Andy Warhol’s Lost Computer Art Found on 30-Year-Old Floppy Disks

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If you saw our post on Andy Warhol dig­i­tal­ly paint­ing Deb­bie Har­ry at the 1985 launch of the Com­modore Ami­ga 1000, you know how effu­sive­ly — effu­sive­ly by the impas­sive Warho­lian stan­dard, any­way — the artist praised the com­put­er’s artis­tic pow­er. Now, thanks to a recent dis­cov­ery by mem­bers of Carnegie Mel­lon Uni­ver­si­ty’s Com­put­er Club, we know for sure that the mas­ter­mind behind the Fac­to­ry did­n’t sim­ply shill for Com­modore; he actu­al­ly spent time cre­at­ing work with their then-graph­i­cal­ly advanced machine, a few pieces of which, unseen for near­ly thir­ty years, just came back to light on mon­i­tors every­where. Above we have the 1985 self-por­trait Andy2. The 27 oth­er finds include a mouse-drawn ren­di­tion of his sig­na­ture Camp­bel­l’s soup can and a three-eyed Venus, sure­ly one of the eerier ear­ly uses of cut-and-paste func­tion­al­i­ty, all prod­ucts, explains the press release from The Frank-Ratchye STUDIO for Cre­ative Inquiry at Carnegie Mel­lon,” of a com­mis­sion by Com­modore Inter­na­tion­al to demon­strate the graph­ic arts capa­bil­i­ties of the Ami­ga 1000 per­son­al com­put­er.” 

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1980s elec­tron­ics-lov­ing artist Cory Arcan­gel, upon watch­ing the video of Warhol at the launch, con­tact­ed the Andy Warhol Muse­um “regard­ing the pos­si­bil­i­ty of restor­ing the Ami­ga hard­ware in the museum’s pos­ses­sion.” The effort neces­si­tat­ed acts of “foren­sic retro­com­put­ing” — a del­i­cate process, since “even read­ing the data from the diskettes entailed sig­nif­i­cant risk to the con­tents.” The CMU Com­put­er Club team even had to reverse-engi­neer the “com­plete­ly unknown file for­mat” in which Warhol had saved his images. “By look­ing at these images, we can see how quick­ly Warhol seemed to intu­it the essence of what it meant to express one­self, in what then was a brand-new medi­um: the dig­i­tal,” Arcan­gel says in the press release. “FYI, it was the most fun project I ever worked on,” he says on his blog — a mean­ing­ful state­ment indeed, since so much of his oth­er work involves old Nin­ten­do games. The Hill­man Pho­tog­ra­phy Ini­tia­tive cap­tured it all in a film called Trapped: Andy Warhol’s Ami­ga Exper­i­ments, which pre­mieres Sat­ur­day, May 10, at Pitts­burgh’s Carnegie Library Lec­ture Hall, there­after becom­ing view­able at nowseethis.org.

Relat­ed Con­tent:

Andy Warhol Dig­i­tal­ly Paints Deb­bie Har­ry with the Ami­ga 1000 Com­put­er (1985)

Warhol’s Screen Tests: Lou Reed, Den­nis Hop­per, Nico, and More

Three “Anti-Films” by Andy Warhol: Sleep, Eat & Kiss

Andy Warhol’s Christ­mas Art

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Getty Adds Another 77,000 Images to its Open Content Archive

getty_church2

Last sum­mer we told you that the J. Paul Get­ty Muse­um launched its Open Con­tent Pro­gram by tak­ing 4600 high-res­o­lu­tion images from the Get­ty col­lec­tions, putting them into the pub­lic domain, and mak­ing them freely avail­able in dig­i­tal for­mat. We also made it clear — there would be more to come.

Yes­ter­day, the Get­ty made good on that promise, adding anoth­er 77,000 images to the Open Con­tent archive. Of those images, 72,000 come from the Foto Arte Minore col­lec­tion, a rich gallery of pho­tographs of Ital­ian art and archi­tec­ture, tak­en by the pho­tog­ra­ph­er and schol­ar Max Hutzel (1911–1988).

getty tapestryThe Get­ty also dropped into the archive anoth­er 4,930 images of Euro­pean and Amer­i­can tapes­tries dat­ing from the late 15th through the late 18th cen­turies.

All images in the Get­ty Open Con­tent pro­gram — now 87,000 in total — can be down­loaded and used with­out charge or per­mis­sion, regard­less of whether you’re a schol­ar, artist, art lover or entre­pre­neur. The Get­ty only asks that you give them attri­bu­tion.

