world.
Inspiration
What inspires your work?
What inspires my work is the number 1 question that everyone asks. They always ask "WHERE does the inspiration come from?" Ironically, the answer is very easy. Between the two ears is an active mind. It figures out questions and answers with solutions. The world of Digital Art, in its very essence of ones and zeros, has an endless array of potentials. It is never ending.
One can work in static still imagery as well as making multimedia video/animation time based DVDs. These can then be projected as a theatrical release or they can be appreciated on handheld devices. The most important thing in my mind is to create art that nobody has ever seen before. They are experiencing something completely different. Inspiration can come from outside sources. For instance, I got a call from Britney Spears and Justin Timberlake's Management. They wanted me to create art for their tour. So I went out to Beverly Hills and photographed both Britney and Justin. The results were incredibly surprising. I used a point and shoot Olympus 3030 Digital camera at the time. Nothing special. Its all what happens in the creative process.
Another interesting project which was started last year was titled, "AUTO MOTION" which was works based on the Ferrari automobile. I went back to my original computer systems of 30-years ago and made "new work" on some very "old machines." I printed large scale IRIS prints of these Ferrari works and held an exhibition of this body of work at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida. This was my second show at this gallery in 7 years.
Rauschenberg had a major influence on me in the fact that he used the photograph as a point of introduction in his story telling prints. I produced an oversized limited edition gold embossed book to accompany the show. Jason Castriota, Designer of the Ferrari 599 and Maserati Gran Tourismo wrote the Introduction to this prestigious and collectible book. Now I am about to create an accompanying book titled, "SUPER CARS" which will embrace all high end makes and model automobiles like Lamborghini, Maybach, Aston Martin, Alfa Romeo, Koenigsegg, Porsche, Saleem, and other unique and one off super cars. The book will have a metal cover. I always try to do the unexpected. If that's not enough, I am also now making one of a kind specialty clothing. An Artist must also double as a Wizard.
What inspires my work is the number 1 question that everyone asks. They always ask "WHERE does the inspiration come from?" Ironically, the answer is very easy. Between the two ears is an active mind. It figures out questions and answers with solutions. The world of Digital Art, in its very essence of ones and zeros, has an endless array of potentials. It is never ending.
One can work in static still imagery as well as making multimedia video/animation time based DVDs. These can then be projected as a theatrical release or they can be appreciated on handheld devices. The most important thing in my mind is to create art that nobody has ever seen before. They are experiencing something completely different. Inspiration can come from outside sources. For instance, I got a call from Britney Spears and Justin Timberlake's Management. They wanted me to create art for their tour. So I went out to Beverly Hills and photographed both Britney and Justin. The results were incredibly surprising. I used a point and shoot Olympus 3030 Digital camera at the time. Nothing special. Its all what happens in the creative process.
Another interesting project which was started last year was titled, "AUTO MOTION" which was works based on the Ferrari automobile. I went back to my original computer systems of 30-years ago and made "new work" on some very "old machines." I printed large scale IRIS prints of these Ferrari works and held an exhibition of this body of work at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida. This was my second show at this gallery in 7 years.
Rauschenberg had a major influence on me in the fact that he used the photograph as a point of introduction in his story telling prints. I produced an oversized limited edition gold embossed book to accompany the show. Jason Castriota, Designer of the Ferrari 599 and Maserati Gran Tourismo wrote the Introduction to this prestigious and collectible book. Now I am about to create an accompanying book titled, "SUPER CARS" which will embrace all high end makes and model automobiles like Lamborghini, Maybach, Aston Martin, Alfa Romeo, Koenigsegg, Porsche, Saleem, and other unique and one off super cars. The book will have a metal cover. I always try to do the unexpected. If that's not enough, I am also now making one of a kind specialty clothing. An Artist must also double as a Wizard.
Gibson Factory, Custom
Digital Dynamic
Sailing in San Francisco
"Digital Dynamic"By Laurence Gartel / Digital Media Artist
It's been a real journey, that's for sure. When I started creating digital art there were no personal computers or hard drives, no commercial software programs, no scanners and no digital cameras. I had to invent some of the analog systems that allowed me to manipulate images through various devices, mostly using wires and knobs. One would tweak an image through its various gray values and then strip color into that gray value, mixing red, green and blue. The fleeting image had to be photographed off the screen with a still camera on a tripod (what a difference thirty years makes). In doing so, the expression, "making lemonade out of lemons" is indeed appropriate. One had to be skilful in manipulating the hardware in order to produce anything. Then the aesthetic had to be there, as in "will this interest someone or not?" "Is the image arresting?" "Is it thought provoking?"
There were a lot of variables in the early days. But indeed, my dear colleague Nam June Paik taught me to think outside the box, and push the limits on what may not have been there before. Create something new and unique was always the goal. Alas, our whole society today is all technology based. It is part of our daily world. Back in 1975 life was quite different. No internet. No immediate correspondence beyond the telephone. Information and its access were quite limited. You had to rely strictly on your imagination being in complete real time. Today when you forget something you "type it into a search engine" and immediately retrieve the answer. What the internet has done is create a very competitive world, as well as opening up opportunities. We are still dealing with the ramifications of all this. Whether email correspondences are meaningful or not? Are they too informal in a not so friendly world? When sending Jpegs of art, do they hold any
value?
Excerpt from "Digital Dynamic" written by Laurence Gartel, September 2007, Courtesy School Arts Magazine.
"Digital Dynamic"
It's been a real journey, that's for sure. When I started creating digital art there were no personal computers or hard drives, no commercial software programs, no scanners and no digital cameras. I had to invent some of the analog systems that allowed me to manipulate images through various devices, mostly using wires and knobs. One would tweak an image through its various gray values and then strip color into that gray value, mixing red, green and blue. The fleeting image had to be photographed off the screen with a still camera on a tripod (what a difference thirty years makes). In doing so, the expression, "making lemonade out of lemons" is indeed appropriate. One had to be skilful in manipulating the hardware in order to produce anything. Then the aesthetic had to be there, as in "will this interest someone or not?" "Is the image arresting?" "Is it thought provoking?"
There were a lot of variables in the early days. But indeed, my dear colleague Nam June Paik taught me to think outside the box, and push the limits on what may not have been there before. Create something new and unique was always the goal. Alas, our whole society today is all technology based. It is part of our daily world. Back in 1975 life was quite different. No internet. No immediate correspondence beyond the telephone. Information and its access were quite limited. You had to rely strictly on your imagination being in complete real time. Today when you forget something you "type it into a search engine" and immediately retrieve the answer. What the internet has done is create a very competitive world, as well as opening up opportunities. We are still dealing with the ramifications of all this. Whether email correspondences are meaningful or not? Are they too informal in a not so friendly world? When sending Jpegs of art, do they hold any
value?
Excerpt from "Digital Dynamic" written by Laurence Gartel, September 2007, Courtesy School Arts Magazine.
PAIK Installation, SMOCA, Scottsdale, 2004
Timeline
EARLY WORKS 1976- 1979
In producing an exhibition we would showcase the various themes of Laurence Gartel’s work through time. This plays a supporting role in educating people how technology evolved.
METAMORPHOSIS SERIES 1979
At this time Gartel was exploring other electronic systems and produced a unique and powerful collection of works based on interpreting the nude figure as a montage titled, Metamorphosis which was sepia based, created electronically to emulate darkroom practices.
NUDE SERIES 1980
It was the next logical step to experiment with the human form in color. New computer systems unleashed an entire new array of possibilities and they worked well in the exploration of form and shape with the figure. These works were published in early versions of ZOOM MAGAZINE, German,French, and American Editions.
