Programmed Rules Codes and Choreographies in Art 1965ã¢â“2018 Artists
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections between works of art based on instructions, spanning over fifty years of conceptual, video, and computational art. The pieces in the exhibition are all "programmed" using instructions, sets of rules, and lawmaking, simply they also address the employ of programming in their creation. The exhibition links two strands of artistic exploration: the first examines the program as instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force backside the art; the 2nd strand engages with the apply of instructions and algorithms to manipulate the TV program, its apparatus, and signals or epitome sequences. Featuring works fatigued from the Whitney's collection, Programmed looks back at predecessors of computational art and shows how the ideas addressed in those earlier works have evolved in contemporary artistic practices. At a time when our globe is increasingly driven by automated systems, Programmed traces how rules and instructions in fine art have both responded to and been shaped by technologies, resulting in profound changes to our image culture.
The exhibition is organized past Christiane Paul, Adjunct Curator of Digital Art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial assistant.
Please be warned this exhibition includes video and projection with a flashing light effect.
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 is sponsored past Audi
Major support is provided past the Alfred P. Sloan Foundation.
Generous support is provided by the Carl & Marilynn Thoma Art Foundation, the Korea Foundation and the Jon and Mary Shirley Foundation.
Boosted support is provided past Hearst.
In-kind back up is provided by the Hakuta Family.
one
Rule, Instruction, Algorithm:
Ideas as Class
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2
Rule, Instruction, Algorithm:
Generative Measures
2
3
Rule, Pedagogy, Algorithm:
Collapsing Instruction and Class
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4
Point, Sequence, Resolution:
Image Resequenced
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5
Indicate, Sequence, Resolution:
Liberating the Signal
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Signal, Sequence, Resolution:
Realities Encoded
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Augmented Reality:
Tamiko Thiel
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Events
View all-
Sat,
May 11
Ethics of Looking
iv:30 pm
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Sat,
May four Ethics of Looking
iv:xxx pm
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Sat,
Apr 27 Ethics of Looking
four:30 pm
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Sat,
Apr 6
Whitney Signs: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
4–6 pm
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Thurs,
Mar 28
Fellow member Nighttime
vii:30–10 pm
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Fri,
Mar 22
Verbal Description and Touch Tour: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
10–eleven:30 am
Essay
Histories of the Digital Now
By Christiane Paul, adjunct curator of digital art
Walk into any given gallery or museum today, and one will presumably come across work that used digital technologies equally a tool at some point in its product, whether videos that were filmed and edited using digital cameras and mail service-production software, sculptures designed using reckoner-aided design, or photographs as digital prints, to name just a few examples.
Audio Guides
"The hope was for me equally an artist to lose command, and to have my control exist at the level of setting up the experiment." —Ian Cheng
Hear straight from artists and curators on selected works from Programmed: Rules, Codes, and Choreographies in Art, 1965–2018.
Installation Photography
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Josef Albers, Homage to the Foursquare V, 1967; Josef Albers, Homage to the Square Ix, 1967; Josef Albers, Homage to the Square XII, 1967; Josef Albers, Homage to the Square X, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant VI, 1966; Josef Albers, Variant X, 1966; Josef Albers, Variant IV, 1966; Josef Albers, Variant Ii, 1966; Josef Albers, Variant VII, 1966; John F. Simon Jr., Color Panel v1.0, 1999; Sol LeWitt, V Towers, 1986; Casey Reas, {Software} Construction #003 A, 2004 and 2016; Donald Judd, Untitled, 1965. Photo past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to correct, superlative to bottom: Ian Cheng, Baby feat. Ikaria, 2013; Josef Albers, Homage to the Foursquare V, 1967; Josef Albers, Homage to the Square Nine, 1967; Josef Albers, Homage to the Foursquare XII, 1967; Josef Albers, Homage to the Square X, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant Six, 1966; Josef Albers, Variant X, 1966; Josef Albers, Variant 4, 1966; Josef Albers, Variant II, 1966; Josef Albers, Variant 7, 1966; John F. Simon Jr., Color Panel v1.0, 1999; Casey Reas, {Software} Structure #003 A, 2004 and 2016; Casey Reas, {Software} Structure #003 B, 2004 and 2016; Donald Judd, Untitled, 1965; Sol LeWitt, Five Towers, 1986. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Donald Judd, Untitled, 1965. Photo past Ron Amstutz. © 2020 Judd Foundation / Artists Rights Society (ARS), New York
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to correct, tiptop to bottom: Josef Albers, Homage to the Square V, 1967; Josef Albers, Homage to the Square IX, 1967; Josef Albers, Homage to the Square XII, 1967; Josef Albers, Homage to the Foursquare X, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant VI, 1966; Josef Albers, Variant Ten, 1966; Josef Albers, Variant IV, 1966; Josef Albers, Variant II, 1966; Josef Albers, Variant VII, 1966; John F. Simon Jr., Colour Panel v1.0, 1999. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–Apr 14, 2019). From left to right: Casey Reas, {Software} Structure #003 A, 2004 and 2016; Casey Reas, {Software} Construction #003 B, 2004 and 2016; Sol LeWitt, quaternary Wall: 24 lines from the heart, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). Sol LeWitt, fourth wall: 24 lines from the center, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976, from Wall Drawing #289. Photograph by Ron Amstutz. © 2020 Sol LeWitt/Artists Rights Society (ARS), New York. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Dance #4, 1979; Casey Reas, Sol LeWitt Wall Cartoon #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014. On floor, left to correct: Lucinda Childs, Dance #1, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #iv, 1979; Lucinda Childs, Trip the light fantastic toe #5, 1979. