Stan VanDerBeek (1927-1984) shares with artists like Josef Albers, Aldous Huxley, John Cage, Robert Rauschenberg, and Buckminster Fuller the legacy of having developed their practice at Black Mountain College, the creative mecca where these and other thinkers pushed the edges of visual art, music, literature, technology, and consciousness. His experimental films of the 1950s blurred dada collage and science fiction, and he was an early adopter of both analog processes and computer animation, establishing for him a godfather-like position in the origin-narratives surrounding new media. His often rough aesthetic anticipated glitch-fetishism by several decades and drove the surrealist aesthetic into new territory; yet this is not to say that his works didn't go down smoothly. (The internet is full of video evidence of his colorfully dreamy proliferations.) The artist is currently the subject of an exhibition at New York's Guild & Greyshkul gallery, where one can see VanDerBeek's contribution to the proto-history of digital copy-and-paste stylistics in the form of real copy-and-paste collages and his own reworkings of his early films. Much of the work in the show, including a "faux mural" he transmitted electronically to international venues, in 1970, was made in his days at MIT, where his immersion among scientists and engineers had a clear impact on his art. VanDerBeek had a futurist and almost cosmological approach to his work and was one of those artists known for spouting beautiful witticisms about finding universal modes of expression that transcended media and the confinement of traditional forms. At the end of the day, he also reminded us that "Art is the artifact of reality (not taken for granted)." - Marisa Olson
"The notion of creating art works through the medium of machines may seem a little strange. Most people who have heard about the experimental use of digital computers in creative endeavors have probably shrugged them off as being of no consequence. On the one hand, creativity has universally been regarded as the personal and somewhat mysterious domain of man; and, on the one hand, as every engineer knows, the computer can only do what it has been programmed to do - which hardly anyone would be generous enough to call creative. Nonetheless, artists have usually been responsive to experimenting with and even adopting certain concepts and devices resulting from new scientific and technological developments. Computers are no exception."