- These dates come from ephemera held in Frank Eidlitz's file at the State Library of Victoria (SLV). In particular, see the photocopied catalogue for the exhibition at the Museum of Modern Art and Design of Australia (MOMADA), Melbourne, dated October 1965. Other writings differ on the year that Eidlitz arrived. In A Fine Line: A History of Australian Commercial Art (Sydney: Hale and Iremonger, 1983), Geoffrey Caban indicates that Eidlitz arrived in 1955, which is the date also reported by the Australian Graphic Design Association in an article by Max Robinson, ‘AGDA salutes Frank Eidlitz 1923–1997’ (http://members.agda.com.au/salute/view/profile/frank-eidlitz-1923-1997).
- Hans Kuh, ‘Perceptual Abstractions: The Work of Frank Eidlitz’, Gebrauchsgraphik 6, 1966, 2–9.
- Alfred Heintz, ‘Visual Communications: The New Force in Art’, Art and Australia, March 1966, 298–300.
- The exhibition ran 5–15 October 1965. MOMADA (180 Flinders Street, Melbourne) ultimately became the Heide Museum.
- Bernard Smith, ‘Optical Painting Fascinates’, The Age, 6 October 1965, 5. Smith refers to the influence of the Bauhaus through the work of Josef Albers as well as Vasarely's work in relation to op art. He concludes, ‘It is, in short, a largely corporate, objective and experimental type of art, active in the area wherein the disciplines of art, psychology and optical science meet. For this reason and because optical painting is still but little known in Australia, Eidlitz's exhibition is well worth a visit.’
- Eidlitz quoted in Alfred Heintz, ‘Visual Communications’, 298.
- Ibid.
- ‘Gyorgy Kepes’ (http://en.wikipedia.org/wiki/Gyorgy_Kepes).
- Gyorgy Kepes, Language of Vision (Chicago: Paul Theobald, 1944).
- Gyorgy Kepes, The New Landscape in Art and Science (Chicago: Paul Theobald, 1956).
- Geoffrey Caban, A Fine Line: A History of Australian Commercial Art (Sydney: Hale and Iremonger, 1983), 110.
- Eidlitz cited in Jean Wright and Betsy Walter, ‘Artist of the Urban Milieu’, Belle: Home Living Today 34, September-October 1979, 48, my emphasis.
- In his diary, Eidlitz mentions seeing Albers's work at an exhibition at the Art Institute of Chicago (4 February), and later (16 February) mentions that a colleague had gone to Yale to see him.
- See Frederick A. Horowitz and Brenda Danilowitz, Joseph Albers: To Open Eyes: At the Bauhaus, Black Mountain College, and Yale (London: Phaidon, 2006).
- Gyorgy Kepes, Language of Vision, 13.
- Ibid., 15.
- See Wolfgang Köhler, Gestalt Psychology (New York: Liveright, 1929).
- Max Wertheimer, ‘Gestalt Theory’, in A Source Book of Gestalt Psychology, ed. Willis D. Ellis (New York: Humanities Press, 1955), 2.
- Frederick A. Horowitz and Brenda Danilowitz, Joseph Albers: To Open Eyes, 16.
- Gyorgy Kepes, Language of Vision, 31.
- Ibid., 51.
- Ibid., 52.
- John Lahr, ‘Frank Eidlitz: An Australian Designer's Year in America’, Print, January 1967, 35.
- Frank Eidlitz, diary entry, 2 January 1967.
- Frank Eidlitz, diary entry, 3 January 1967.
- See Steven A. Coons, ‘Surfaces for Computer Aided Design’, MIT 1964 Tech. Report (Cambridge, MA: Mechanical Engineering Department, MIT, 1964). Coons was a Professor of Mechanical Engineering at MIT and supervised Ivan Sutherland (see note below).
- See Ivan Sutherland, ‘Sketchpad: A Man-Machine Graphical Communication System’ (PhD dissertation, MIT, 1962); MIT Lincoln Laboratory Technical Report 296, January 1963; and Proceedings of the Spring Joint Computer Conference, Detroit, Michigan, May 1963.
- Stan VanDerBeek was working with Ken Knowlton on computer-generated films at the Bell Labs around 1966. For coverage of both VanDerBeek and Brakhage, see Gene Youngblood, Expanded Cinema (New York: Dutton, 1970).
- As noted in Eidlitz's diary, he saw VanDerBeek's films on 15 and 16 March 1966, and then his exhibition (probably The World of Stanley VanDerBeek, School of Visual Arts, New York) on 28 March 1966.
