GARTEL EXHIBITIONS
This year’s Carlisle show will include an exhibit of seven particularly unique cars, brought to Carlisle by artist Laurence Gartel, considered the “Father of the Digital Art World” for more than 40 years. His accomplishments include exhibits at the Museum of Modern Art and Princeton Art Museum, and the permanent collections at the Smithsonian Institute’s Museum of American History and la Bibliothèque Nationale.
He will bring “Bling,” a 1984 Cadillac Coupe DeVille; “Hippie,” a 1975 Volkswagen Beetle; “Love Car,” a 1956 Cadillac Sedan DeVille; “Tiger Car,” a 2000 Mercedes Benz S430; “Psychedelic Drive,” a 1982 380SL Convertible; “Green Machine,” a 1963 Chevy truck and “The Aquatic Car,” a 2013 Ford Focus, all of which will be on display throughout the weekend.
He will bring “Bling,” a 1984 Cadillac Coupe DeVille; “Hippie,” a 1975 Volkswagen Beetle; “Love Car,” a 1956 Cadillac Sedan DeVille; “Tiger Car,” a 2000 Mercedes Benz S430; “Psychedelic Drive,” a 1982 380SL Convertible; “Green Machine,” a 1963 Chevy truck and “The Aquatic Car,” a 2013 Ford Focus, all of which will be on display throughout the weekend.
Exhibition, March, 2013 New York International Car Show
Cafeina, Wynwood, photo by Mark Diamond
Getty Museum, LA, 2004
"MODERN MASTERS2" Exhibition at the Barry Gross Gallery, 3335 NE 32nd Street, Ft. Lauderdale, Florida 33308
COMING: MODERN MASTERS 2 — Saturday, November 3 at 3:00pm at Barry Gross Gallery, 3335 NE 32nd Avenue, Ft. Lauderdale, November 3 - December 1, 2012. https://www.facebook.com/events/253013134795463/ |
GARTEL: Artist’s Statement
LAURENCE GARTEL, Digital Media Artist
"30-Years of DIGITAL ART"
Over the last 30-years the journey has been a wonderment of endless creativity and discovery. Perfecting one's skills to create a compelling and meaningful image, whether it is through humor, realism, sexuality, documentary, etc. The artist life is one of movement and sensation. To quote Salvatore Dali, "Sex goes in through the eyes and out through the hairs of the paintbrush." (We can exchange the word "Sex" for Art." ) Experience through living makes the best art.
The last thirty years has brought a change in art, culture and society like never before in the history of man. We should take none of it for granted. To be able to see people across oceans in real time; to be able to send photos, and moving images is a marvel in itself. Marshall McCluhan was absolutely right on the money when he said, "The medium IS the message." The wonderment of technology creating new relationships amongst people of foreign countries and social customs, only makes us realize how similar we all are. Our values are the same no matter what, and beyond what the propaganda media would like us to believe. Through visual experience our perceptions of the world are changing for the better. Man can communicate to man in different dialects and foreign tongues. The visual image both still and moving, enables us to witness another's experience and make it our own. Walls of separation are changing and hence we are in the midst of a paradigm shift in global economy.
My creative efforts in the Digital Arts are indicative of this technological revolution and social change. It marks the era that we have lived through and where we are going. One can look back on this work and see the representation of society like peeking into a Breugal painting, and understanding daily life at the time of the Renaissance. Art then is a running record of our civilization. The artifacts tell the story of where mankind has treaded and how humanity has evolved. I bare this in mind every time I look at a current work of art. How much does it say about where we are at in present day life?
I graciously take the baton with honor from my dear friend and mentor, video guru Nam June Paik. For it was he, who showed me the way, and opened the door to the world of electronic media. I was just a teenager then, but I had the insight to comprehend that the future of our lives and the fact that our visual communication was going to be Digital. I have not had one day off the path of experimentation in all this time.
Fast-forwarding; my current work continues to break through new creative challenges, and thus there is a synergy between creative thought processes based on previous knowledge, and new technological potentials. And that, is the secret to the work that I produce on a daily basis. – Discovery. Invention. Fearlessness of trying what has never been tested." "To boldly go where no man has gone before."1 I look up to an artist likeRobert Rauschenberg who in his day worked with found objects and juxtaposed materials to form a cohesive new visual language. Pop art has reined for decades because of his deliberate and methodical explorations. The true champions of art all have taken huge risks: To fight current trends, and to take persecution as a symbol of success against the status quo. Innovation is always greeted with skepticism. That is the nature of mankind to fear, that which is uncomfortable and unfamiliar.
Now the tools of digital technology are in everyone's hands. Potentially every one can be an artist. It is true. They can be: at least for a millisecond in time. But it takes a lifetime of challenge and risk to become a gladiator of merit.
To take an excerpt from Pierre Restany's essay from the book, "GARTEL: Arte e Tecnologia" he writes, "As a true "fabulist" of our present time, Gartel uses Internet for its fabulous capacities of amalgamating the illuminated variety of differences included in each existential microcosms of the human being. The formal profile of the communication vector resulting from such process follows the seductive throbs of daily life, being captivated meanwhile. Here we are, right in the basic grounds of Gartel's expressiveness: the author assumes his self-awareness thought the full description of his journey on Earth, piece by piece, instant after instant."2
In this explorative journey of art and technology, I go back 300 or so years to a master artist who experienced the same sensation of a different incarnation. To follow the words of Hokusai, "From around the age of six, I had the habit of sketching from life. I became an artist, and from fifty on began producing works that won some reputation, but nothing I did before the age of seventy was worthy of attention. At seventy-three, I began to grasp the structures of birds and beasts, insects and fish, and of the way plants grow. If I go on trying, I will surely understand them still better by the time I am eighty-six, so that by ninety I will have penetrated to their essential nature. At one hundred, I may well have a positively divine understanding of them; while at one hundred and thirty, forty, or more I will have reached the stage where every dot and every stroke I paint will be alive. May Heaven, that grants long life, give me the chance to prove that this is no lie."3
Laurence Gartel
Digital Media Artist
Boca Raton, Florida June 10, 2008
1. This introductory text was spoken at the beginning of many Star Trek television episodes and films, from 1966 onward.
2. From, "GARTEL: Arte e Tecnologia" published by Edizioni Mazzotta, Milan, Italy 1998.
3. Postscript to 100 years of Mount Fuji Hokusai
"Collage is story telling. The puzzle pieces are all elements that make up the whole. One picture does not describe the story. Success of a good artwork has a succinct message that is embedded with multiple views. Thus each picture is carefully chosen, and carefully placed. It is the placement that makes someone a true genius of story telling. Place an element in the wrong place, wrong size, it sends a completely incorrect message. As in music if the sound is placed in the wrong location, the score has no order, and thus the music sounds awful. Same with visuals. If the collaged item is put in a position that doesn't make sense it is hard on the eyes. Collage should have a flow, moving from one part of the picture to another. Looking at the over all image from a distance you see a sea of color. That color should take you on a visual journey. Moving the eye from one location to another. Again, like a ballerina moving from one spot on the
dance floor to another, the movement should be graceful. I would tend to think, that if a collage artist couldn't write something like the above, then they have no sense of why they are developing the pictures that they do. It would then be completely random with no thought pattern whatsoever. What's happening in art today, is that visual skill is getting lost, and good taste is slowly diminishing. The untrained eye prevails just like the unskilled palate of a wine taster maneuvers his/her way down the spirits aisle of their favorite liquor store."
LAURENCE GARTEL, Comments on Collage / Montage, May 20, 2004
SUPERCARS 2012
Jan. 22, 2012 Supercars, West Palm Beach - Lake Pavillion Artshow
Join Gartel for "Women in Wheels" exhibition at the Lake Pavilion, Flagler Drive, West Palm Beach presented by SuperCar Weekend, Friday January 20th, 2012 6-8PM. The Lake Pavilion on the WPB Waterfront will house the Women in Wheels / Women in Motorsports Exhibition Jan 16th thru Jan 24, 2012.