AUTO MOTIVE SERIES 1980
Gartel all the while had a fascination with cars. Most of the vehicles he captured were not found on the streets of New York. Everytime he visited California, whether it be Los Angeles or San Francisco, he would find unique vehicles that he would capture. They made for uniqueness in the Digital Art genre and he continued to photograph them off the screen till the technology changed whereby he employed other practices.
ABSTRACT SERIES 1981
At this time, turn key proprietary systems were being introduced to the world. One would purchase a Quantel Paintbox or an Artronics System for $250,000 each. These were machines that had software and hardware self contained. They were not commercially available to the general public. GARTEL made experimental gestures with new “drawing” tools and came up with new abstractions the world had never seen before. Like the invention of photography at the turn of the 19th century, this new tool gave way for new creative interventions.
Polaroid Murals 1982-1987
GARTEL at the same time was exploring the brand new material of POLAROID and these works were shot off the screen and translated directly to the POLAROID SX-70 materials. These works are some of Laurence Gartel’s most rare and valuable pieces.
These rare works are valued at $350,000 and would have to be crated and shipped.
BLACK AND WHITES 1985- 1987
Moving the time line the Macintosh computer came out in 1985 with the program MacPaint. Gartel worked with this system but extended it further by blowing up and enlarging these works. They are only 32K files. Something today that would be as small as a word document. AMIGA SERIES 1987
The Amiga ushered in a brand new paradigm for personal computers and one that was truly an artists tool. With the advent of adding a video camera as a stationary device for inputting color images the Amiga opened new doors. Along with the Xerox 4020 color printer, this device revolutionized the industry. Gartel’s work done with the Amiga is in the permanent collection of the Smithsonian Institution’s Museum of American History. NUVO JAPONICA 1989
This series was made from a combination of new technologies and at various computer graphic facilities. The exhibition of this work was shown at the Joan Whitney Payson Museum right after the institution sold their Van Gogh “Irises” at Sothebys. It was unthinkable back in 1989 to show Digital Art where “Irises” once reside.
1990 SERIES
In this year the first production Macintosh color computers were released. They had 256 colors and were not full 32 bit smooth transition. They had their own unique look to their character back then. This year was then a very special one that opened people’s eyes to the possibility of creating color digital images.
FLORIDA SERIES 1991
Prior to moving to Florida, Gartel was down for several visits. He always enjoying the flora and fauna, the weather and the beautiful beaches. Florida was a great influence and landscape for his experimental work. The Digital Camera first came on the market and it opened the door for electronic capture.
1992 SERIES
As the year moved further there were more possibilities with more programs being released and many companies began writing various software for digital creation. Gartel returned from a great deal of traveling in Europe and it influenced his work greatly.
1993-1997 SERIES
These years represented the “state of the art” at the time of publication of the art history book, “GARTEL: Arte e Tecnologia” published by Edizioni Mazzotta. High resolution scanners, high resolution printers, and digital cameras were entering the market. Now high resolution devices were within the range of professionals. 3D programs, color printing, the Digital Age came into its own at this time.
MIAMI INTERNATIONAL AIRPORT 1997
GARTEL was commissioned by Miami Dade Art In Public Places to create 19 back-lit light boxes on the sites and attractions of South Florida. These works were at the Miami International Airport at Concourse F for 10 years. Mr. GARTEL is now refurbishing these works for a new location for a government building downtown Miami.
ITALIAN SERIES 1998
GARTEL lived in Italy for two years while working on his book, “GARTEL: Arte & Tecnologia” published by Edizioni Mazzotta, Milan. Art historian Pierre Restany wrote the Introduction to the book. Gartel was completely energized and thus he made immediate markings which thus were full of excitement.
CUZINS SERIES 2000
One of the most important body of new works GARTEL created was the Cuzins Series.
He was trying to make a sister to his most famous work “Coney Island Baby.” It was an impossible task so he set out to make a related “Cuzin.”
ART OF FETISH 2001 – 2003
GARTEL took a trip or a “Walk on the Wild Side” for a few years after the September 11 disaster. He produced trippy wild Fetish images. It was his entry into “pseudo-surreal photography” where realism was present. Gartel produced a book, “GARTEL THE ART OF FETISH” and also a documentary movie which won awards from film festivals around the world.
GARTEL INDIA 2005
GARTEL was sent to INDIA to produce a video/music documentary on his impressions of INDIA. He was there for a month and had traveled throughout the entire continent. He took thousands of photographs along with producing his digital art in still forms as well as the multimedia video/animation DVD that came out of the journey.
AUTO MOTION 2008 – PRESENT
The last years GARTEL has spent focused on high end SUPER CARS. Originally starting out with Ferraris with his show at the Bob Rauschenberg Gallery at Edison State College in New York. GARTEL is now working with exotic cars from around the world. His multimedia work was just presented by STREAMING MUSEUM at the Big Screen Plaza, NYC.
GARTEL MERCEDES ART CAR 2011
GARTEL just hand painted his first object in over 30-years. It has come in the form of a classic 1971 Mercedes Benz 300 SEL. GARTEL has produced several derivative works of Digital Art based on the vehicle.
GARTEL at Art Palm Beach with Aldo Castillo. (Brilliant Curator).
Solo Museum & University Exhibitions
Gallery Solo Exhibitions
Museum & University Group Exhibitions
Gallery Group Exhibitions
Selected Collections Grants & Awards
In Kind Grants
Commissions
Teaching & Lectureships
Articles on Laurence M. Gartel
Books & Catalogs
Book Covers
Television Appearances
Curator
Panelist Biographies
Professional Organizations
Selected Websites on GARTEL