- Light as a Creative Medium was held at Carpenter Center for the Visual Arts, Harvard, 1965–6, and was jointly hosted by Harvard and MIT.
- John Lahr, ‘Frank Eidlitz’, 32.
- Ibid., 35.
- Peter Mudie, UBU Films: Sydney Underground Movies, 1965–1970 (Sydney: UNSW Press, 1997), 59.
- Keith Thomas, ‘Danish Blue’, Nation, 25 May 1968.
- The two situations were more or less concurrent. In his diary entries spanning from the end of February until the beginning of March 1967, Eidlitz mentions photographing and filming Kepes's exhibition. He acquired the honeycomb aluminium on 3 March 1967.
- Frank Eidlitz, ‘Structure, Form and Harmony in Photography’, Gebrauchsgraphik 8, 1967, 46–51.
- Ibid., 49.
- Margit Staber, Josef Albers: Graphic Tectonic, Ein Zyklus von acht Lithographien aus dem Jahr 1942 (Cologne: Verlag Gallery der Spiegel, 1968).
- John Lahr, ‘Frank Eidlitz’, 32.
- Frank Eidlitz, Dimensional Painting (exhibition invite), South Yarra Gallery, Melbourne, 1971.
- The Sydney version of the Illinois Automatic Computer. See John Deane, SILLIAC: Vacuum Tube Supercomputer (Sydney: Science Foundation for Physics, School of Physics, University of Sydney, in association with the Australian Computer Museum Society, 2006).
- See J. M. Bennett and T. Pearcey, ‘Networks of Computers’, Proceedings of the Institution of Radio and Electronics Engineers 29, no. 9, 1968, 321; J. M. Bennett, C. S. Wallace, and J. W. Winings, ‘A Grafted Multiaccess Network’, Information Processing 68 (Proceedings of the International Federation for Information Processing (IFIP) Congress, 5–10 August 1968, Edinburgh), 917–22.
- Bennett went to Edinburgh to deliver a paper on the University of Sydney's computer network (see note 42). There, he heard a paper by Leslie Mezei on a graphic package he had developed for artists (Leslie Mezei, ‘SPARTA: A Procedure-oriented Programming Language for the Manipulation of Arbitrary Line Drawings’, Information Processing 68, 597–604), to which he referred Doug Richardson in relation to the University of Sydney's computer-graphics project. Interestingly, it was at the IFIP Congress that establishing a Computer Arts Society was first discussed. See Simon Ford, ‘Technological Kindergarten’, in White Heat, Cold Logic: British Computer Art, 1960–1980, ed. Paul Brown, Charlie Gere, Nicholas Lambert, and Catherine Mason (Cambridge, MA: MIT Press, 2009), 168.
- Bennett went at the suggestion of Donald Brook, who was a member of the university's fine arts department. The exhibition ran 2 August-20 October 1968.
- J. M. Bennett, ‘Computers and the Visual Arts’, Australian Computer Journal 3, no. 4, November 1971, 171–7.
- See Therese Kenyon, Under a Hot Tin Roof: Art, Passion and Politics at the Tin Sheds Art Workshop (Sydney: Power Publications and State Library of NSW Press, 1995).
- Untitled presentation by Doug Richardson (Synthetics Symposium, Powerhouse Museum, Sydney, 19 July 1998).
- Queensland Festival of the Arts, Brisbane, 7–17 May 1974. Organised by Leslie Gotto. A copy of the program is held at the John Oxley Library, Brisbane (700/13/Serials).
- A number of images were made by Lloyd Sumner and at least one set of images from Leslie Mezei was displayed. Sadly, there appears to be no information on the identities of the Australian computer artists.
- This could well have been Chowning's Turenas (1972), described on Wikipedia as ‘one of the first electronic compositions to have the illusion of sounds moving in a 360-degree space’. John Chowning discovered the algorithm for FM synthesis of sound and used it to make several musical works. The algorithm was eventually bought by Yamaha and used in their DX7 keyboard synthesiser.
- Frank Eidlitz, interviewed by Valerie Smaldone for WFUV radio during his Metaphysical Nymphs exhibition, Neill Gallery, June 1978.
- Horowitz and Danilowitz, Joseph Albers: To Open Eyes, 88.
- Ibid.
- Ibid., 89.
- Achim Borchardt-Hume, ed., Albers and Moholy-Nagy: From the Bauhaus to the New World (London: Tate Gallery, 2006).
- Frank Eidlitz, interviewed by Valerie Smaldone, June 1978.
- Ibid.
Australian and New Zealand Journal of Art
Volume 10, 2009 - Issue 1: The Conference Issue