SUPERCAR SUPERSHOW is an event that brings Auto Enthusiasts from around the World for 1 Week of Amazing Cars held in Palm Beach County, Florida with over 400+ SuperCars in attendance this is one America's Premiere Auto shows. Held on Jan 22. 11am-5pm. SUPERCAR SUPERSHOW SUPERCAR WEEKEND ART AND TECHNOLOGY OF SPEED AND DESIGN Flagler Drive Waterfront. www.supercarweek.com
CYMATICS
Art Basel Miami Beach, 2011
http://gartelmuseum.weebly.com/cymatics.html
GARTEL: Generative Art Conference XIV
Exhibition: Biblioteca Angelica Gallery
December 5, 6, 7 2011
GARTEL Speaks - Telepresence Lecture
December 6th, 2011 - 6:30PM Rome Time
Exhibition: Biblioteca Angelica Gallery
December 5, 6, 7 2011
GARTEL Speaks - Telepresence Lecture
December 6th, 2011 - 6:30PM Rome Time
“GENERATIVE ART,” Rome, Italy, Dec., 2011
Italy Backstory: http://gartelmuseum.weebly.com/italy.html
Italy Backstory: http://gartelmuseum.weebly.com/italy.html
BBC Big Screens, UK, Dec. 2011
GARTEL "Auto Motion"
"The Artist's Vision of Himself." - Exhibited at the Miguel Rodez Projects Gallery
during the "Face 2 Face" Exhibition., Bird Road Arts District, Miami.
during the "Face 2 Face" Exhibition., Bird Road Arts District, Miami.
GARTEL ART CARS, 2011
THE FACE:
Portrait Evolution in Photography
http://gartelmuseum.weebly.com/the-face.html
Previously Exhibited
Novosibirsk State Historical Museum, Novosibirsk
Krasnoyarsk Museum Centre, Krasnoyarsk, 2011
2011 The FACE: Portrait Evolution in Photography, Krasnoyarsk Museum, Krasnoyarsk, Russia.
Roba Private Gallery, Omsk, 2011
Fine Art Museum, Chelyabinsk, 2011
Metenkov Museum of Photography, Ekaterinburg, August 17, 2011
"The Face" - Paris, France
American University of Paris, Fine Arts Gallery, Oct. 11 - Nov 7, 2011
Now Showing: ROSPHOTO State Museum, St. Petersburg, Russia, Dec., 2011
Portrait Evolution in Photography
http://gartelmuseum.weebly.com/the-face.html
Previously Exhibited
Novosibirsk State Historical Museum, Novosibirsk
Krasnoyarsk Museum Centre, Krasnoyarsk, 2011
2011 The FACE: Portrait Evolution in Photography, Krasnoyarsk Museum, Krasnoyarsk, Russia.
Roba Private Gallery, Omsk, 2011
Fine Art Museum, Chelyabinsk, 2011
Metenkov Museum of Photography, Ekaterinburg, August 17, 2011
"The Face" - Paris, France
American University of Paris, Fine Arts Gallery, Oct. 11 - Nov 7, 2011
Now Showing: ROSPHOTO State Museum, St. Petersburg, Russia, Dec., 2011
ROSPHOTO introduces the FACE, exhibition dedicated to the evolution of portrait in contemporary art photography.. The show embraces artworks of over 50 authors from 20 countries. Works by young artists hardly known to St.Petersburg audience are found side by side with the photographs by famous artists including the American Laurence Gartel, one of the pioneers of digital art, South Aftican artist Roger Ballen of US descent, Corean Atta Kim, 'Chinese Mapplethorpe' Almond Chu of HongKong, Japanese Kimiko Yoshida now living in Paris. The exhibition also includes artworks by over 10 authors from Moscow, St.-Petersburg and other Russian cities. The FACE combines traditional images and conceptual interpretations of portrait genre in various photographic techniques. Shown togehter in one exhibition, these artworks comprise an ensemble that does not claim to reflect the whole mass of ideas realized in contemporary photography today, but sheds a light on the specifics and the place of portrait in contemporary art.
Modern Masters
'GROSS PRINCIPE GARTEL' EXHIBITION, 2011
Exhibition: Oct. 8th - Nov. 6th, 2011 - MODERN MASTERS
MODERN MASTERS is an exhibition showcasing the works of three accomplished artists working in completely different mediums and styles.
Painter Barry Gross; painter and mix media artist; Salvatore Principe;
and Digital Media Pioneer Laurence Gartel.
These artists' careers span nearly four (4) decades,
all originally born and raised in New York, now living and working in South Florida.
OPENING RECEPTION: SAT. OCT. 8, 2011, 7-11PM - MODERN MASTERS BARRY GROSS GALLERY,
3335 NE 32ND STREET FT. LAUDERDALE, FL 33308
OPENING PARTY PHOTOS, click here:
http://www.johnstengerstudio.com/jss-photography-bta-oct-8-modern-masters.html
http://www.johnstengerstudio.com/jss-photography-bta-oct-8-modern-masters.html
'THE FACE' EXHIBITION, Paris 2011
Chelsea, New York, Fall 2011
Laurence Gartel, New York City - Chelsea Hotel
* Exhibition: "Behind The Blue Door Gallery's Halloween Extravaganza" on October 26th, 2011
Photos: https://www.facebook.com/media/set/?set=a.2074113817191.2103772.1375306530&
* Exhibition: "Behind The Blue Door Gallery's Halloween Extravaganza" on October 26th, 2011
Photos: https://www.facebook.com/media/set/?set=a.2074113817191.2103772.1375306530&
Hamptons
Wynwood
Germany
Russia
Palm Beach, Florida
The new Scripps Research Facility in Palm Beach County, selected a collection of artists for exhibit.
GARTEL's "PILLS" included in the semi-permanent art installation.
GARTEL's "PILLS" included in the semi-permanent art installation.
Bob Rauschenberg Gallery, Ft. Myers, Florida
3-D Printing First
First 3-D Digitally-Printed Fine Art Sculpture
3D is the magic word of power for the 2010s
"AUTO MOTION" DIGITAL SCULPTURE"
DESIGNING FOR CHANGE: Gartel's First World-Class 3D Sculpture
By Iona Miller, January 6, 2010
“Oh I'm newly calibrated. All shiny and clean.
I'm your recent adaptation. Time to redefine me.”
– Collective Soul, “Better Now”
Material Science-Art
Like any great pop artist, Laurence Gartel is continually redefining himself in an electronic arena evolving at light speed. Creating a "first" in the world of fine art is not easy. But Gartel is not limited in the scope of his vision to what has gone before. Who knows what subtle cues prompt an artist to move into new territory? It may be a meeting, a brilliant idea, or a whisper from the muse, but once the process is ignited, the project takes on a life of its own.
Gartel is a pathfinder, as he has demonstrated time and again in his cutting edge transmedia creations. He doesn't tell us, but lets the work stand on its own and speak for itself. Its an effortless act which flows forth from unbound genius, designed to celebrate itself.
Though it still sounds like science fiction, 3D digital printing is becoming a reality for designers, engineers and artists, alike. State of the art computer tools still require the master’s touch to create luminous works of art. Strange alloys are new allies in that process.
Gartel unveiled the first pure 3D Computer Generated Sculpture at The National Hotel during ART BASEL WEEK 2009 in Miami Beach. The piece was not carved and 3D scanned, but created from thin air. It poses the question, “What is a sculpture and what is a print?
Gartel’s answer lies in hitting "Command P" on the keyboard: The sculpture is really a print in plastic media. However, it took nine months to produce, and 3 ½ weeks to render. It is part of his ongoing “AUTO MOTION” series, recently exhibited and acclaimed at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida.