RETROSPECTIVE:
Education: School of Visual Arts, NYC, NY, BFA Graphics 1977
Selected Museum and University Solo Exhibitions:
“GARTEL: AUTO MOTION,” Robert Rauschenberg Gallery, Edison College, Ft. Myers, 2009
“GARTEL: 30-Years of Digital Art,” Palm Beach Photogrraphic Centre, Museum, Delray Beach, Fl 2009
“GARTEL: WEAM, during Art Basel Miami Beach, Florida 2007
“GARTEL:30-YEARS of DIGITAL ART,” Coral Springs Museum of Art,FL, 2004
“GARTEL RETROSPECTIVE,” Gallery of ART, Edison College,Ft.Myers, FL, 2003
“GARTEL: Hyper-real expressionism,” Palm Beach Photographic Museum, Delray Beach, FL, 2001
“GARTEL RETROSPECTIVE,” Nathan D. Rosen Museum Gallery, Boca Raton, FL, 2001
"L. Gartel: A Cybernetic Romance,” Northwestern State Univ., Natchitotches, LA, 1995
"L. Gartel: A Cybernetic Romance,” Masur Museum of Art, Monroe, LA, 1994
"Gartel: A Cybernetic Romance,” Ringling School of Art & Design, FL, 1992
"Gartel: A Cybernetic Romance,” Musee Francais de Photographie, Paris, France, 1992
"Laurence Gartel: Retrospective,” Middle Tenn. State Univ., Murfr, KY, 1992
"Laurence M. Gartel: Cybernetic Romance,” Norton Gallery, W. Palm Beach, FL, 1991
"Laurence M. Gartel, Computer Images,” Portland State University, OR, 1991
"East Meets West,” University of Southern Colorado, Pueblo, CO, 1990
"Nuvo Japonica,” Joan Whitney Payson Gallery, Portland, ME, 1989
"A Cybernetic Romance,” Fine Arts Museum of Long Island, NY, 1989
Selected Gallery Solo Exhibitions:
“GARTEL: Electronica/Erotica”, Film Screening/Exhibit, Miami Beach Cinemathque, 2009
“GARTEL: Selected Works 1975-2008, IAG Galleries, Naples, Florida, 2008
“GARTEL: Exotic Electronic” Lurie Gallery, Studio City, California 2008
“GARTEL,” Galerie D’Enfer, Brussels, Belgium 2002
“GARTEL,” Galerie Subterrane, Atlanta, Georgia 2002
“GARTEL,” Gallery Yes!, Ft. Lauderdale, Florida 2002
“GARTEL: Hyper-real Expressionism,” DFN Gallery, NYC, NY, 2001
“GARTEL Italian Series,” Spaziotempo Gallery, Florence, Italy, 2001
“GARTEL: Bologna art fair, bologna, Italy, 2001
“GARTEL RETROSPECTIVE,” Galerie L, Moscow, Russia, 2000
“GARTEL: MILANO ART FAIR," Milan, Italy, 2000
“GARTEL: Digital Art,” DFN Gallery, NYC, NY, 2000
“GARTEL: Larger than Life,” Caitlyn Gallery, St. Louis, MO, 1999
"GARTEL," ZURICH ART FAIR, Switzerland, 1999
"GARTEL," Colville Place Gallery, London, U.K., 1999
"GARTEL," Italian Cultural Institute, NYC., NY, 1999
"GARTEL: MILANO ART FAIR," Milan, Italy, 1999
"Laurence Gartel: Arte & Tecnologie,” Galerie Posteria, Milan, Italy, 1998
"L. Gartel: Older Works: 77'-82',” Galerie der Gegenwart, Wiesbaden, Germany, 1998
"Honoring L. Gartel: 20 Years of Computer Art,” ART FAIR, Innsbruck, Austria, 1998
"Laurence Gartel: 20 Years of Computer Art,” Philip Morris, Berlin, Germany, 1997
"Laurence Gartel: 20 Years of Computer Art,” Philip Morris, Hamburg, Germany, 1997
"Laurence Gartel: 20 Years of Computer Art,” Philip Morris, Munich, Germany, 1997
"Laurence Gartel: 20 Years of Computer Art,” America Haus, Frankfurt, Germany, 1997
"L. Gartel: New Works,” Galerie der Gegenwart, Wiesbaden, Germany, 1997
"L. Gartel: A Cybernetic Romance,” Galerie der Gegenwart, Wiesbaden, Germany, 1995
"L. Gartel: A Cybernetic Romance,” Palm Beach Int. Airport, Palm Beach, FL, 1995
"Laurence M. Gartel: A Cybernetic Romance,” Nicolae Gallery, Columbus, OH, 1992
"Gartel: Romance Cibernetico,” Gallery Euroamericano, Caracas, Venezuela, 1992
"Cybernetic Romance,” Fotogalerie Bordeneau, Neustadt, Germany, 1992
"Cybernetic Romance,” Calenberger Volksbank, Seelze, Germany, 1992
"Laurence M. Gartel, MONDO MIAMI,” Virginia Miller Gallery, Coral Gables, FL, 1991
"Gartel, Cybernetic Romance and Computography,” Neikrug Gallery, NYC, NY, 1991
"Nuvo Japonica,” Verbum Gallery, San Diego, CA, 1991
"L. Gartel, Digitized Holiday Visions,” Virginia Miller Gallery, Coral Gables, FL, 1990
"Gartel and Photography: The Next 150 Years,” Spiritus Gallery, Costa Mesa, CA, 1990
"East Meets West,” University of Southern Colorado, Pueblo, CO, 1990
"Nuvo Japonica,” Gallery International 57, NYC, NY, 1990
"Laurence M. Gartel: Video Photos,” Nikon House Gallery, NYC, NY, 1980
"Laurence M. Gartel: Video Photos,” Sea Cliff Photography, Sea Cliff, NY
Selected Museum and University Group Exhibitions:
“Montreal Erotic Art Festival, Conseil des arts du Quebec, Canada 2009
“20th Anniversary Show Selections and Highlights,” Selby Gallery, Ringling School, Florida 2007
“Int. Digital Art Awards, “VCA Gallery,” Melbourne, Australia 2004
“Int. Digital Art Awards,” QUT Art Museum, Brisbane, Australia 2004
“INTERgraphic,” State Museum of Fine Arts, Bishkek, KYRGYZSTAN, Russia, 2004
“Int. Digital Art Awards, “VCA Gallery,” Melbourne, Australia 2003
“Int. Digital Art Awards,” QUT Art Museum, Queensland, Australia 2002
“Int. Aigital Art Awards,” Univ of Tasmania Academy Gallery, Australia 2002
“Unit 2,” London Guildhall University, London, England 2001
“Russian State Museum,” Moscow, Russia 2001
“Computers,” Polytechnical Museum, Moscow, Russia, 2001
“ISEA2000,” Paris, France, 2000
“Eighth New York Digital Salon,” School of Visual Arts, NYC, NY. 2000
“Regional: Figuring,” Florida Atlantic University, Boca Raton, Fl, 2000
"First Elvis Art Show, Hollywood Art and Cultural Center, Hollywood, FL, 1998
"Inaugural Exhibition,” Museum of New Arts, Ft. Lauderdale, FL, 1996
"Digital Salon,” Palm Beach Community College Museum, Lake Worth, FL, 1995
"Civil Rights,” The Bronx Museum for the Arts, Bronx, NY, 1991
"Infinite Illusions,” Smithsonian Institute, Washington, D.C., 1990
"Exchange of Information,” Museum of Modern Art, NYC, NY, 1990
"Out of Bounds,” Guild Hall Museum, East Hampton, NY, 1989
"Electronic Imaging,” St. Louis Community College, MO, 1989
"WYSIWYG,” Blair Museum, Holidaysburg, PA, 1989
"The Artist & The Computer,” Bronx Museum for the Arts, Bronx, NY, 1987
"Computer Art,” University of Dublin, Ireland, 1987
"Computer Art,” Columbia University, NYC, NY, 1984
"Abstract and Image Processing,” P.S. 1 Museum, Long Island City, NY, 1984
"The Artist & The Computer,” Long Beach Museum of Art, CA, 1983
"Points of View,” Museum of Art University of Oklahoma, OK, 1982
Selected Gallery Group Exhibitions:
“Artavox, Schoolhouse Children’s Museum, Palm Beach County, 2009
“Art Undressed,” Erotic Signature, Wynwood, 2008
“Spring Show,” ArtFtures Gallery, Wynwood 2008
“SACRED ART,” ArtFutures Gallery, Wynwood, 2008
“Art Basel Miami Beach,” ArtFutures Gallery, Wynwood, 2007
“Beijing Arts Festival 798, Beijing China, April, 2007