You can start explor­ing the com­plete col­lec­tion by vis­it­ing the Get­ty Search Gate­way. Images can also be accessed via the Muse­um’s Col­lec­tion web­pages. Be sure to look for the “down­load” link near the images.

For more infor­ma­tion on the Open Con­tent pro­gram, please vis­it this page. For more open con­tent from muse­ums, see the links below.

Relat­ed Con­tent:

Down­load 35,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

Down­load Over 250 Free Art Books From the Get­ty Muse­um

40,000 Art­works from 250 Muse­ums, Now View­able for Free at the Redesigned Google Art Project

LA Coun­ty Muse­um Makes 20,000 Artis­tic Images Avail­able for Free Down­load

The Rijksmu­se­um Puts 125,000 Dutch Mas­ter­pieces Online, and Lets You Remix Its Art

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The Drawings of Jean-Paul Sartre

SartreDrawings1

We’ve estab­lished some­thing of a tra­di­tion here of fea­tur­ing draw­ings by famous authors. It seems, unsur­pris­ing­ly, that skill with the pen often goes hand-in-glove with a keen visu­al sense, though admit­ted­ly some writ­ers are more tal­ent­ed drafts­men than oth­ers. William Faulkn­er, for exam­ple, cre­at­ed some very fine pen-and-ink illus­tra­tions for his col­lege news­pa­per dur­ing his brief time at Ole Miss. Franz Kafka’s expres­sion­is­tic sketch­es are quite strik­ing, despite his anguished protes­ta­tions to the con­trary. And Jorge Luis Borges’ doo­dles are as quirky and play­ful as the author him­self. Today we bring you the sketch­es of that great French exis­ten­tial­ist philoso­pher, nov­el­ist, and play­wright Jean-Paul Sartre—a col­lec­tion of six rough, child­like car­i­ca­tures that are, shall we say, rather less than accom­plished. It’s cer­tain­ly for the best—as the cliché goes—that Sartre nev­er quit his day job for an art career.

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But there is a cer­tain wicked charm in Sartre’s visu­al satires of human moral fail­ings, which he calls a “series de ‘douze vices sans allusion’”—roughly, “a series of twelve vices with­out ref­er­ence.” Either Sartre only com­plet­ed half the series, or—more likely—half have been lost, since the author assures the recip­i­ent of his hand­i­work, a Made­moi­selle Suzanne Guille, that he presents to her a “série com­plete.” Who was Suzanne Guille? Your guess is as good as mine. Yale’s Bei­necke Rare Book & Man­u­script Library, which hous­es these sketch­es, gives us no indi­ca­tion. Per­haps she was a rel­a­tive, per­haps the spouse, of Pierre Guille, Simon de Beauvoir’s last lover? Giv­en the many com­pli­cat­ed liaisons pur­sued by both Sartre and his part­ner, the pos­si­bil­i­ties are indeed intrigu­ing. As for the draw­ings? Their sub­jects hold more inter­est than their exe­cu­tion, pro­vid­ing us with keys to Sartre’s moral uni­verse.

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The first car­i­ca­ture, at the top, is titled “Le Con­tent­ment de soi”—“Self-Satisfaction”—and the character’s pompous expres­sion says as much. Below it, the curi­ous lit­tle fel­low with the curlicue nose is called “L’Esprit Critique”—“The Spir­it of Crit­i­cism.” And above we have “Le respect de la con­signe et de la jurée”—“Keeping a Sworn Oath.” You can see the remain­ing three draw­ings, and read Sartre’s let­ter (in French, of course) to Made­moi­selle Guille in pdf form here.

Relat­ed Con­tent:

Philosophy’s Pow­er Cou­ple, Jean-Paul Sartre and Simone de Beau­voir, Fea­tured in 1967 TV Inter­view

James Joyce, With His Eye­sight Fail­ing, Draws a Sketch of Leopold Bloom (1926)

Two Child­hood Draw­ings from Poet E.E. Cum­mings Show the Young Artist’s Play­ful Seri­ous­ness

The Art of Sylvia Plath: Revis­it Her Sketch­es, Self-Por­traits, Draw­ings & Illus­trat­ed Let­ters

Wal­ter Kaufmann’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Painter Paul Gauguin Plays the Harmonium with No Pants or Shoes (Circa 1895)

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What do we have here? Painter Paul Gau­guin play­ing a har­mo­ni­um at the Paris stu­dio of Alphonse Mucha, a Czech Art Nou­veau painter, in or around 1895. How this came about — how Gau­guin decid­ed to strip off his pants and shoes and start play­ing that pump organ — we’ll prob­a­bly nev­er know. But we’re cer­tain­ly glad that this light moment was saved for pos­ter­i­ty.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via @SteveSilberman