“Auto Motion” is arguably the world’s first fully-digital 3D fine art sculpture by a renown digital master, created from digital files using a 3D digital printer. In the past, Gartel has printed his artwork on designer tiles, etched it in bas relief for waterfalls and interior design, and been etched into 3D crystal. But none of it tops his latest. The pure Digital Sculpture erupts from its base with a whole new spatial quality that is thoroughly of this moment.
The process itself remains proprietary, preserving the mystery and magic of creation. The power is in the secret and the secret is in the power of that moment of aesthetic arrest that stops us dead in our tracks with delight and wonder at the emergence of something totally novel. We haven't seen anything like it before. It heralds a vast new potential in design, miraculously without any “laying on of hands.” Yet it is infused with the spirit of its creator.
“The invited guests, and art aficionados of the GARTEL sculpture unveiling were absolutely stunned,” said Norsham Blasko, President of The Connector Group who organized the presentation. “Mr. Gartel has been a pioneer of this art form for over thirty years,” declared Ms. Blasko. “Gartel defined it then, and he is redefining now.”
“What is equally amazing is how the young artists have so much respect for GARTEL,” acknowledged Blasko. “He is a true legend and deeply respected,” stated Carly Ivan Garcia, an emerging digital artist from California who was part of the evening’s festivities at the National Hotel. “He really did change the world,” said Robert Harris, another emerging talent. “He is doing it all over again.” “Absolutely amazing, 35 years later.”
Rapid Prototype Printing
“We shape our tools and afterwards our tools shape us.” --Marshall McLuhan
No single tool has exceeded the capacity of the microchip for shaping our electrified world through what Frank Lloyd Wright called the spiritual marriage of form and function. Changing our world utterly, it has given birth to the whole spectrum of digital media – a vast potential that is still being unpacked by artists and audience, alike. Digital 3D is breakthrough technology that moves beyond modeling, simulation, replication and fabrication into the visionary realm of fine art. Applications include direct metal printing, as well as other high tech composites.
Every media requires that we bend our will to its capacities and limitations. We must express ourselves within its constraints. The magic word of power for the 2010s is “3-D.” We’ve seen this in the unprecedented success of the blockbuster film “Avatar” and the imitators sure to follow. 3D TV is the hot-ticket item of the emerging decade. But the “first” of any new genre must always stand alone in its class as a window to the future. It cannot be usurped.
This is so for Gartel’s breakthrough work, “Auto Motion” sculpture. Known for his digital pioneering print and film/animation work, Gartel began “thinking” in 3-D at the end of the “Naughties” decade and found the technology had finally caught up with his vision once again, as it did in the mid-70s in the birth of digital media.
Nevertheless, simply having the technical means at one’s disposal doesn’t mean you can create great art. It requires solving not only the technical problems, but designing, structuring and creating a balance that encodes our current needs for a unique cultural experience.
When finished, the solution must be beautiful or it is meaningless. Further, technical disaster can strike at any point of the expensive rendering process, just as the wrong stroke can ruin a fine marble sculpture, or like a bronze casting can go awry ruining the wax model. Delicate digital sculpture can also be destroyed during removal from the mother matrix.
3D printing is the process that makes physical objects from virtual CAD models or math files. There are many different ways to do it, but they all work by building up models one layer at a time. It's not a carving process. Computer-controlled mills can be used to cut a design out of a solid block of material, but that method doesn't work well for designs which have a lot of undercutting where casting is out of the question.
This is an additive process using a printer that uses “plastic” rather than “ink.” Millimeter by millimeter the printer passes a coating, building up one layer at a time to make the object. The photographic quality, resolution, and detail is like nothing anyone has ever witnessed in a three dimensional form.
Different 3D printing processes use different materials for “the build” in proprietary ways. The burgeoning market is highly competitive. Each layer of the toolpath prints a fine addition to the form, creatinging it from the void. It builds high resolution layers to produce ‘burnable’ models in plastic, metal or wax. It has a vocabulary of its own: stereolithography, metal-printing, laser-activated binders, and airspace, for example.
Mobius Strip Racetrack
“When I’m working on a problem, I never think about beauty. I think only how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.” -- R. Buckminster Fuller
Gartel’s digitally-informed solution for modeling the dreamscape weaves together psychology and technology. His answer to the problem is direct. It addresses the audience as well as his current creative passion for supercars, making a new visual language accessible because it is already understood. And he does so with the magic that requires no overt physical expression, but one that fuses the ephemera of computing power and vision into a lasting moment of art history. He’s done it before and he did it again, creating a masterwork while breaking new design ground.
It isn’t easy to wrap your mind around the abstraction of an algorithm in virtual or visual terms. 3D modeling is a tedious, technical process with a steep learning curve. You have to decode it. Yet, the work retains his undaunted signature and mystique without being obscure, trendy or stylish. It is as if his works lifted from the 2D of print or film to inhabit the multidimensional world in which we live and breathe. It inhabits the same accessible space we do. We know it is right, because it is, indeed, beautiful.
"AUTO MOTION" DIGITAL SCULPTURE"
DESIGNING FOR CHANGE: Gartel's First World-Class 3D Sculpture
By Iona Miller, January 6, 2010
“Oh I'm newly calibrated. All shiny and clean.
I'm your recent adaptation. Time to redefine me.”
– Collective Soul, “Better Now”
Material Science-Art
Like any great pop artist, Laurence Gartel is continually redefining himself in an electronic arena evolving at light speed. Creating a "first" in the world of fine art is not easy. But Gartel is not limited in the scope of his vision to what has gone before. Who knows what subtle cues prompt an artist to move into new territory? It may be a meeting, a brilliant idea, or a whisper from the muse, but once the process is ignited, the project takes on a life of its own.
Gartel is a pathfinder, as he has demonstrated time and again in his cutting edge transmedia creations. He doesn't tell us, but lets the work stand on its own and speak for itself. Its an effortless act which flows forth from unbound genius, designed to celebrate itself.
Though it still sounds like science fiction, 3D digital printing is becoming a reality for designers, engineers and artists, alike. State of the art computer tools still require the master’s touch to create luminous works of art. Strange alloys are new allies in that process.
Gartel unveiled the first pure 3D Computer Generated Sculpture at The National Hotel during ART BASEL WEEK 2009 in Miami Beach. The piece was not carved and 3D scanned, but created from thin air. It poses the question, “What is a sculpture and what is a print?
Gartel’s answer lies in hitting "Command P" on the keyboard: The sculpture is really a print in plastic media. However, it took nine months to produce, and 3 ½ weeks to render. It is part of his ongoing “AUTO MOTION” series, recently exhibited and acclaimed at the Bob Rauschenberg Gallery at Edison State College in Ft. Myers, Florida.
“Auto Motion” is arguably the world’s first fully-digital 3D fine art sculpture by a renown digital master, created from digital files using a 3D digital printer. In the past, Gartel has printed his artwork on designer tiles, etched it in bas relief for waterfalls and interior design, and been etched into 3D crystal. But none of it tops his latest. The pure Digital Sculpture erupts from its base with a whole new spatial quality that is thoroughly of this moment.
The process itself remains proprietary, preserving the mystery and magic of creation. The power is in the secret and the secret is in the power of that moment of aesthetic arrest that stops us dead in our tracks with delight and wonder at the emergence of something totally novel. We haven't seen anything like it before. It heralds a vast new potential in design, miraculously without any “laying on of hands.” Yet it is infused with the spirit of its creator.
“The invited guests, and art aficionados of the GARTEL sculpture unveiling were absolutely stunned,” said Norsham Blasko, President of The Connector Group who organized the presentation. “Mr. Gartel has been a pioneer of this art form for over thirty years,” declared Ms. Blasko. “Gartel defined it then, and he is redefining now.”