“Erotica,” Lurie Gallery, Miami, Florida 2006
“NEW OLD GEMS” Digital Art Museum (DAM) Berlin, Germany, 2005
Digital Art Gallery, and Information Visualisation, London, England, 2004
Computer Graphics Imaging and Visualization, Penang, Malaysia, 2004
“The Second Couming” ICEHOUSE, Phoenix, Ariozona, 2004
“Cyberotika 2004,” Dojo Yako Gallery, Atlanta, Georgia, 2004
“GARTEL: Digital Art/Digital Movies,” ArtWorks Gallery, Wynwood, Florida 2004
“GARTEL: THE DIGITAL EXPERIENCE,” THE GALLERY, Wynwood, Florida, 2003
“WIRED,” Gallery ART +, Coral Gables, Florida, 2003
International Art Expo, Madrid, Spain, 2003
ART FAIR: Zurich, Switzerland, 2002
ART FAIR: "Editions of Art,” Innsbruck, Austria, 2002
“2002 Int. digital art awards,” Counihan Gallery, Brunswick, Australia 2002
“Mysterium Photographicum,” Dunedin Fine Arts Centre, Fl. 2002
“Digital Salon,” School of Visual arts – Artlink, New York, NY. 2002
“DAM gallery artists,” Colville Place gallery, London, England, 2002
“From the ashes,” Open Space Gallery, Pennsylvania 2002
“Greenham Arts Centre”, London, England, 2001
“From the ashes,” C.U.O.N.D. O., New York 2001
“EVO-1,” Galerie L, Moscow, Russia 2001
“Cyberotika,” Atlanta, Georgia, 2001
“digital darkroom,” john wayne international airport, ca. 2001
“literary references in art,” n.westchester center for the arts,NY.,2001
“Odyssey,” palm beach international airport, fl, 2000
“Summer Show,” DFN Gallery, NYC, NY, 2000
"Dream Contenary Computer Graphics Grand Prix 99," Aizu, Japan, 1999
"Video History: Making Connections," Syracuse, NY, 1998
"Pioneers of Digital Photography," Open Space Gallery, Allentown, PA, 1998
"TOUCHWARE Art Gallery: 25th Anniversary," Siggraph '98, Orlando, FL, 1998
"Computer Art: Anjal & Laurence Gartel," Broward Community College, FL, 1998
"Digipainting '97 Echi dal terzo Millennio,” Rome, Italy, 1997
ART FAIR: "Editions of Art,” Innsbruck, Austria, 1997
ART FAIR: "Art Multiple,” Dusseldorf, Germany, 1996
"Computer Art," Palm Beach Gardens, FL, 1996
ART FAIR: "LA Art Fair,” Los Angeles, CA, 1992
" East/ West Photography Conference,” Poland, 1992
"Computer Art,” Olympia & York, NYC, NY, 1991
"The Exquisite FAX,” FAX ART, 612-690-0172, Minneapolis, MN, 1991
"Transportation on Images,” John Wayne International Airport, Orange County, CA, 1990
"Second International Symposium on Electronic Art,” Amsterdam, Holland, 1990
"Eurographics 1990,” Montreaux, Switzerland, 1990
"Infinite Illusions,” Smithsonian Institute, Washington, D.C., 1990
"Computer Art,” Prix Ars Electronica, Linz, Austria, 1989
"Computer Art,” Images Du Futur, Montreal, Canada, 1988
"Computer Art Show,” Siggraph, various locations 1986-83
“Ready for Prime Time Artists,” Discovery Gallery, Glen Cove, NY, 1983
"Video Art,” Flviana Gallery, Locarno, Switzerland, 1980
Selected Collections:
Victoria and Albert (V&A) Museum, London
DAVIS-IMAGES Collection, MA.
Australian Centre for the Moving Image, Melbourne, Australia 2004
Museum of Contemporary Art (MCA) Library, Sydney, Australia 2004
Tempra museum of contemporary art, Malta
The Museum of Modern Art, Lending Collection, NYC, NY
Long Beach Museum of Art, CA
Experimental TV Center, Owego, NY
Fine Art Museum of Long Island, NY
School of Visual Arts, NYC, NY
Palm Beach Photographic Museum, FL
Masur Museum of Art, Monroe, LA
Bibliotheque Nationale, Paris, France
Musee Francais de la Photography, Paris, France
Coca-Cola, Atlanta, GA
Polaroid Collection, Cambridge Massachusetts, and Zurich, Switzerland
Philip Morris, Hamburg, Germany
Commerzbank, Frankfurt, Germany
Absolut Museum, NYC, NY
Shaw Walker, NYC, NY
Polk & Davis & Wardell, NYC, NY
Selected Grants and Awards:
“POPKOMM2003,” techno music fest, Cologne, Germany 2003
IDAA, “Laurence Gartel Award,” Melbourne, Australia, 2001
Institut fur Neue Median, Frankfurt, Germany “Artist in Residency”
InterMedia Art Center, Bayville, NY, “Video Award”
Experimental TV Center, Owego, NY, “Artist in Residency”
Film Video Arts Center, NY, "Artist in Residency”
Art Directors Club of New Jersey, “ 22nd Annual Award Show”
Polaroid Corporation, MA, “Research Grant”
Kodak Corporation, NY, “Research Grant”
Apple Computer, Milan, Italy
In Kind Grants:
IBM, Canon USA, Apple, Adobe Systems, Roland, Iomega, La Cie, Epson America, Metacreations, ArcSoft,
LaCaere Hasselblad, eFrontier, MUVEE, Olympus America, Konica/Minolta, Hewlett Packard, NOKIA
Selected Commissions:
First Naples International Film Festival Official Poster
Scripps Research Faciility, Public Art Commission, Palm Beach
GARTEL 3D AUTO MOTION Sculpture , Private Benefactor
Paranoia Magazine cover art
Cinema Arts of the occasion of the 100th Anniversary of Clark Gable
The Walt Disney Company; - Official millennium image for Epcot Center
Bristol Myers Squibb – Annual report
Philip Morris – German national advertising campaign
Commerzbank – German National advertising campaign
GWW Wiesbaden – 50th anniversary commerative image
BATES Agency Frankfurt - German Advertising
Budweiser – National advertising
Amerivox – National phone card
Sprint – National phone card
Roche Pharmaceuticals – Global annual report
Phoenix Suns Basketball Team – Official team poster
Dan Majerle’s Sports Bar – National basketball association player poster
Museum of Discovery & Science, Florida, - museum poster
Mobil Oil – national advertising campaign
Grapevine Telecards – National phone card
IBM – National ad campaign
Canon USA – National advertising campaign
Marlboro – Horse racing poster, Puerto rico
SWATCH, Switzerland – merchandise development
Boy Scouts of America – Official poster
Future Film Festival, Bologna, Italy – National poster
METRO-DADE Art-In-Public-Places, florida – International airport commission
Jimmy Star Fashion Designer, - Promotional material and national advertising campaign
ABSOLUT GARTEL" for Absolut Vodka appearing in: Art-In-America,” "Artforum,” "Art and Auction,”
"Sotheby's Preview,” “Scientific America,” "WIRED,” “Art and Antiques,” “Technology Review,” "NY Magazine;”
Official Poster for the Ft. Lauderdale International Film Festival, Ft. Lauderdale, 1995;
Official Poster for the Palm Beach Photography Workshops & Museum;
Dinosaur Poster Series Image Marketing, Chicago, IL
SAKURA, NYC, - Dinnerware
ACME Writing Tools, Hawaii - PENS;
Ritzenhoff Cristal, Germany – Glassware
Gibson Guitars – Limited edition Gartel Guitars
numerous international private collections
Selected Teaching and Lectureships:
GARTEL: 30-Years of Digital Art, Naples Int. Film Festival, The von Liebig, 2009
VIRGINIA MARTI COLLEGE OF ART AND DESIGN, Cleveland, Ohio 2009
GARTEL: The Man, The Myth, The Legend, South Florida Camera Club, 2009
Maine Media Workshops- Advanced Digital Photography, 2008
Palm Beach Photographic Centre, 1992…. Ongoing
DIGITAL LONG ISLAND/Artistic Director/Organizer, 2007
Art League of Long Island, Dix Hills, NY 2007
School of Visual Arts: Master Class Lecture, NY, 2007
Scottsdale Museum of Contemporary Art, 2004
ACM Siggraph Ft. Lauderdale Chapter, FAU, 2004
Edison College, Ft.Myers, Florida 2003
Camberwell College of Arts, London 2002
Towers Hamlet College, London, 2002
Maine Photographic Workshops, Rockport, Maine, 2002.2003, 2004, 2005, 2006
University of Miami, Florida, 2002
Cyberculture, University of Maryland, 2002
Digital salon, PPA, Atlanta, Georgia, 2002
World Photographic Congress, Orvieto, Italy, 2001
Mid Regional Professional Photographic Association, Columbus, Ohio 2001
Digital Power Conference, Biloxi, Mississippi, 2001
Stonybrook University, MFA students, NY. 2000
Soros Foundation, Moscow, Russia, 2000
Palm Beach Photo Workshops, Delray Beach, FL, 2000
PIMA, Naples, FL, 1999
PMA EUROPE, London, U.K., 1999
GARTEL SPEAKS, School of Visual Arts, NYC, NY, 1999
Werbe-Design Akademie of the WiFi Tirol, Innsbruck, Austria, 1998
Palazzo delle Fontane, Rome, Italy, 1997
CHAIRMAN: Electronic Publishing, International Fine Arts College, Miami, FL, 1996-1998
California State University at Long Beach, CA, 1996
Palm Beach Community College, Lake Worth, FL, 1995-1996
Professional Photographers of America, Atlanta, GA, 1993-1997
International Center of Photo, "Computer Imaging Wkshp.,” NY, 1988-95
Usdan Center for the Creative & Performing Arts, Long Island, NY, 1995
Northwestern Louisiana University, Natchitotches, LA, 1995
Pratt Institute, NY, NY, 1992-1995
School of Visual Arts, Korean Exchange Students, NY, 1990-94
Masur Museum of Art, Monroe, LA, 1994
Marymount College, Tarrytown, NY, 1991
American Society of Magazine Photographers, Chicago, IL, 1990
Electronic Photography, R. I.T. Satellite Video Teleconference, 1990
York High School, Faculty and Student Workshops, York, ME, 1990
Computer Electronic Publishing Show, SPOKESPERSON, Chicago, IL, 1990
School of Visual Arts, Computer Art Instructor, NY, 1983-1994
Murray State University, "Photography: The Next 150 Years,” KY, 1990
Montclair State College, "Computer Art,” NJ, 1989
University of Southern Colorado, "Computer Art Workshop,” Pueblo, CO, 1989
Westbrook College, "Computer Art,” Portland, ME, 1989
C.W. Post College, Computer Art Professor, NY, 1988
University of Southern FL,, Computer Art Professor, Tampa, FL, 1987
First Pan Pacific Computer Graphics Conference, Melbourne, Australia,1985
Bronx Community College, "Video/Computer Art,” Bronx, NY, 1985
NY State Art Teachers' Assoc., "Electronic Imaging,” NY, 1984
Selected Articles On Laurence M. Gartel:
“GARTEL: Naples International Film Festival,” Florida Weekly, Naples 2009
“AUTO MOTION” artist still revolutionary after 30-years,by C.Runnells, News-Press, Fl, 2009
“To be Young, Gifted, and GARTEL, by Victor Forbes, Fine Art Magazine, NY, 2009
“MASSIVE for ears and eyes” Sun-Sentinel, Sean Piccoli, FL, 2008
“FETISH,” Artillery Magazine, Sophie Louis, LA, 2008
“THE RADAR ART” Miami Magazine, Christian Cipriani, 2007
“Mouse Almighty,” New York Times, Nicole Cotroneo, NY. 2007
“Computer Art,” LI Newsday, Aileen Jacobson, NY. 2007
“On Long Island” Island Publications, NY, 2007
“GARTEL: Digital Artist, Palm Beach Times, by Adirenne Garnette, Florida 2007
“GARTEL, Digital Old Master, Boca Raton, Observer, Florida 2007
“ICONS of the INFORMATION AGE,” BP Directory, Celeste Delgado, Miami, FL 2005
“RE-INVENT, College Bound Magazine, Staten Island, New York, Fall, 2005
“Digital Pioneer: Gartel Retrospective,” Cultural Quarterly, Ft. Lauderdale, FL Summer 04
“Bad Boy of Modern Art,” Boca News, Skip Sheffield, Boca Raton, FL 8/04
“Artist Offers a Byte,” Sun-Sentinel, Candace Russell, Ft. Lauderdale, FL 8/04
“Father of Digital Art,” Coral Springs Forum, Lily Ladeira, Coral Springs, FL 7/04
“Compelling Pieces,” Miami Herald, Miami, FL 7/04
“Digital Love,” Miami Herald, Miami, FL, 6/04
“GARTEL@ Notacon,” Cool Cleveland, Lee E. Batdorff, Ohio, 5/03
“Digital Dude,” New Times, Dave Amber, Ft. Lauderdale, FL, 5/03
“Digital Dude,” New Times, Dave Amber, Ft. Lauderdale, FL 4/04
“GARTEL: Input seduces Output,” Contour Magazine, Genvieve Bartel, Atlanta, Georgia, 4/04
“Cyberotika,” Creative Loafing, Andisheh Nouraee, Creative Loafing, Atlanta, GA, 4/04
“Art fest Back in Wynwood,” Miami Herald, FL. 10/03
“Laurence Gartel, Age of digital art,” Island Sun, Sanibel, Florida by Pam Wortzel, 9/03
“GARTEL,” Boca Raton News, Boca Raton, Fl, 9/03
“GARTEL ART AT ECC,” Ft.Myers Beach Observer, ft.myers, fl, 9/03
“Digital artist lectures on his work,” Florida today, Brevard county, fl, Pam harbrough, 9/03
“Southwest Florida arts,” News press, ft.myers, Fl., Miriam pereria, 9/03
“GARTEL DIGITAL,” Fetish images, Skin Two Magazine, London, England Fall 2003
“Gal Fridae,” Andisheh Nouraee, Creative Loafing, Atlanta, Ga. 3/02
“GARTEL’s Fetish.” East Sider, Ft.Lauderdale, Fl, Andrea G. Rollin, 2002
“art 1.1: GARTEL upgrades work with computer.” Palm beach post, FL. Gary schwan 4/01
“foto finish.” Sun sentinel, Fl, scot luft 4/01
“Gartel honored with Hyer-real expressionism,” Boca raton news, Fl. 4/01
“Cuzins,” jump magazine, milano, italy (COVER) 2’01
“E-ART,” Rangefinder magazine, santa monica, ca. 2’01
“Breaking all the Rules,” Photographer’s Forum Magazine, Interview Ken Lassiter, 2000
“GARTEL,” Israeli Photography Magazine, Tel Aviv, 2000 (COVER)
“GARTEL: RAM RAIDER?” British Journal of Photography, Sarah Brown, UK 1/2000
“GARTEL: Second Renaissance?" Digital Fine Art Mag, Leela Moore, NJ, 8/99
"GARTEL," Arte Magazine, Gianluca Marziani, Milan, Italy 7/99
"Profile: Laurence Gartel," Rangefinder Magazine, Santa Monica, CA, 7/99 (COVER)
"IL MONDO DI GARTEL," JUMP MAGAZINE, Milan, Italy 4/99 (COVER)
"Pionier Kunstler," Foto-PC Magazine, Munich, Germany 3/99
" Lezione di Storia " GRAPHICS & PUBLISHING " Massimo Cremagnani 1/99
" Laurence Gartel " D'ARS Magazine Pierre Restany 3/99
"Larry Gartel,” Sebastiano Grasso, Corriere Della Sera, Milan, Italy, 1998
"Un Computer come tavolozza" Maria Grazia Villa, Gazzetta di Parma,
" Laurence Gartel" Balthazar Modigliani, 02 Art + Show Milan Italy,
" Laurence Gartel" JULIET Art Magazine, 11/98