Relat­ed Con­tent:

Watch Icon­ic Artists at Work: Rare Videos of Picas­so, Matisse, Kandin­sky, Renoir, Mon­et, Pol­lock & More

Down­load 35,000 Works of Art from the Nation­al Gallery, Includ­ing Mas­ter­pieces by Van Gogh, Gau­guin, Rem­brandt & More

The Post­cards That Picas­so Illus­trat­ed and Sent to Jean Cocteau, Apol­li­naire & Gertrude Stein

Listen to John Cage’s 5 Hour Art Piece: Diary: How To Improve The World (You Will Only Make Matters Worse)

JohnCage_Diary

John Cage was born in 1915 and died in 1992. Dur­ing that inter­ven­ing time, he changed the face of avant-garde music and art.

An ear­ly dis­ci­ple of Arnold Schoen­berg, Cage made his biggest cre­ative break­through by study­ing the I Ching, Zen Bud­dhism and the art of Mar­cel Duchamp. The com­pos­er decid­ed to let ele­ments of chance into his work. He start­ed to write pieces for a “pre­pared piano” where things like thumb­tacks, nails and forks were placed into the instrument’s strings to alter its sound in unex­pect­ed ways.

Cage’s most famous work, 4’33”, took con­cep­tu­al music about as far as it could go. A musi­cian walks out onto the stage, sits in front of a piano and does absolute­ly noth­ing for four min­utes and thir­ty sec­onds. The sounds of the audi­ence rustling, the traf­fic out­side and any oth­er ambi­ent noise that might hap­pen dur­ing that time peri­od become a part of the piece. Watch a per­for­mance here.

The folks over at Ubu.com have placed online anoth­er one of Cage’s work, Diary: How To Improve The World (You Will Only Make Mat­ters Worse) (1991). Clock­ing in at over 5 hours total, the piece is some­thing of a Mount Ever­est of sound art.

Record­ed in Switzer­land a lit­tle over a year before his death, Diary fea­tures thoughts, obser­va­tions and insights along with quotes from the likes of Buck­min­ster Fuller, Hen­ry David Thore­au and Mao Zedong. You can lis­ten to Part 1 below, and click these links to lis­ten to the remain­ing parts: Part 1Part 2Part 3Part 4Part 5Part 6Part 7Part 8.

Cage’s diaries appeared pre­vi­ous­ly in print as M: Writ­ings, 1967–72. On the page, the text ran­dom­ly changed both font and let­ter size. You can see what this looks like here. Cage and com­pa­ny repro­duced this effect in the audio ver­sion by chang­ing the posi­tion of the micro­phone and the record­ing vol­ume. If you lis­ten to Diary on head­phones (which I rec­om­mend), you’ll hear Cage’s silken voice first behind your left ear, then in front of you and then, dis­con­cert­ing­ly, inside your head.

Much of the time, Cage’s words will feel obscure and poet­ic. And then, as you’re lulled by the rhythm of his voice, he’ll hit you with some­thing as pro­found as a Zen koan. (“The goal is not to have a goal.”) Just sit back and let the words flow over you.

Relat­ed Con­tent:

Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

Watch a Sur­pris­ing­ly Mov­ing Per­for­mance of John Cage’s 1948 “Suite for Toy Piano”

Woody Guthrie’s Fan Let­ter To John Cage and Alan Hov­haness (1947)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow.

 

Soviet Artists Envision a Communist Utopia in Outer Space

SovietCitiesontheMoon

Sovi­et artists had been toil­ing for years on a cre­ative, col­lec­tive future vision by the time David Bowie got around to launch­ing Major Tom into out­er space.

As Vincze Mik­lós reports on io9, their efforts extend­ed the hope of a “work­er’s Utopia on Earth” to des­ti­na­tions in the solar sys­tem.

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In 1965, film­mak­er Pavel Klushant­sev’s Stantsi­ia “Luna” (Sta­tion Moon) treat­ed chil­dren to a high­ly sat­is­fy­ing vision of the lunar sur­face as a bustling con­struc­tion site.

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Work­ers, hell. It’s not hard to imag­ine Andrei Sokolov, whose paint­ings were exhib­it­ed aboard the Mir sta­tion, pro­duc­ing high qual­i­ty ren­der­ings for Mad Men’s Don Drap­er to show high-rolling Mar­t­ian clients.

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And pop sci­ence mag Tekhni­ka Molodezhi (“Tech­nol­o­gy for the Youth”) pro­mot­ed the space race with pages of intrigu­ing four-col­or images. The doll­house-like cross sec­tion (above) of a com­mu­nal res­i­dence below the moon’s crust is prac­ti­cal­ly scream­ing Wes Ander­son’s name.

