"Resident artist and consultant at Bell Laboratories (New Jersey).... during the 70s and 80s Schwartz developed a catalogue of visionary techniques for the use of the computer system by artists. Her formal explorations in abstract animation involved the marriage of film, computers and music in collaboration with such luminaries as computer musicians Jean-Claude Risset, Max Mathews, Vladimir Ussachevsky, Milton Babbit, and Richard Moore.
".... Lumen has collaborated with Lillian Schwartz and curator Gregory Kurcewicz to compile a touring package of these important works. “A Beautiful Virus Inside the Machine” features animations restored to video. “The Artist and the Computer”, 1976, 10 mins is a documentary about her work. Produced by Larry Keating for AT&T, “The Artist and the Computer is an excellent introductory informational film that dispels some of the ‘mystery’ of computer-art technology, as it clarifies the necessary human input of integrity, artistic sensibilities, and aesthetics. Ms. Schwartz’s voice over narration explains what she hoped to accomplish in the excerpts from a number of her films and gives insight into the artist’s problems and decisions.”
– John Canemaker
"To create Pixillation, Schwartz wrote lines of code to create a black and white texture, which she overlaid with hand-colored animation. The artist edited the film so the color of the digital and analog shapes contrast and match in varying frames, creating a shifting effect.
The soundtrack, written and performed by Gershon Kingsley on a Moog synthesizer, increases in tempo as the film cuts from digital to analog imagery at a faster pace, building a sense of urgency.
The saturated colors, complex rhythm, and geometric shapes of Pixillation, Schwartz’s film featuring digitally produced images, went on to define the look and feel of 1970s computer art.
- Arkansas Museum of Fine Arts.
“The changing dots, ectoplasmic shapes and electronic music of L. Schwartz’s ‘Mutations’ which has been shot with the aid of computers and lasers (worked with Don White, Bell Laboratories, to create laser images), makes for an eye-catching view of the potentials of the new techniques.” – A. H. Weiler, N. Y. Times. Music by Jean-Claude Risset–commissioned by Office de Radiodiffusion-Television Francaise. Golden Eagle-Cine 1973; Red Ribbon award – Special Effects – National Academy of Television Arts & Sciences; Cannes Film Festival, 1974. Recent screening at the Museum of Modern Art, New York, December 10, 2012. shown at festiva musica acoustica. Mutations exhibited in a concert of works by Jean-Claude Risset. Oct 2013
"Music by Emmanuel Ghent. “UFOs proves that computer animation–once a rickety and gimmicky device–is now progressing to the state of an art. The complexity of design and movement, the speed and rhythm, the richness of form and motion, coupled with stroboscopic effects is unsettling. Even more ominously, while design and action are programmed by humans, the ‘result’ in any particular sequence is neither entirely predictable … being created at a rate faster and in concatenations more complex than eye and mind can follow or initiate.” – Amos Vogel, Village Voice. Awards: Ann Arbor-1971; International award-Oberhausen, 1972; 2nd Los Angeles International Film Festival; Museum of Modern Art collection; Commissioned by AT&T. Recent screening at the Museum of Modern Art, New York, December 10, 2012.- Study in motion based on Muybridge’s photographs of man-running. “Figures of computer stylized athletes are seen in brilliant hues chasing each other across the screen. Images are then reversed and run across the screen in the other direction; then images are flopped until athletes are running in countless ways … not unlike a pack of humanity on a football field.” Bob Lehmann, Today’s Film-maker magazine. Lincoln Center Animation Festival of the 5th New York Film Festival. Recent screening at the Museum of Modern Art, New York, December 10, 2012.
METAMORPHOSIS
Music Symphony in D Major by Salieri. “As expert hands in the complex techniques of integrating the computer and animation, L. Schwartz and Ken Knowlton make fascinating use of exotic, flowing forms, colors and electronic music in ‘Metamorphosis’.” – A. H. Weiler, N. Y. Times. “Schwartz’ METAMORPHOSIS is a complex study of evolving lines, planes, and circles, all moving at different speeds, and resulting in subtle color changes. The only computer-generated work on the program, it transcends what many of us have come to expect of such film with its subtle variations and significant use of color.” – Catherine Egan, Sight Lines, Vol. 8, No. 4, Summer 1975. Sinking Creek-1974; 1975 American Film Festival “Film as Art”. A three screen production.
“Apotheosis, which is developed from images made in the radiation treatment of human cancer, is the most beautiful and the most subtly textured work in computer animation I have seen.” – Roger Greenspun, N. Y. Times. Film created by Lillian F. Schwartz. Computer data supplied by David Sterling. Music by F. Richard Moore. Award Foothills-1973. Recent screening at the Museum of Modern Art, New York, December 10, 2012.
“Lines and rectangles are the geometric shapes basic to ENIGMA, a computer graphics film full of subliminal and persistent image effects. In a staccato rhythm, the film builds to a climax by instantly replacing one set of shapes with another, each set either changing in composition and color or remaining for a moment to vibrate strobiscopically and then change.” – The Booklist. Awards: Foothills-1972; Kenyon-1973; 16 mm. de Montreal; 5th Annual Monterey Film Festival; 2nd Los Angeles International Film Festival; Nat. Acad. of TV Arts & Sciences; Spec. Effect (72). Recent screening at the Museum of Modern Art, New York, December 10, 2012.
Olympiad - Study in motion based on Muybridge’s photographs of man-running. “Figures of computer stylized athletes are seen in brilliant hues chasing each other across the screen. Images are then reversed and run across the screen in the other direction; then images are flopped until athletes are running in countless ways … not unlike a pack of humanity on a football field.” Bob Lehmann, Today’s Film-maker magazine. Lincoln Center Animation Festival of the 5th New York Film Festival. Recent screening at the Museum of Modern Art, New York, December 10, 2012.
all blurbs from Lillian F. Schwartz website
More Lillian F. Schwarz films here