"Laurence Gartel's Pulsation’s," DOMUS Mag., Pierre Restany Milan, Italy, 11/98
"Laurence Gartel," KULT Magazine, Giacomo Papi, Milan, Italy, 11/98 (COVER)
"Maxi-puzzle al Computer." IL Giorno, Gian Marco Waich, Milan, Italy, 11/19/98
"Eine Kybernetische Romanze," ARTPROFIL Mag., Dr. Helmut Orpel, Germany, 6'98
"Masterpieces Computer," Palm Beach Times, FL, April 1998 ( BACK COVER)
"Die Geduld des Papiers ist endlos," Tiroler Tageszietung, Tirol, Austria, March 1998
"20 Jahre Computerkunst: L. Gartel, Fritz Mag, V. Nebgen, Frankfurt, Germany, April 1997
"Digital Art at the Miami International Airport," WING TIPS Mag., MN, April 1997
"Computerkunst,"Frankfurter Neue Presse, Wolfgang Lieser, Frankfurt, Germany, 1997
"ComputerKunst in Amerika Haus,” Wiesbadener Kurier, Germany, March 1997
"Laurence Gartel, Interview," LA Cult Online Mag. Donna Anderson, Dec. 1996
"Testing the Pencil," Photo Electronic Mag. Ingrid Krampe, Atlanta, GA, May 1996
"Electric Art,” Sun Sentinel, Toni Rogers, Palm Beach, FL, October 1995
"Laurence Gartel,” Culture Magazine, Paul Aho, Palm Beach, FL, Fall 1995
"Kunst wachst an den Tasten des Computers, Wiesbadener Tagblatt, Germany 1995
"Electronk auf dem Weg zur Kunst,” Wiesbadener Kurier, Germany, 1995
"Liebesterklarung an den Computer,” Wiesbadener Kurier, Germany, 1995
"Love at First te,” Alexandria Daily Town Talk, LA, Alice Story, March 1995
"Downloading a Masterpiece,” P. Beach Daily News, FL, Jan Sjostrom, Jan. 1995
"Digital Pioneer,” Digital Photography, P.157 Mikkel Aaland, S.F., CA, 1992
"Absolut Gartel" Studio Photography Magazine, NY, November 1992
"Image wizardry" Mary Ann Marger, St. Pete Times, FL, Aug. 28, 1992
"Computer Artist Creates High Voltage Artwork" Joan Altabe, Sarasota Tribune, FL, 7/26/92
"Nuvo Japonica" WINDS Magazine, L. Gartel, Tokyo, Japan, 1992
"Master of the New Renaissance,” Confetti Mag, N. Bartels, Chicago, IL, April, 1991
"Computer Art,” Miami Herald, Elisa Turner, FL, January 1991
"York High Discovers Art for 21st Century,” York County Focus, Rene Lessard, ME, 10/90
"And The Artists Will Rise,” Info Magazine, Jeff Lowenthal, IA, September 1990
"Laurence Gartel,” Our Way Magazine, Shin Tsurumaru, Tokyo, Japan 1990
“GARTEL: East Meets West,” Chieftain Newspaper, Lyman Pitman, Pueblo, CO, 1/28/90
"Laying It On The Line,” How Magazine, Cincinnati, OH, Jan/Feb. '90
"Gartel: A Cybernetic Romance,”Verbum Mag, M. Gosney, San Diego, CA, Feb1990
"Laurence Gartel: A Cybemetic Romance,” Art Direction Mag., Jan '90
"Artists's Brush Is A Computer,” Times Record, M. Hendrix, ME, Nov. 22, 1989
"Computer Art Explores Cultures,”York County Star, S. Nudelman, ME, Nov 22, 1989
"Gartel: Way Of Computer,” ME Eve. Press, B.Niss, Portland, ME, Nov 2, '89
"The Art of Technology,” Casco Bay Weekly, Leslie Morison, ME, November 1989
"On Nuvo Japonica" Judith Sobol, Director, Payson Gallery, Portland, ME, 1989
"Computer Graphics Gartel,” IDEA Mag, Hisaka Kojima, Tokyo, Japan Nov 1989
"Testing The Limits, Making Demands,” NY Times, Phyllis Braff, NY, Jan. 29, 1989
"Out Of Bounds,” Southampton Press, Ramashwar Das, Southampton, NY, 1989
"Laurence M. Gartel" Advertising Age Magazine, NY, Dec. 1989
"Cybernetic Romance,” Aktueller Software Mag., M. Siegk, Germany, April 1989
"Homegrown,” Long Island Monthly Magazine, NY, Oct. 1989
"Cybernetic Romance,” Computer Graphics Today; NCGA News Journal, NY, 1989
"Modern Romance Via Computer'', NY Times, Helen Harrison, NY, Oct 30, 1988
"Art Macintosh,” SouthWest Art Mag., Jacqueline Pontello, TX, 1988
"Computer Art,” St. Petersburg Times, Mary Ann Marger, Tampa, FL, Aug. 23, 1987
"The Electronic Image,” Darkroom Mag. Richard Altman, Los Angeles, CA, 1987
"Computer Art,” City Magazine, Geneva, Switzerland, Dec. 1987
"CG Prof. Draws District-Wide Attention,” L.I. Advance, N. Cozine, Bayport, NY, 87
"Laurence M. Gartel,” ZOOM Mag., (American & French Editions), Paris, France, 1986
"New Tools, New Art,” School Arts Magazine, Laurence M. Gartel, NY, 1986
"The Expensive Paint Brush,” Computer Living, Ellis Booker, NY, April 1985
"New Media, Modern Messages,” Newsday, Malcolm Preston, NY, 1984
"Fantasia Ben Calcolata,” PM Mag, Arturo Quintavalle, Leini, Italy, Gennaio 1983
"Video Art: Ready for Prime Time,” NY Times, Phyllis Braff, NY, 1983
"The Tube is His Canvas,” Sunday Newsday Magazine, Stan Greene, NY, 1981
"Galleries That Welcome New Talent,” NY Times, Michael Russo, NY, 1980
"Art/Photography Exhibit,” Newsday, Malcolm Preston, NY, 1979
"Exploring New Processes in Photography,” NY Times, Helen Harrison, NY, 1979
Selected Books and Catalogs:
“GARTEL AUTO MOTION,” Oversized Limited Edition, Boca Raton, Florida 2009
“Digital Art” Wolfgang Lieser, published by HF Ullman, Koeningswinter, Germany, 2009
"The Digital Print: Identification and Preservation", by Martin Jurgens, Hamburg,
Published by Getty Institute, Malibu,CA 2009
“The Vernacular Terrain,” Steve Danzig, London, 2008
“GARTEL: The Art of Fetish,” Published by Schiffer Books, PA. 2007
“Art of the Digital Age.” Published by Thames and Hudson, Author Bruce Wands, 2006
“La STORIA DELL’ ARTE” published by Editions Giunti, Florence, Italy 2001
“DIGITAL DARKROOM” by George whale& Naren Barfield, London, 2001 P. 28 &36.
“Leonardo,” Digital Salon exhibition at the School of Visual Arts, NYC, November 2000
“Future Film Festival,” Giulietta Fara, AND KRONOS, Bologna, Italy, 2000 (COVER and pps. 6-8)
"Dream Contenary Computer Graphics Grand Prix 99,” Exhibition Catalog, Aizu, Japan, 1999, p. 25
“KUNST 99,” Exhibition Catalog, Zurich, Switzerland, 1999, p. 127
“Siggraph 98 Exhibition,” Association for Computer Machinery, NY, p.74
“MiART,” Milan, Italy, p. 181
"Laurence Gartel: Arte & Tecnologia" Edizioni Mazzotta Milan, Italy, Oct 1998
“Pioneers of Digital Photography,” Open Space Gallery, Allentown, PA, Mary Ross, 1998
“The Painter 5 WOW,” Cher Pendarvis, Peachpit Press, CA, 1998, p. 167
"Editions of Art” Moderne Kunst, Tiroler Tageszietung, Tirol, Austria, March 1998
"Editions of Art" Ein Kunstgenuss," Nueue Kronen Zietung, Tirol, Austria, March 1997
“School of Visual Art Gold, 50 Years of Creative Graphic Design,” Rizzoli, NY, 1997, p. 138
“DigiPAinting ’97,” Exhibition Catalog, Roma, Italy, p. 30
“Kunst Art Multiple,” Messe Dusseldorf, Germany, 1996, p. 81
“The Absolut Book,” Richard Lewis, Journey Editions, Boston, MA, p. 83
“Fine Artists Guide to Marketing & Self Promotion,” Julius Vitali,Allworth Press, NY 1996, pps.84-88.