Those who’ve nev­er had much stom­ach for the Jet­sons’ prim­i­tive aes­thet­ic might find this lush Sovi­et vision much eas­i­er to swal­low.

More images can be found at io9.

Relat­ed Con­tent:

“Glo­ry to the Con­querors of the Uni­verse!”: Pro­pa­gan­da Posters from the Sovi­et Space Race (1958–1963)

Watch Dzi­ga Vertov’s Unset­tling Sovi­et Toys: The First Sovi­et Ani­mat­ed Movie Ever (1924)

Enjoy 15+ Hours of the Weird and Won­der­ful World of Post Sovi­et Russ­ian Ani­ma­tion

“Moon Hoax Not”: Short Film Explains Why It Was Impos­si­ble to Fake the Moon Land­ing

Ayun Hal­l­i­day is the author of sev­en books, and cre­ator of the award win­ning East Vil­lage Inky zine.  Fol­low her @AyunHalliday

35 Years of Prince’s Hairstyles in 15 Glorious Seconds!

Any­one who’s suf­fered through the hell of grow­ing out a short style or spent a pre-awards show after­noon get­ting sewn into exten­sions will appre­ci­ate the brisk pace of Lon­don-based illus­tra­tor Gary Card’s “Prince Hair Chart” slideshow.

It’s only 15 sec­onds long, but seri­ous­ly, can you name anoth­er Prince with coif­fures amor­phous enough to mer­it such pro­longed gaze?  Cer­tain­ly, not Charles, or even the com­pelling­ly flame-haired Har­ry.

As this chrono­log­i­cal speed-through of 35 years of hair­dos attests, musi­cal chameleon Prince (aka  Love Sym­bol #2, Prince Rogers Nel­son) has nev­er shied from stand­ing out in a crowd. Thir­ty-six looks shim­mer and writhe atop his laven­der pate, as he stares cooly ahead, more man­tis than Medusa.

Not all of them worked. If we were play­ing Who Wore It Bet­ter, I’d have to go with Liza Minel­li (1985) and  Jen­nifer Anis­ton (1990), but the slideshow is rich­er (and a cou­ple of frac­tions of a sec­ond longer) due to such silli­ness.

Doubt­less Prince will have rearranged his locks before the doves can cry again. His lat­est look, as evi­denced by a recent guest cameo oppo­site Zooey Deschanel on the TV com­e­dy, ‘New Girl’, is a return to roots, a la 1978.

via Kot­tke

Ayun Hal­l­i­day is the author of sev­en books, and cre­ator of the award win­ning East Vil­lage Inky zine. Prince tweet­ed about Gary Card’s hair­do overview… so per­haps it’s in the realm of pos­si­bil­i­ty that he’ll be the next to squawk in her direc­tion  @AyunHalliday

10 Wonderful Illustrations from the Original Manuscript of Antoine de Saint-Exupéry’s The Little Prince

little prince manuscripts

From Jan­u­ary 24 through April 27, 2014, The Mor­gan Library and Muse­um is stag­ing an exhi­bi­tion on Antoine de Saint-Exupéry’s The Lit­tle Prince, a sto­ry that speaks to the hearts and minds of chil­dren and adults alike. Though Saint-Exupéry was French, he wrote and pub­lished his great tale while liv­ing in New York City in 1943. Twen­ty five years lat­er, in 1968, the Mor­gan acquired the orig­i­nal man­u­script, which is now on dis­play.

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If you can’t trav­el to New York, you can vir­tu­al­ly pore over ten orig­i­nal illus­tra­tions from Le Petit Prince online. We’d rec­om­mend click­ing here, and then click­ing on the Full Screen icon in the bot­tom right-hand side of the first illus­tra­tion you see. Then start flip­ping through the pages and enjoy. As the Mor­gan notes, the pages are “replete with crossed-out words, cig­a­rette burns, and cof­fee stains.” You’ll find one such burn on the illus­tra­tion imme­di­ate­ly above.

via Metafil­ter/Brain Pick­ings

Relat­ed Con­tent:

200 Free Kids Edu­ca­tion­al Resources: Video Lessons, Apps, Books, Web­sites & More

Watch Ani­ma­tions of Oscar Wilde’s Children’s Sto­ries “The Hap­py Prince” and “The Self­ish Giant”

The Inter­na­tion­al Children’s Dig­i­tal Library Offers Free eBooks for Kids in Over 40 Lan­guages

Mark Twain Cre­ates a List of His Favorite Books For Adults & Kids (1887)

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