“What is equally amazing is how the young artists have so much respect for GARTEL,” acknowledged Blasko. “He is a true legend and deeply respected,” stated Carly Ivan Garcia, an emerging digital artist from California who was part of the evening’s festivities at the National Hotel. “He really did change the world,” said Robert Harris, another emerging talent. “He is doing it all over again.” “Absolutely amazing, 35 years later.”
Rapid Prototype Printing
“We shape our tools and afterwards our tools shape us.” --Marshall McLuhan
No single tool has exceeded the capacity of the microchip for shaping our electrified world through what Frank Lloyd Wright called the spiritual marriage of form and function. Changing our world utterly, it has given birth to the whole spectrum of digital media – a vast potential that is still being unpacked by artists and audience, alike. Digital 3D is breakthrough technology that moves beyond modeling, simulation, replication and fabrication into the visionary realm of fine art. Applications include direct metal printing, as well as other high tech composites.
Every media requires that we bend our will to its capacities and limitations. We must express ourselves within its constraints. The magic word of power for the 2010s is “3-D.” We’ve seen this in the unprecedented success of the blockbuster film “Avatar” and the imitators sure to follow. 3D TV is the hot-ticket item of the emerging decade. But the “first” of any new genre must always stand alone in its class as a window to the future. It cannot be usurped.
This is so for Gartel’s breakthrough work, “Auto Motion” sculpture. Known for his digital pioneering print and film/animation work, Gartel began “thinking” in 3-D at the end of the “Naughties” decade and found the technology had finally caught up with his vision once again, as it did in the mid-70s in the birth of digital media.
Nevertheless, simply having the technical means at one’s disposal doesn’t mean you can create great art. It requires solving not only the technical problems, but designing, structuring and creating a balance that encodes our current needs for a unique cultural experience.
When finished, the solution must be beautiful or it is meaningless. Further, technical disaster can strike at any point of the expensive rendering process, just as the wrong stroke can ruin a fine marble sculpture, or like a bronze casting can go awry ruining the wax model. Delicate digital sculpture can also be destroyed during removal from the mother matrix.
3D printing is the process that makes physical objects from virtual CAD models or math files. There are many different ways to do it, but they all work by building up models one layer at a time. It's not a carving process. Computer-controlled mills can be used to cut a design out of a solid block of material, but that method doesn't work well for designs which have a lot of undercutting where casting is out of the question.
This is an additive process using a printer that uses “plastic” rather than “ink.” Millimeter by millimeter the printer passes a coating, building up one layer at a time to make the object. The photographic quality, resolution, and detail is like nothing anyone has ever witnessed in a three dimensional form.
Different 3D printing processes use different materials for “the build” in proprietary ways. The burgeoning market is highly competitive. Each layer of the toolpath prints a fine addition to the form, creatinging it from the void. It builds high resolution layers to produce ‘burnable’ models in plastic, metal or wax. It has a vocabulary of its own: stereolithography, metal-printing, laser-activated binders, and airspace, for example.
Mobius Strip Racetrack
“When I’m working on a problem, I never think about beauty. I think only how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.” -- R. Buckminster Fuller
Gartel’s digitally-informed solution for modeling the dreamscape weaves together psychology and technology. His answer to the problem is direct. It addresses the audience as well as his current creative passion for supercars, making a new visual language accessible because it is already understood. And he does so with the magic that requires no overt physical expression, but one that fuses the ephemera of computing power and vision into a lasting moment of art history. He’s done it before and he did it again, creating a masterwork while breaking new design ground.
It isn’t easy to wrap your mind around the abstraction of an algorithm in virtual or visual terms. 3D modeling is a tedious, technical process with a steep learning curve. You have to decode it. Yet, the work retains his undaunted signature and mystique without being obscure, trendy or stylish. It is as if his works lifted from the 2D of print or film to inhabit the multidimensional world in which we live and breathe. It inhabits the same accessible space we do. We know it is right, because it is, indeed, beautiful.
GARTEL: Selected Works: 1975-2008, Opening at IAG Galleries June 21st 11AM-3PM, Corner of Gordon and Broad, Old Naples, Florida.
Exhibition - June 21st through July 19th, 2008
WORK OF LAURENCE GARTEL, ACKNOWLEDGED AS 'FATHER'
OF DIGITAL ART MOVEMENT, TO BE SHOWN IN RARE EXHIBIT
GARTEL: SELECTED WORKS: 1975-2008 OPENING JUNE 21st at IAG GALLERIES,1170 3rd Street South, corner of Broad and Gordon in Old Naples, Florida .
Participating in the festivities will be Cool Jazz Radio Station WZJZ and their on air personalities as well as the magnificent and sweet car set of the Ferrari Club Collection.
NAPLES---Renowned digital media artist, Laurence Gartel, whose work has been internationally applauded for its vision and clarity of purpose, will debut an important collection of rare works in a new exhibit, "LAURENCE GARTEL: Selected Works 1975-2008.," which will run from June 21st – July 19th, 2008. at IAG Galleres, 3307 Third Avenue, corner of Broad and Gordon in Old Naples Florida.. The opening is hosted by owner/collector, Ani Zimonyi. A reception to introduce Laurence Gartel and his notable works of art will be held Saturday June 21st from 11AM – 3PM.
Internationally famed as a pioneer, Gartel, came to prominence nearly 32 years ago when his first original system electronic photograph was published in 1976 and shown at New York's Experimental Television Center. Working during the '70s long before the personal computer came into general use, Gartel's graphics, his techniques and his forward thinking in terms of new technologies, totally new in a new industry, launched a career which was to evolve into his current status as one of the art world's most original and visionary artists.
Sponsored by ABSOLUT for the past 17 years, Gartel's ABSOLUT GARTEL images have been published in literally millions of magazines throughout the world, seen on the back covers of such publications as Art-In-America, Artforum, Art and Auction, Art & Antiques, Sothebys Preview, New York Magazine, Technology Review, and Artbyte. Gartel's commission for Forbes was one of the first digital art images ever created for this international business magazine. Along the way, Gartel was to appear on such national TV shows as NBC Nightly News with Tom Brokaw, his reputation and indefatigable energy prompting the distinguished art historian and critic Pierre Restany to cite Gartel as not only a visionary, but a "fabulist."
Gathering international attention when in 1989, his show "Nuvo Japonica" featuring a computer-generated two-dimensional image replaced Van Gogh's "Irises" in the Joan Whitney Payson Museum at Portland, Maine's Westbrook College before the work sold at auction for $53.9 million, Gartel went on to have his work shown at such prestigious museums as the Museum of Modern Art, Long Beach Museum of Arts, Princeton Art Museum, and at Palm Beach's Norton Museum. His art can also be viewed in the permanent collections of the Smithsonian Institution's Museum of American History and the Bibliotheque Nationale.
For his show at IAG GALLERIES Mr. Gartel is showcasing rare works from the last 30 years. Some of these works were created "pre-personal computer."
Images photographed off the monitor with a still camera. Others are one of a kind Polaroid Murals where each separate image was created and photographed with an SX-70 camera, Polaroid announced recently that they are no longer going to manufacture the film or the cameras. Hence the works shown are rare.
Included in the show will be a look back in which Gartel will showcase a retrospective body of work on the subject of "eroticism," examine his "Early Nudes" of the '70s as seen in "GARTEL: Arte e Tecnologia" published by Edizioni Mazzotta; his "Art of Fetish" series published in a new book by Schiffer, digital works on paper, and multi-media works on screen. Gartel is currently working on a project scanning his entire career for a library company that provides the "History of Art" to universities, colleges and museums.
Exhibition - June 21st through July 19th, 2008
WORK OF LAURENCE GARTEL, ACKNOWLEDGED AS 'FATHER'
OF DIGITAL ART MOVEMENT, TO BE SHOWN IN RARE EXHIBIT
GARTEL: SELECTED WORKS: 1975-2008 OPENING JUNE 21st at IAG GALLERIES,1170 3rd Street South, corner of Broad and Gordon in Old Naples, Florida .