“Photoshop Filter Finesse,” Bill Niffenegger, Random House, NY. ‘94, pps. 342, 243
“Casa’s Pleasure of the Palette and Palate,” the Center Against Sexual Abuse, AZ
“Digital Photography,” Mikkel Aaland, Random House, NY. ’92, Color Insert, p. 157
“Mutant Monkeys,” David Jones, Click Publishing, Pennsylvania, 1992, pps. 88,89
“Laurence Gartel: Norton Museum of Art,” Brochure, FL, Christina Orr-Cahall, 1991
"Laurence Gartel: A Cybernetic Romance,” Gibbs M. Smith, Layton, UT, 1989
"20 Jahre Computerkunst: Catalog, Philip Morris,” Hamburg, Germany 1997
“Graphic Communications Today,” Theodore E. Conover, West Publishing Company, St. Paul,
MN, 1990, pps. 432, 433
"Exploring Color Photography," Bob Hirsch; W.C. Brown Publisher, Dubuque, IO, 1989 Chap. 21 p. 241
"Laurence M. Gartel: A Cybernetic Romance,” Catalog: Eleanor Flomenhaft, Fine Arts Museum of Long Island, NY, 1989
“Getting Started In Computer Graphics,” Gary Olsen, NorthLight Books, Cincinnati, OH, 1989, pps.18,19
"Out Of Bounds Exhibition,” Catalog Guild Hall Museum, Ann Chwatsky, East Hampton, NY, January 1989
“NY Art Review,” Les Krantz, American References Publishing Co., Chicago, IL., 1988, p. 579
"Second Emerging Expression Bienalle: The Artist and the Computer” Luis Cancel, Bronx Museum, Bronx, NY, 1987
"Siggraph '86 Art Show,” Catalog Patric Prince, Dallas, TX, 1986
"Drawing With Computers" Mark Wilson, Putnam Publishing, NY, 1985
“Computer Information” Marjorie M. Leeson, Science Research Associates, Chicago, IL
“Computer Chronicles,” H.D. Lechner, Wadsworth Publishing, CA, 1984 p. 246
“Creative Computer Graphics,” Rocky Morton, Annibel Jankel, Cambridge Univ.Press, U.K.1984, pps.86,87
“Japanese Siggraph Exhibition Catalog” 1983, pps. 46, 47
Selected Book Covers:
“The Inevitable Partenaire Japonais,” Dominique Turcq, Fayard, Brussels, Belgium, 1992
“Guidelines” Ruth Spack,” St. Martins Press, NYC, NY, 1990
“Performance Measurement of Computer Systems,” Phillip McKerrow, Addison Wesley, U.K., 1988
“Syntax Analysis and Software Tools,” K. John Gough, Addison Wesley, U.K., 1988
“Data Base Theory and Practice,” Lars Frank, Addison Wesley, U.K., 1988
“Parallel Programming,” R.H. Perrott, Addison Wesley, U.K., 1987
“Logic Programming and Knowledge Engineering,” Tore Amble, Addison Wesley, U.K., 1987
“Programming the NS32000,” Chris Martin, Addison Wesley, U.K., 1987
“Writing In Organization,” Peggy Maki, McGraw Hill, NY, 1987
“Text Processing and Type Setting with Unix,” David Barron, Addison Wesley, U.K., 1987
“Introduction to Expert Systems,” Peter Jackson, Addison Wesley, U.K., 1986
“La Directorie,” Western Pacific Publishing, CA, 1982
Selected Television & RADIO Appearances:
PLUM TV, Miami, Florida 2008
FOX 29, West Palm Beach, Florida 2008
CBS Channel 12, West Palm Beach, Florida 2008
CBS Morning News, Miramar, Florida 2008
ART ROCKS! – Internet Radio, San Diego, CA. 2008
WLIU, CW Post Southhampton Campus, LI, NY. 2007
WPBR 1340 AM RADIO, Lake Worth, Florida 2002
ZETA 94.9 FM RADIO, Miramar, Florida 2002
WXEL TV, Palm Beach, Florida 2001
TB6 TV, Moscow, Russia, 2000
BKT TV, Moscow, Russia, 2000
AAC National TV, Moscow, Russia, 2000
Tele Monte Carlo, Milan, Italy, 1998
SEI Milan, Milan, Italy, 11/98
TELEMARKET, Art News, Italy, 11/98
TI-IN Network, San Antonio, TX, 1996-1992
ARTE, Paris, France; Berlin, Germany, 1996
Channel 20, West Palm Beach, FL, 1995
The Real Stuff, Ft. Lauderdale, FL, 1995
NBC Nightly News with Tom Brokaw, NY, 1991
CBS Objective Jobs, Chicago, IL, 1991
Multimedia, Chicago, IL, 1991
WJME Portland, ME, 1989
Curator:
“Digital Long Island,” Mills Pond House, New York 2007-2008
“NEW MEDIA STUDENT FILM Competition,” Scottsdale Film Festival, Scottsdale, Az 2004
“Laurence Gartel Award” for digital excellence, IDAA,Melbourne, Aus. 2001-2003
"Digital Salon,” Palm Beach Comm. College Museum, Lake Worth, FL, 1995
"Emerging Computer Graphic Artists,” Multi-Media Gallery, NY, 1991-1995
Selected Panelist:
JUDGE: Jade Reidel Digital Art Scholarship Competition, Naples, Florida 4/08
DIGITAL LONG ISLAND, Artists Talk on Digital Art, Moderator, Village Center, Pt. Jefferson, LI 2007
Florida State Individual Media Arts Fellowship Grants, Tallahassee, FL, June, 2006
MODERATOR: “The Digital Age,” Miami International Film Festival, Miami Dade College, 1/05
JUDGE: Scottsdale International Film Festival, Digital Film Making Competition, Az, 11/04
HD Festival, ArtServe, Ft. Lauderdale, Florida 8/04
MODERATOR, “New Media and the Collector,” ART+ Gallery, Coral Gables, Fl, 11/03
Digital Power, Biloxi, MS, 2001
Florida State Individual Visual Arts Fellowship Grants, Tallahassee, FL, June, 2000
WPPI, Las Vegas, NV, 1999
Photo Imaging Education Association, Las Vegas, NV, 1999
Graphic Communication Association, Spectrum Conference, Tucson, AZ, 1997
PhotoFusion, Palm Beach Photographic Workshops, FL, 1996, 2000, 2001, 2002
Macworld, Boston/San Francisco, 1993-1994
Biographies:
"Outstanding Young Men of America;”
"Who's Who in the East;”
"Who's Who;”
"Who's Who in America;”
"Who's Who In Education;”
"Who's Who in American Art;”
"Who's Who in the World"
Professional Organizations:
President, Electronic Design Association (EDA)
National Organization, FL, 95'-'98
Founding Director, Museum of New Arts (MoNA), Ft. Lauderdale, FL, 1996
CD ROM:
"Laurence Gartel: Creating Computer Art,” Diamar Interactive, Seattle, WA, 1997
MOVIE:
“GARTEL:” DOCUMENTARY – Granada Television, London, 2003
“GARTEL:” DOCUMENTARY – An Evening with Gartel Anthology Film archives, NYC, 2003
“GARTEL:” DOCUMENTARY – World Premiere, Melbourne Film festival, 2003
“GARTEL:” DOCUMENTARY – Private Preview, Cinema Paradiso, Ft. Lauderdale Film festival, 2003
“GARTEL:” DOCUMENTARY – Preview Trailer LONDON, 2002
DVD MUSIC/ART RELEASE: “GARTEL: TRANCE, DANCE and other Living Things” VOLUME I
RAGGAEFORCE RECORD LABEL, LOS ANGELES, CA 8/2004 – BUDGET: $75,000
DVD MUSIC/ART RELEASE: “GARTEL: INDIA” Release: Spring 2007 -BUDGET: $95,000
DVD: “GARTEL: FERRARI,” Installation - Release, FALL 2008. 6:57 Seconds to be shown at TATE MODERN, London 2011
DVD: “30-Years of Digital Art,” Crystal Productions, Fall 2009
http://www.crystalproductions.com/cpnew/ProductDesc.aspx?code=CP0066&&eq=&desc=Laurence-Gartel%3a-Digital-Media-Artist&key=it
A documentary on one of the most innovative artists of the 21st century. For over 30 years Gartel has been exploring the artistic potential of computers. His cutting–edge works have been shown at the Museum of Modern Art and the Smithsonian Institution. His works for pop culture icons such as Versace, Britney Spears, and Justin Timberlake are legendary. DVD, 14 minutes.
