Rebooting the art-and-technology movement: a review of W. Patrick McCray’s Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture

References

• Barnes, Clive. 1966. “Dance Or Something at the Armory,” October 15.
   Google Scholar
• Buchloh, Benjamin H. D. 1990. “Conceptual Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter): 105–143.
   Google Scholar
• Burnham, Jack. 1969. “Real Time Systems.” Artforum 8 (1): 49–55. (September).
   Google Scholar
• Burnham, Jack. 1980. “The Panacea That Failed.” In The Myths of Information: Technology and Postindustrial Culture, edited by Kathleen M. Woodward, 200–215. London: Routledge & Kegan Paul.
   Google Scholar
• Burnham, Jack. 1968. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This Century. New York, NY: George Braziller.
   Google Scholar
• Dalla Villa Adams, Amanda. 2016. “‘In the Middle of Nowhere’: Robert Irwin’s Experiments with the Art and Technology Program at the Los Angeles County Museum of Art, 1968-1970.” Art Inquiries 17 (1): 30–41.
   Google Scholar
• Davis, Douglas. 1968. “The New Combine.” Art in America 56 (1): 28–37.
   Google Scholar
• Davis, Douglas. 1973. Art and the Future: A History-Prophecy of the Collaboration Between Science, Technology and Art. London: Thames and Hudson.
   Google Scholar
• Dyson, Frances. 2009. Sounding New Media: Immersion and Embodiment in the Arts and Culture. Berkeley: University of California Press.
   Google Scholar
• Fernández, Maria. 2008. “Detached from HiStory: Jasia Reichardt and Cybernetic Serendipity.” Art Journal 67 (3): 6–23. (Fall).
   Web of Science ®Google Scholar
• Goodyear, Anne Collins. 2004. “Gyorgy Kepes, Billy Klüver, and American Art of the 1960s: Defining Attitudes Toward Science and Technology.” Science in Context 17 (4): 611–635.
   Web of Science ®Google Scholar
• Goodyear, Anne Collins. 2008. “From Technophilia to Technophobia: The Impact of the Vietnam War on the Reception of ‘Art and Technology’.” Leonardo 41 (2): 169–173. doi:https://doi.org/10.1162/leon.2008.41.2.169.
   Web of Science ®Google Scholar
• Green, Charles. 2001. The Third Hand: Collaboration in Art from Conceptualism to Postmodernism. Minneapolis: University of Minnesota Press.
   Google Scholar
• Gross, Alex. 1970. “Who Is Being Eaten?” The East Village Other 5 (13): 14.
   Google Scholar
• Jones, Caroline A. 1996. Machine in the Studio: Constructing the Postwar American Artist. Chicago: University of Chicago Press.
   Google Scholar
• Jones, Caroline A. 2018a. “Cybercultural Servomechanisms: Modeling Feedback Around 1968.” In Art in the Age of the Internet: 1989 to Today, edited by Eva Respini, 42–49. Boston, MA; New Haven, CT: The Institute of Contemporary Art/Boston; Yale University Press.
   Google Scholar
• Jones, Caroline A. 2018b. “Phantom Limbs.” Log (42): 186–204. (Winter/Spring). https://www.anycorp.com/store/log42.
   Google Scholar
• Kane, Carolyn L. 2014. Chromatic Algorithms: Synthetic Color, Computer Art, and Aesthetics After Code. Chicago; London: The University of Chicago Press.
   Google Scholar
• Ketner, Joseph D. 2017. Witness to Phenomenon: Group ZERO and the Development of New Media in Postwar European Art. International Texts in Critical Media Aesthetics, vol. 12. New York: Bloomsbury Academic, An imprint of Bloomsbury Publishing Inc.
   Google Scholar
• Kozloff, Max. 1971. “The Multimillion Dollar Art Boondoggle.” Artforum 10 (2), https://www.artforum.com/print/197108/the-multimillion-dollar-art-boondoggle-34013. (October).
   Google Scholar
• Lee, Pamela M. 2006. Chronophobia: On Time in the Art of the 1960s. Cambridge, MA; London: MIT Press.
   Google Scholar
• Lee, Pamela M. 2020. Think Tank Aesthetics: Midcentury Modernism, the Cold War, and the Neoliberal Present. Cambridge, MA: MIT Press.
   Google Scholar
• Lippard, Lucy R. 1973. Six Years: The Dematerialization of the Art Object from 1966 to 1972. New York; Washington: Praeger Publishers.
   Google Scholar
• McCray, W. Patrick. 2019. “Fallout and Spinoff: Commercializing the Art-Technology Nexus.” In Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s, edited by David Cateforis, Steven Duval, and Shepherd Steiner, 61–78. Oakland, CA: University of California Press.
   Google Scholar
• McCray, W. Patrick. 2020. Making Art Work: How Cold War Engineers and Artists Forged a New Creative Culture. Cambridge, MA: The MIT Press.
   Google Scholar
• Morris, Robert. 1969. “Notes on Sculpture, Part IV: Beyond Objects.” Artforum 7 (8): 50–54. (April).
   Google Scholar
• Morris, Catherine, Clarisse Bardiot, Michelle Kuo, Brian O’Doherty, Lucy Lippard, and Herb Schneider. 2006. 9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966 ; [Catalogue Accompanies the Exhibition “9 Evenings Reconsidered: Art, Theatre, and Engineering, 1966”, Held at the MIT List Visual Arts Center, Cambridge, MA, May 4 - July 9, 2006]. Cambridge, MA: MIT List Visual Arts Center.
   Google Scholar
• Salter, Chris. 2010. Entangled: Technology and the Transformation of Performance. Cambridge, MA: MIT Press.
   Google Scholar
• Shanken, Edward A., ed. 2002. “Art in the Information Age: Technology and Conceptual Art.” Leonardo 35 (4): 433–438.
   Web of Science ®Google Scholar
• Shanken, Edward A., ed. 2014. Art and Electronic Media. New York, NY: Phaidon Press Limited.
   Google Scholar
• Sutton, Gloria. 2015. The Experience Machine: Stan VanderBeek’s Movie-Drome and Expanded Cinema. Leonardo Book Series. Cambridge, MA: MIT Press.
   Google Scholar
• Taylor, Grant D. 2014. When the Machine Made Art: The Troubled History of Computer Art. International Texts in Critical Media Aesthetics. New York: Bloomsbury Academic.
   Google Scholar
• Tomkins, Calvin. 1970. “Onward and Upward with the Arts.” The New Yorker. October 3.
   Google Scholar
• Turner, Fred. 2006. From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism. Chicago: University of Chicago Press.
   Google Scholar
• Turner, Fred. 2014. “The Corporation and the Counterculture: Revisiting the Pepsi Pavilion and the Politics of Cold War Multimedia.” The Velvet Light Trap 73: 66–78. doi:https://doi.org/10.7560/VLT7306. (Spring).
   Google Scholar
• Usselmann, Rainer. 2003. “The Dilemma of Media Art: Cybernetic Serendipity at the ICA London.” Leonardo 36 (5): 389–396. doi:https://doi.org/10.1162/002409403771048191.
   Web of Science ®Google Scholar
• Wisnioski, Matthew H. 2012. Engineers for Change: Competing Visions of Technology in 1960s America. Engineering Studies Series. Cambridge, MA: MIT Press.
   Google Scholar