Participating in the festivities will be Cool Jazz Radio Station WZJZ and their on air personalities as well as the magnificent and sweet car set of the Ferrari Club Collection.
NAPLES---Renowned digital media artist, Laurence Gartel, whose work has been internationally applauded for its vision and clarity of purpose, will debut an important collection of rare works in a new exhibit, "LAURENCE GARTEL: Selected Works 1975-2008.," which will run from June 21st – July 19th, 2008. at IAG Galleres, 3307 Third Avenue, corner of Broad and Gordon in Old Naples Florida.. The opening is hosted by owner/collector, Ani Zimonyi. A reception to introduce Laurence Gartel and his notable works of art will be held Saturday June 21st from 11AM – 3PM.
Internationally famed as a pioneer, Gartel, came to prominence nearly 32 years ago when his first original system electronic photograph was published in 1976 and shown at New York's Experimental Television Center. Working during the '70s long before the personal computer came into general use, Gartel's graphics, his techniques and his forward thinking in terms of new technologies, totally new in a new industry, launched a career which was to evolve into his current status as one of the art world's most original and visionary artists.
Sponsored by ABSOLUT for the past 17 years, Gartel's ABSOLUT GARTEL images have been published in literally millions of magazines throughout the world, seen on the back covers of such publications as Art-In-America, Artforum, Art and Auction, Art & Antiques, Sothebys Preview, New York Magazine, Technology Review, and Artbyte. Gartel's commission for Forbes was one of the first digital art images ever created for this international business magazine. Along the way, Gartel was to appear on such national TV shows as NBC Nightly News with Tom Brokaw, his reputation and indefatigable energy prompting the distinguished art historian and critic Pierre Restany to cite Gartel as not only a visionary, but a "fabulist."
Gathering international attention when in 1989, his show "Nuvo Japonica" featuring a computer-generated two-dimensional image replaced Van Gogh's "Irises" in the Joan Whitney Payson Museum at Portland, Maine's Westbrook College before the work sold at auction for $53.9 million, Gartel went on to have his work shown at such prestigious museums as the Museum of Modern Art, Long Beach Museum of Arts, Princeton Art Museum, and at Palm Beach's Norton Museum. His art can also be viewed in the permanent collections of the Smithsonian Institution's Museum of American History and the Bibliotheque Nationale.
For his show at IAG GALLERIES Mr. Gartel is showcasing rare works from the last 30 years. Some of these works were created "pre-personal computer."
Images photographed off the monitor with a still camera. Others are one of a kind Polaroid Murals where each separate image was created and photographed with an SX-70 camera, Polaroid announced recently that they are no longer going to manufacture the film or the cameras. Hence the works shown are rare.
Included in the show will be a look back in which Gartel will showcase a retrospective body of work on the subject of "eroticism," examine his "Early Nudes" of the '70s as seen in "GARTEL: Arte e Tecnologia" published by Edizioni Mazzotta; his "Art of Fetish" series published in a new book by Schiffer, digital works on paper, and multi-media works on screen. Gartel is currently working on a project scanning his entire career for a library company that provides the "History of Art" to universities, colleges and museums.
Selby 2007
SMOCA Lecture
Smoker's Paradise
Philip Morris Poster - Koln
GARTEL IN GERMANY
We all have our favorite pet projects. One of my all time favorite commissions (besides how good the money was) was for Philip Morris in Germany. Philip Morris commissioned me to create (3) three major works on their Light American Brand. I came up with the concept of PAST, PRESENT, and FUTURE. The idea was to have an object in the middle that was red representing the red crest on the cigarette pack and the blue color presented the enclosing paper. The concept was sort of like the Absolut Bottle whereby there was a distinctive object in the middle being representative of something. Interestingly enough the ad agency was the same on both accounts: TBWA.
I recall flying to Hamburg for the weekend to review the project and get the briefing. Today people would do a conference video over the internet, probably using Apple iChat. Too easy these days. Who has the need to get on a plane and travel 8 hours along with dealing with homeland security, passports, and everything else that is a pain in the neck having to do with travel these days? In any case, that was then, this is now.
Philip Morris organized art events in the key cities around Germany: Munich, Cologne, Frankfurt, Berlin, Hamburg, and I forgot the rest. We had Djs spinning, and my art was used on various things such as ash trays, outdoor umbrellas, as well as catalogs printed with the the art sponsored by Philip Morris. They were looking to reach an upwardly mobile audience; target ages 25-35. Who better the poster boy than GARTEL? Amazing that they searched me out throughout the world. I did not fail them. The parties and events were awesome. Art on the walls, posters, banners, and good looking people. I didnt speak much German, but smiled a lot.
Laurence Gartel
Boca Raton, Florida
July 20, 2008
GARTEL IN GERMANY
We all have our favorite pet projects. One of my all time favorite commissions (besides how good the money was) was for Philip Morris in Germany. Philip Morris commissioned me to create (3) three major works on their Light American Brand. I came up with the concept of PAST, PRESENT, and FUTURE. The idea was to have an object in the middle that was red representing the red crest on the cigarette pack and the blue color presented the enclosing paper. The concept was sort of like the Absolut Bottle whereby there was a distinctive object in the middle being representative of something. Interestingly enough the ad agency was the same on both accounts: TBWA.
I recall flying to Hamburg for the weekend to review the project and get the briefing. Today people would do a conference video over the internet, probably using Apple iChat. Too easy these days. Who has the need to get on a plane and travel 8 hours along with dealing with homeland security, passports, and everything else that is a pain in the neck having to do with travel these days? In any case, that was then, this is now.
Philip Morris organized art events in the key cities around Germany: Munich, Cologne, Frankfurt, Berlin, Hamburg, and I forgot the rest. We had Djs spinning, and my art was used on various things such as ash trays, outdoor umbrellas, as well as catalogs printed with the the art sponsored by Philip Morris. They were looking to reach an upwardly mobile audience; target ages 25-35. Who better the poster boy than GARTEL? Amazing that they searched me out throughout the world. I did not fail them. The parties and events were awesome. Art on the walls, posters, banners, and good looking people. I didnt speak much German, but smiled a lot.
Laurence Gartel
Boca Raton, Florida
July 20, 2008
"Gartel: EXOTIC/EROTIC/ELECTRONIC," Art Basel, 2007
Christian Cipriani: Article on GARTEL
SECTION: Radar ART
Laurence Gartel at the World Erotic Art Museum
MIAMI Modern Luxury
By Christian Cipriani
Art Basel has its sexy moments, but this year a new venue will flash its goods to patrons in need of something a little steamier. The World Erotic Art Museum (WEAM) in Miami Beach marks its entrance into the international fair with "Gartel: EXOTIC/EROTIC/ELECTRONIC," a retrospective of the renowned digital artist Laurence Gartel.
For 30 years he's been called the father of digital art, tinkering with computer-based creativity since before it had a name. Feats like bending photo images on an X-Y axis seem simple in hindsight, but the now-ancient technology predated the digital age by more than a decade. When critics dismissed Gartel's early efforts as irrelevant he proved them wrong—exhibitions at major museums like MoMA and the Whitney, and iconic ads for Absolut Vodka made him the figurehead of a radical movement.
Gartel explored plenty of harmless visual topics like cars, flowers and India, but eroticism continually resurfaces with increasing intensity; it is the thematic constant in a diverse career.
"A lot of artists get into a comfort zone," Gartel says. "Take Picasso for instance. Over time his style changed, but the work remained potent."
The arty softness of his olds nudes seems vanilla next to newer work like The Art of Fetish. In the latter book and film project, pop colors and icons blend with images of amateur bondage, but the effect remains intensely sexual. The WEAM itself has plenty of ancient fertility pieces, but a good chunk of the collection celebrates carnal indulgence and alternative lifestyles at their most Caligulan. The best of Gartel's erotica falls along such lines, titillating the eyes and mind without becoming pure pornography.