“The video will hold the interest of students, who will find it to be inspirational and over too soon. This reviewer, captivated by the gorgeous color and mesmerizing action, found herself wishing the movie were longer.”
– P. G., Arts & Activities
“...offers a brief yet vividly brilliant portrayal of the man and his work, offering a wealth of inspiration to aspiring artists eager to seize advantage of the latest creative innovations.” – J. Cox, Midwest Book Review
A documentary on one of the most innovative artists of the 21st century. For over 30 years Gartel has been exploring the artistic potential of computers. His cutting–edge works have been shown at the Museum of Modern Art and the Smithsonian Institution. His works for pop culture icons such as Versace, Britney Spears, and Justin Timberlake are legendary. DVD, 14 minutes.
“The video will hold the interest of students, who will find it to be inspirational and over too soon. This reviewer, captivated by the gorgeous color and mesmerizing action, found herself wishing the movie were longer.”
– P. G., Arts & Activities
“...offers a brief yet vividly brilliant portrayal of the man and his work, offering a wealth of inspiration to aspiring artists eager to seize advantage of the latest creative innovations.” – J. Cox, Midwest Book Review
First Day of Art School:
Isn't it ironic that the "100th" blog follow the "50th" anniversary blog article. And isn't it also interesting that this blog, 100 represents the "FIRST DAY OF ART SCHOOL!" In this instance I can only say that things come around full circle. 100 blogs later, we come to the beginning. We are back at Day 1. Everything that has happened, everything that has occured, comes back to the first day. It was a goal, it was a desire, it was a passion; it was a straight line. Amazingly I have to say that there weren't any people who jumped on at any point. Nobody saw the child prodigy. When I showed adults my work they thought it was really nice.
Nobody really looked twice nor did they really comment. It is very interesting. I can only think of the famous story written by Theo about his brother Vincent. A man came into a gallery and saw a Van Gogh. It was a Friday night and the guy had to get home from work and was late for dinner. He wanted to reach his wife but figured he best be on his way. I dont recall how much the galleriest was charging for the Van Gogh. It wasn't cheap but it certainly was not anywhere near what a Van Gogh sells for today. The man lost out on several million dollars because he was unsure and had to go home to eat. It is interesting because who would do that in today's world. Who is contemplating buying art and then running out of the gallery thinking that they will get it again at the same price. It just doesnt happen that way. It just cannot happen in today's world.
So this entry is dedicated to my first day of art school. I went with my mother and can recall going up to the second floor of the Ansonia Hotel where the Pels Art School was housed. The Ansonia was one of the biggest buildings I can ever remember. The hallways were absolutely huge. Completely spacious. I remember not having any supplies and they gave me a few sheets of paper. I didnt have any pens, crayons etc so they set me up with charcoal sticks. I had to make sure not to break them. The Pels' were a family business. Again the space was absolutely enormous inside. In my minds eye I can see four huge rooms. (But HUGE!) Mrs. Pels an older lady (probably late 60s at the time) was very nice to the kids. With red hair little Keds sneakers and a scarf of sorts (Very Parisian) she would help all the young students.
"HELP" meant they would go over to your drawings and fix it up a bit. A touch here, a touch there. If something wasn't straight, they would draw a line and sure it up. As I graduated to painting, Mr. Pels would sit down and touch up your painting. A little color here, a little line or two there. It always looked better after Mr. Pels gave it his touch. I think the Pels really had it down pat. Some days they would have dozens of people painting. I guess it was cheap enough to take classes. Richard Pels was their red headed son and he would be the general journeyman. He would do just about everything. Nice people, indeed. I guess in the end, they really taught me how to draw. I have those first day of art school drawings at arms distance. I am including a photo of what I looked like at the time I started art school. It says a lot. If you compare it to my ABSOLUT GARTEL, you really see that nothing has changed in 45 years!!!
Isn't it ironic that the "100th" blog follow the "50th" anniversary blog article. And isn't it also interesting that this blog, 100 represents the "FIRST DAY OF ART SCHOOL!" In this instance I can only say that things come around full circle. 100 blogs later, we come to the beginning. We are back at Day 1. Everything that has happened, everything that has occured, comes back to the first day. It was a goal, it was a desire, it was a passion; it was a straight line. Amazingly I have to say that there weren't any people who jumped on at any point. Nobody saw the child prodigy. When I showed adults my work they thought it was really nice.
Nobody really looked twice nor did they really comment. It is very interesting. I can only think of the famous story written by Theo about his brother Vincent. A man came into a gallery and saw a Van Gogh. It was a Friday night and the guy had to get home from work and was late for dinner. He wanted to reach his wife but figured he best be on his way. I dont recall how much the galleriest was charging for the Van Gogh. It wasn't cheap but it certainly was not anywhere near what a Van Gogh sells for today. The man lost out on several million dollars because he was unsure and had to go home to eat. It is interesting because who would do that in today's world. Who is contemplating buying art and then running out of the gallery thinking that they will get it again at the same price. It just doesnt happen that way. It just cannot happen in today's world.
So this entry is dedicated to my first day of art school. I went with my mother and can recall going up to the second floor of the Ansonia Hotel where the Pels Art School was housed. The Ansonia was one of the biggest buildings I can ever remember. The hallways were absolutely huge. Completely spacious. I remember not having any supplies and they gave me a few sheets of paper. I didnt have any pens, crayons etc so they set me up with charcoal sticks. I had to make sure not to break them. The Pels' were a family business. Again the space was absolutely enormous inside. In my minds eye I can see four huge rooms. (But HUGE!) Mrs. Pels an older lady (probably late 60s at the time) was very nice to the kids. With red hair little Keds sneakers and a scarf of sorts (Very Parisian) she would help all the young students.
"HELP" meant they would go over to your drawings and fix it up a bit. A touch here, a touch there. If something wasn't straight, they would draw a line and sure it up. As I graduated to painting, Mr. Pels would sit down and touch up your painting. A little color here, a little line or two there. It always looked better after Mr. Pels gave it his touch. I think the Pels really had it down pat. Some days they would have dozens of people painting. I guess it was cheap enough to take classes. Richard Pels was their red headed son and he would be the general journeyman. He would do just about everything. Nice people, indeed. I guess in the end, they really taught me how to draw. I have those first day of art school drawings at arms distance. I am including a photo of what I looked like at the time I started art school. It says a lot. If you compare it to my ABSOLUT GARTEL, you really see that nothing has changed in 45 years!!!
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