His Basel show will be three-tiered: A look back at early works like the 70s-era Nude Series, examples of his seamier fetish material, and 12 new works made by digitally manipulating photographs of the museum's permanent collection.
Strolling through the WEAM considering pieces to shoot, the 51-year-old artist sports a slight paunch and graying ponytail. He's a survivor, a true child of New York's creative golden years. But in fighting to legitimize computer art, he buried friends like Andy Warhol, Sid Vicious, Keith Haring and Wendy O Williams. Now in his own golden years, Gartel confidently embraces his place in art history: "[The art critic] Pierre Restany called my work 'living lightning.' By using photographs as the basis… I try to create a metamorphosis of the past and future."
Rounding a corner past a reproduction Catherine the Great throne festooned with genitals, Gartel talks about more firsts. A Cybernetic Romance was the first book devoted to one person's computer-generated art, and later, during the Gulf War, Gartel staged an exhibit where visitors' photos were manipulated and put on display, instantly turning the viewer into the piece. It was the first show of its kind.
As an artist whose training predates the digital boom, Gartel doesn't stay fully abreast of the latest computer imaging technologies, nor does he feel he must: "Having the technology doesn't make you an artist, it's what you do with it – having an original idea."
Today his work still uses a primitive digital language akin to low-grade Photoshopping, but his power to grip the viewer remains strong. Like an old electronic musician silencing the "laptop producer" with a vintage synthesizer, Gartel is a pioneer still relevant in a digital world. Just ask him:
"There's only one Henry Ford," he says, "and there's only one Laurence Gartel."
The World Erotic Art Museum is located at 1205 Washington Ave. in Miami Beach. "Gartel: EXOTIC/EROTIC/ELECTRONIC" opens Dec. 3, 2007 in tandem with Art Basel.
SECTION: Radar ART
Laurence Gartel at the World Erotic Art Museum
MIAMI Modern Luxury
By Christian Cipriani
Art Basel has its sexy moments, but this year a new venue will flash its goods to patrons in need of something a little steamier. The World Erotic Art Museum (WEAM) in Miami Beach marks its entrance into the international fair with "Gartel: EXOTIC/EROTIC/ELECTRONIC," a retrospective of the renowned digital artist Laurence Gartel.
For 30 years he's been called the father of digital art, tinkering with computer-based creativity since before it had a name. Feats like bending photo images on an X-Y axis seem simple in hindsight, but the now-ancient technology predated the digital age by more than a decade. When critics dismissed Gartel's early efforts as irrelevant he proved them wrong—exhibitions at major museums like MoMA and the Whitney, and iconic ads for Absolut Vodka made him the figurehead of a radical movement.
Gartel explored plenty of harmless visual topics like cars, flowers and India, but eroticism continually resurfaces with increasing intensity; it is the thematic constant in a diverse career.
"A lot of artists get into a comfort zone," Gartel says. "Take Picasso for instance. Over time his style changed, but the work remained potent."
The arty softness of his olds nudes seems vanilla next to newer work like The Art of Fetish. In the latter book and film project, pop colors and icons blend with images of amateur bondage, but the effect remains intensely sexual. The WEAM itself has plenty of ancient fertility pieces, but a good chunk of the collection celebrates carnal indulgence and alternative lifestyles at their most Caligulan. The best of Gartel's erotica falls along such lines, titillating the eyes and mind without becoming pure pornography.
His Basel show will be three-tiered: A look back at early works like the 70s-era Nude Series, examples of his seamier fetish material, and 12 new works made by digitally manipulating photographs of the museum's permanent collection.
Strolling through the WEAM considering pieces to shoot, the 51-year-old artist sports a slight paunch and graying ponytail. He's a survivor, a true child of New York's creative golden years. But in fighting to legitimize computer art, he buried friends like Andy Warhol, Sid Vicious, Keith Haring and Wendy O Williams. Now in his own golden years, Gartel confidently embraces his place in art history: "[The art critic] Pierre Restany called my work 'living lightning.' By using photographs as the basis… I try to create a metamorphosis of the past and future."
Rounding a corner past a reproduction Catherine the Great throne festooned with genitals, Gartel talks about more firsts. A Cybernetic Romance was the first book devoted to one person's computer-generated art, and later, during the Gulf War, Gartel staged an exhibit where visitors' photos were manipulated and put on display, instantly turning the viewer into the piece. It was the first show of its kind.
As an artist whose training predates the digital boom, Gartel doesn't stay fully abreast of the latest computer imaging technologies, nor does he feel he must: "Having the technology doesn't make you an artist, it's what you do with it – having an original idea."
Today his work still uses a primitive digital language akin to low-grade Photoshopping, but his power to grip the viewer remains strong. Like an old electronic musician silencing the "laptop producer" with a vintage synthesizer, Gartel is a pioneer still relevant in a digital world. Just ask him:
"There's only one Henry Ford," he says, "and there's only one Laurence Gartel."
The World Erotic Art Museum is located at 1205 Washington Ave. in Miami Beach. "Gartel: EXOTIC/EROTIC/ELECTRONIC" opens Dec. 3, 2007 in tandem with Art Basel.
RETROSPECTIVES
Laurence Gartel Retrospective Opens at Cafeina, 2010
Last night (August 13) art lovers, specifically fans of artist Laurence Gartel, gathered at Cafeina in Wynwood for the opening of the artist's retrospective. The exhibition features 35 years of Digital Art from the artist. Among those in the crowd surrounding artist Laurence Gartel were publicist Brigitte Grosjean, promoter Mykel Stevens, publicist Omar Dewindt (Tara Ink), and hairstylist Hannah Lasky (Hannah & Her Scissors). For those who haven't visited Cafeina, a darling little cafe/gallery/lounge in Wynwood, you're in for a treat. You'll find great art, delicious food, and if typical nights are anything like last night you'll find a crowd of hipsters, fashionistas, artists, and other interesting types. Say hello to the charming and attractive owner, Ivette Naranjo. Cafeina is located at 297 NW 23rd St., Miami. For info visit www.cafeinamiami.com.
Last night (August 13) art lovers, specifically fans of artist Laurence Gartel, gathered at Cafeina in Wynwood for the opening of the artist's retrospective. The exhibition features 35 years of Digital Art from the artist. Among those in the crowd surrounding artist Laurence Gartel were publicist Brigitte Grosjean, promoter Mykel Stevens, publicist Omar Dewindt (Tara Ink), and hairstylist Hannah Lasky (Hannah & Her Scissors). For those who haven't visited Cafeina, a darling little cafe/gallery/lounge in Wynwood, you're in for a treat. You'll find great art, delicious food, and if typical nights are anything like last night you'll find a crowd of hipsters, fashionistas, artists, and other interesting types. Say hello to the charming and attractive owner, Ivette Naranjo. Cafeina is located at 297 NW 23rd St., Miami. For info visit www.cafeinamiami.com.
September 5 – October 19, 2003
Laurence Gartel “30 Years of Computer Art” This unparalleled exhibition celebrates the landmark digital works of one of the true pioneers who has made art history in his own time.
Gartel worked with video guru Nam June Paik in the early 70s and created art out of primitive analog systems. Gartel’s work is like a journey through the entire digital medium, while developing his own visual language.
Gallery lecture and book signing, “GARTEL: Arte e Tecnologia” by Laurence Gartel on September 5, 2003
Laurence Gartel “30 Years of Computer Art” This unparalleled exhibition celebrates the landmark digital works of one of the true pioneers who has made art history in his own time.
Gartel worked with video guru Nam June Paik in the early 70s and created art out of primitive analog systems. Gartel’s work is like a journey through the entire digital medium, while developing his own visual language.
Gallery lecture and book signing, “GARTEL: Arte e Tecnologia” by Laurence Gartel on September 5, 2003
DREAM FLESH - Art Basel Miami, 2003
CYBEROTICA - Miami, Art Basel, Laurence Gartel's
CYBEROTICA: THE DIGITAL ART EXPERIENCE, Dec 4-7, 2003 in downtown Miami, Florida
Wall Text for CYBEROTICA ART SHOW,
Wynwood, Miami, Art Basel Dec. 4-7, 2003
CYBEROTICA
The erotic world, freed from the stigmas of guilt and repression is a powerful path to self-discovery. Our erotic sexual lives are not to be discounted or discounted as nothing more than sensory stimulation, ego gratification and pursuit of orgasm. It can be the road to erotic connections, psychosexual liberation, to fantasy and excitement, to living our dreams, to erotic transcendence. It may even help us heal our mind/body split.
NEURO-TICA:
Forbidden Fruits and Technoshamanism: Technoshamanism is the process of altering consciousness through technology. It implies using the artistic, psychosexual, healing and mind altering techniques of ancient shamanism combined with modern technologies for altering consciousness, culture, and the holistic mindbody.
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is” man" in a higher sense -- he is 'collective man' -- one who carries and shapes the unconscious, psychic life of mankind.” --C. G. Jung
CYBEROTICA: THE DIGITAL ART EXPERIENCE, Dec 4-7, 2003 in downtown Miami, Florida
Wall Text for CYBEROTICA ART SHOW,
Wynwood, Miami, Art Basel Dec. 4-7, 2003
CYBEROTICA
The erotic world, freed from the stigmas of guilt and repression is a powerful path to self-discovery. Our erotic sexual lives are not to be discounted or discounted as nothing more than sensory stimulation, ego gratification and pursuit of orgasm. It can be the road to erotic connections, psychosexual liberation, to fantasy and excitement, to living our dreams, to erotic transcendence. It may even help us heal our mind/body split.
NEURO-TICA:
Forbidden Fruits and Technoshamanism: Technoshamanism is the process of altering consciousness through technology. It implies using the artistic, psychosexual, healing and mind altering techniques of ancient shamanism combined with modern technologies for altering consciousness, culture, and the holistic mindbody.
"Art is a kind of innate drive that seizes a human being and makes him its instrument. The artist is not a person endowed with free will who seeks his own ends, but one who allows art to realize its purposes through him. As a human being he may have moods and a will and personal aims, but as an artist he is” man" in a higher sense -- he is 'collective man' -- one who carries and shapes the unconscious, psychic life of mankind.” --C. G. Jung
20th Anniversary
SELBY GALLERY
Sarasota, Florida
The Selby Gallery at the Ringling School of Art in Sarasota, was celebrating their 20th Anniversary of one person exhibitions. The artist roster was incredible. In places you never assume are art savvy there is always a surprise. Selby Gallery has had some marvelous shows. This exhibition brought everyone together who ever had a one person show in their gallery. I only wish they printed a catalog. Perhaps I will resurrect the enthusiasm of the show and ask again. It brings together a unique collection of people. What I love is the diversity of styles, approaches, formalism etc. Different worlds, different age groups coming together. Of course within this time frame some artists are no longer living. In my good fortune to be breathing, I selected a new work to show which in my estimation had an excellent presence. (Thanks to the curator giving me a great wall. That helps.) I decided to show Kalidescope which was a very long horizontal piece approximately 110" long printed on canvas. You can see by the invite the quality of the participants: Strictly blue chip. It is pleasing to know that the Ringling School of Art and Selby Gallery bring such quality work to their institution thus fostering culture to the local area.
Laurence Gartel
Boca Raton, Florida
June 20, 2008
SELBY GALLERY
Sarasota, Florida
The Selby Gallery at the Ringling School of Art in Sarasota, was celebrating their 20th Anniversary of one person exhibitions. The artist roster was incredible. In places you never assume are art savvy there is always a surprise. Selby Gallery has had some marvelous shows. This exhibition brought everyone together who ever had a one person show in their gallery. I only wish they printed a catalog. Perhaps I will resurrect the enthusiasm of the show and ask again. It brings together a unique collection of people. What I love is the diversity of styles, approaches, formalism etc. Different worlds, different age groups coming together. Of course within this time frame some artists are no longer living. In my good fortune to be breathing, I selected a new work to show which in my estimation had an excellent presence. (Thanks to the curator giving me a great wall. That helps.) I decided to show Kalidescope which was a very long horizontal piece approximately 110" long printed on canvas. You can see by the invite the quality of the participants: Strictly blue chip. It is pleasing to know that the Ringling School of Art and Selby Gallery bring such quality work to their institution thus fostering culture to the local area.
Laurence Gartel
Boca Raton, Florida
June 20, 2008
GARTEL at Colville Gallery, London.
Mondo Miami
GARTEL at VIRGINIA MILLER Early South Beach
Before South Beach became South Beach I had several exhibitions at Virginia Miller Gallery. Virginia in my mind, was one of THEEE pioneers of the Miami Art Scene. Her efforts in bringing great ART to Miami should be acknowledged and commended. She was doing this while people didn't have a clue about contemporary art, good art, or anything that was relevent to artifacts that relate to culture. Miami was old school when Virginia opened her doors. To have a show of my "cutting edge" art was highly innovative and inventive. She most certainly took a risk showing my art, but more over it was more like a museum show than anything else. Virginia invested her time, money, and effort in presenting a quality show. The exhibition in 1990 was landmark. I showed real time imagining through Canon's Video Visualizer, (A video camera set up on a copy stand). I also set up the Canon 760 Still-Video camera (The first Digital still camera) and took portraits on the spot. We also gave lectures on how the system operates. People were fascinated. Indeed it was an absolute first for all. There was a program at the time that spread an image over many 8" x 10" pages. Consequently a work could be many feet high by many feet wide even in 1989. The goal was always to push the limits on technology, even if people didn't know what step one was.
I am attaching some pictures of what Miami looked like in the late 80s, early 90s.
Laurence Gartel
Boca Raton, Florida
August 30, 2008
Before South Beach became South Beach I had several exhibitions at Virginia Miller Gallery. Virginia in my mind, was one of THEEE pioneers of the Miami Art Scene. Her efforts in bringing great ART to Miami should be acknowledged and commended. She was doing this while people didn't have a clue about contemporary art, good art, or anything that was relevent to artifacts that relate to culture. Miami was old school when Virginia opened her doors. To have a show of my "cutting edge" art was highly innovative and inventive. She most certainly took a risk showing my art, but more over it was more like a museum show than anything else. Virginia invested her time, money, and effort in presenting a quality show. The exhibition in 1990 was landmark. I showed real time imagining through Canon's Video Visualizer, (A video camera set up on a copy stand). I also set up the Canon 760 Still-Video camera (The first Digital still camera) and took portraits on the spot. We also gave lectures on how the system operates. People were fascinated. Indeed it was an absolute first for all. There was a program at the time that spread an image over many 8" x 10" pages. Consequently a work could be many feet high by many feet wide even in 1989. The goal was always to push the limits on technology, even if people didn't know what step one was.
I am attaching some pictures of what Miami looked like in the late 80s, early 90s.
Laurence Gartel
Boca Raton, Florida
August 30, 2008
Old Friends, 2006
GARTEL Opening Wiesbaden, Germany.
Museum and University Solo Exhibitions
- GARTEL: New Work," Robert Rauschenberg Museum, Ft. Myers, Florida 2009
- GARTEL: 30-Years of Digital Art," Palm Beach Photographic Museum, 2009
- GARTEL: "Art Basel Miami", A.N.E.W. Museum / Galleries, Miami, Florida 2007-2009
- GARTEL: Exotic/Erotic/Electronic, WEAM, Miami, Florida 2007
- GARTEL:30-YEARS of DIGITAL ART," Coral Springs Museum of Art,FL, 2004
- GARTEL RETROSPECTIVE," Gallery of ART, Edison College,Ft.Myers, Florida, 2003
- GARTEL RETROSPECTIVE, Palm Beach Photographic Museum, Delray Beach, Florida, 2001
- GARTEL RETROSPECTIVE, Nathan D. Rosen Museum Gallery, Boca Raton, Florida, 2001
- L. Gartel: A Cybernetic Romance, Northwestern State Univ., Natchitotches, Louisiana, 1995
- L. Gartel: A Cybernetic Romance, Masur Museum of Art, Monroe, Louisiana, 1994
- Gartel: A Cybernetic Romance, Ringling School of Art & Design, Florida, 1992
- Gartel: A Cybernetic Romance, Musee Francais de Photographie, Paris, France, 1992
- Laurence Gartel: Retrospective, Middle Tenn. State Univ., Murfr. Kentucky, 1992
- Laurence M. Gartel: Cybernetic Romance, Norton Gallery, W. Palm Beach, Florida, 1991
- Laurence M. Gartel, Computer Images, Portland State University, Oregon, 1991
- East Meets West, University of Southern Colorado, Pueblo, Colorado, 1990
- Nuvo Japonica, Joan Whitney Payson Gallery, Portland, Maine, 1989
- A Cybernetic Romance, Fine Arts Museum of Long Island, New York, 1989
Gallery solo exhibitions
- GARTEL: Ferrari Projections," Daniel Azoulay, during Art Basel,Fl. 2008
- GARTEL: Exotic/Erotic/ Electronic," Lurie Gallery, 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, New York, 2001
- GARTEL Italian Series," Spaziotempo Gallery, Florence, Italy, 2001
- GARTEL: Bologna art fair, bologna, Italy, 2001
- GARTEL RETROSPECTIVE, Galerie L, Moscow, Russia, 2000
- GARTEL Italian Series, Spaziotempo Gallery, Florence, Italy, 2000
- GARTEL: MILANO ART FAIR, Milan, Italy, 2000
- GARTEL: Digital Art, DFN Gallery, NYC, New York, 2000
- GARTEL: Larger than Life, Caitlyn Gallery, St. Louis, Missouri, 1999
- GARTEL, ZURICH ART FAIR, Switzerland, 1999
- GARTEL, Colville Place Gallery, London, U.K., 1999
- GARTEL, Italian Cultural Institute, NYC., New York, 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, Florida, 1995
- Laurence M. Gartel: A Cybernetic Romance, Nicolae Gallery, Columbus, Ohio, 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, Florida, 1991
- Gartel, Cybernetic Romance and Computography, Neikrug Gallery, NYC, New York, 1991
- Nuvo Japonica, Verbum Gallery, San Diego, California, 1991
- L. Gartel, Digitized Holiday Visions, Virginia Miller Gallery, Coral Gables, Florida, 1990
- Gartel and Photography: The Next 150 Years, Spiritus Gallery, Costa Mesa, California, 1990
- East Meets West, University of Southern Colorado, Pueblo, Colorado, 1990
- Nuvo Japonica, Gallery International 57, NYC, New York, 1990
- Laurence M. Gartel: Video Photos, Nikon House Gallery, NYC, New York, 1980
- Laurence M. Gartel: Video Photos, Sea Cliff Photography, Sea Cliff, New York
Museum and university group exhibitions
- ART BASEL MIAMI, A.N.E.W. Museum / Galleries Worldwide, Miami, Florida 2007
- 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, New York. 2000
- Regional: Figuring," Florida Atlantic University, Boca Raton, Fl, 2000
- First Elvis Art Show, Hollywood Art and Cultural Center, Hollywood, Florida, 1998
- Inaugural Exhibition," Museum of New Arts, Ft. Lauderdale, Florida, 1996
- Digital Salon," Palm Beach Community College Museum, Lake Worth, Florida,1995
- Civil Rights," The Bronx Museum for the Arts, Bronx, New York, 1991
- Infinite Illusions," Smithsonian Institution, Washington, D.C., 1990
- Exchange of Information," Museum of Modern Art, NYC, New York, 1990
- Out of Bounds," Guild Hall Museum, East Hampton, New York, 1989
- Electronic Imaging," St. Louis Community College, Missouri, 1989
- WYSIWYG," Blair Museum, Holidaysburg, Pennsylvania, 1989
- The Artist & The Computer," Bronx Museum for the Arts, Bronx, New York, 1987
- Computer Art," University of Dublin, Ireland, 1987
- Computer Art," Columbia University, NYC, New York, 1984
- Abstract and Image Processing," P.S. 1 Museum, Long Island City, New York, 1984
- The Artist & The Computer," Long Beach Museum of Art, California, 1983
- Points of View," Museum of Art University of Oklahoma, Oklahoma, 1982
Selected gallery group exhibitions
- ART BASEL MIAMI, A.N.E.W. Museum / Galleries Worldwide, Miami, Florida 2007
- GARTEL: Ferrari Projections," Daniel Azoulay, during Art Basel,Fl. 2008
- Beijing Arts Festival, Beijing China, April, 2007
- Erotica," Lurie Gallery, Curated by Dimitri 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, Arizona, 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, New York. 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, New York, 2000
- Dream Contenary Computer Graphics Grand Prix 99, Aizu, Japan, 1999
- Video History: Making Connections, Syracuse, New York, 1998
- Pioneers of Digital Photography, Open Space Gallery, Allentown, Pennsylvania, 1998
- TOUCHWARE Art Gallery: 25th Anniversary, Siggraph '98, Orlando, Florida, 1998
- Computer Art: Anjal & Laurence Gartel, Broward Community College, Florida, 1998
- Digipainting '97 Echi dal terzo Millennio, Rome, Italy, 1997
- ART FAIR: Editions of Art, Innsbruck, Austria, 1997
- ART FAIR: Art Multiple, Düsseldorf, Germany, 1996
- Computer Art, Palm Beach Gardens, Florida, 1996
- ART FAIR: LA Art Fair, Los Angeles, California, 1992
- East/ West Photography Conference, Poland, 1992
- Computer Art, Olympia & York, NYC, New York, 1991
- The Exquisite FAX, FAX ART, 612-690-0172, Minneapolis, Minnesota, 1991
- Transportation on Images, John Wayne International Airport, Orange County, California, 1990
- Second International Symposium on Electronic Art, Amsterdam, Holland, 1990
- Eurographics 1990, Montreaux, Switzerland, 1990
- Infinite Illusions, Smithsonian Institution, 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, New York, 1983
- Video Art, Flviana Gallery, Locarno, Switzerland, 1980
Collections
- The Museum of Modern Art, Lending Collection, NYC, New York
- Long Beach Museum of Art, California
- A.N.E.W. Museum / Galleries Worldwide Miami, Florida
- Experimental TV Center, Owego, New York
- Fine Art Museum of Long Island, New York
- School of Visual Arts, NYC, New York
- Palm Beach Photographic Museum, Florida
- Masur Museum of Art, Monroe, Louisiana
- Bibliothèque Nationale, Paris, France
- Musee Francais de la Photography, Paris, France
- Coca-Cola, Atlanta, Georgia
- Polaroid Collection, Cambridge Massachusetts, and Zurich, Switzerland
- Philip Morris, Hamburg, Germany
- Commerzbank, Frankfurt, Germany
- Absolut Museum, NYC, New York
- Shaw Walker, NYC, New York
- Polk & Davis & Wardell, NYC, New York
Colville Gallery, 1998
GARTEL: A CYBERNETIC ROMANCE, Volksbank, Germany
(c) 2011 Laurence M. Gartel;
All Rights Reserved for Graphic & Written Content
Use by Explicit Written Permission Only
[email protected]
All Rights Reserved for Graphic & Written Content
Use by Explicit Written Permission Only
[email protected]