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). From left to right: Sol LeWitt and Lucinda Childs, Dance #4, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Drinking glass, and Sol LeWitt, Dance, 1979 and 2014. On flooring, left to right: Lucinda Childs, Dance #i, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #iv, 1979; Lucinda Childs, Dance #5, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Dance #iv, 1979; Casey Reas, Sol LeWitt Wall Cartoon #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014. On floor, left to right: Lucinda Childs, Trip the light fantastic #1, 1979; Lucinda Childs, Dance #two, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #4, 1979; Lucinda Childs, Dance #5, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Trip the light fantastic #4, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014. On flooring, left to right: Lucinda Childs, Trip the light fantastic toe #ane, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #three, 1979; Lucinda Childs, Dance #4, 1979; Lucinda Childs, Dance #5, 1979. Photo past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to correct: Sol LeWitt and Lucinda Childs, Trip the light fantastic toe #4, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Drinking glass, and Sol LeWitt, Dance, 1979 and 2014. On floor, left to right: Lucinda Childs, Dance #one, 1979; Lucinda Childs, Trip the light fantastic #2, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Trip the light fantastic #four, 1979; Lucinda Childs, Trip the light fantastic #5, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Dance #4, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014. On floor, left to correct: Lucinda Childs, Trip the light fantastic #1, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Trip the light fantastic toe #3, 1979; Lucinda Childs, Dance #4, 1979; Lucinda Childs, Trip the light fantastic #v, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–Apr 14, 2019). From left to correct: Lucinda Childs, Philip Drinking glass, and Sol LeWitt, Trip the light fantastic toe, 1979 and 2014; Lucinda Childs, Trip the light fantastic toe #1, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Trip the light fantastic #3, 1979; Rafaël Rozendaal, Abstract Browsing 17 03 05 (Google), 2017; Casey Reas, {Software} Structure #003 A, 2004 and 2016; Casey Reas, {Software} Construction #003 B, 2004 and 2016. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to right: Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; Lucinda Childs, Trip the light fantastic toe #1, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #3, 1979; Rafaël Rozendaal, Abstract Browsing 17 03 05 (Google), 2017; Casey Reas, {Software} Construction #003 A, 2004 and 2016; Casey Reas, {Software} Structure #003 B, 2004 and 2016. Photo past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Dance #4, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; Lucinda Childs, Dance #5, 1979; Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018); Rafaël Rozendaal, Abstract Browsing 17 03 05 (Google), 2017. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). From left to right, peak to bottom: Nam June Paik, Fin de Siècle Two, 1989 (partially restored, 2018); Josef Albers, Homage to the Square V, 1967; Josef Albers, Homage to the Foursquare IX, 1967; Josef Albers, Homage to the Square XII, 1967; Josef Albers, Homage to the Square X, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant VI, 1966; Josef Albers, Variant X, 1966; Josef Albers, Variant IV, 1966; Josef Albers, Variant II, 1966; Josef Albers, Variant VII, 1966; John F. Simon Jr., Color Console v1.0, 1999; Rafaël Rozendaal, Abstract Browsing 17 03 05 (Google), 2017. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to right, height to bottom: Charles Csuri, Sine Curve Man, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Cartoon (#nine), 1975; Joan Truckenbrod, Coded Algorithmic Cartoon (#45), 1975; Tauba Auerbach, Binary Capital letter/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Dialectic Triangulation: A Visual Philosophy, serial #iii, 1970; Lawrence Weiner, HERE At that place & EVERYWHERE, 1989; Sol LeWitt and Lucinda Childs, Dance #iv, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April xiv, 2019). From left to right, top to lesser: Charles Csuri, Sine Bend Homo, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to correct: Tauba Auerbach, Binary Uppercase/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Dialectic Triangulation: A Visual Philosophy, serial #iii, 1970. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to correct: Westward. Bradford Paley, Code Profiles, 2002 and 2018; Joseph Kosuth, Five Words in Green Neon, 1965. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Nam June Paik, Fin de Siècle Two, 1989 (partially restored, 2018); Sol LeWitt, Five Towers, 1986; Josef Albers, Homage to the Square V, 1967; Josef Albers, Homage to the Foursquare IX, 1967; Josef Albers, Homage to the Foursquare XII, 1967; Josef Albers, Homage to the Square X, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant VI, 1966; Josef Albers, Variant X, 1966; Josef Albers, Variant IV, 1966; Josef Albers, Variant II, 1966; Josef Albers, Variant Seven, 1966; John F. Simon Jr., Colour Panel v1.0, 1999; Rafaël Rozendaal, Abstruse Browsing 17 03 05 (Google), 2017. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018). Photo by Ron Amstutz. © Nam June Paik Estate
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018). Photo by Ron Amstutz. © Nam June Paik Manor
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). Nam June Paik, Fin de Siècle Two, 1989 (partially restored, 2018). Photo by Ron Amstutz. © Nam June Paik Estate
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April fourteen, 2019). Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018). Photograph by Ron Amstutz. © Nam June Paik Estate
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). Nam June Paik, Fin de Siècle 2, 1989 (partially restored, 2018). Photo by Ron Amstutz. © Nam June Paik Estate
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Cheyney Thompson, Broken Volume (10 L), 2013. Photograph by Ron Amstutz
Cheyney Thompson, Cleaved Book (10 L), 2013 (installation view, Programmed: Rules, Codes, and Choreographies in Art, 1965-2018, Whitney Museum of American Art, New York, September 28, 2018-April 14, 2019). Concrete, dimensions variable. Whitney Museum of American Art, New York; promised gift of Thea Westreich Wagner and Ethan Wagner P.2014.33. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April xiv, 2019). Cheyney Thompson, Cleaved Book (ten L), 2013. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Alex Contrivance, Human-Assisted Simulations of a Universal Will to Become (Simulation 9), 2014; Ian Cheng, Babe feat. Ikaria, 2013; Cheyney Thompson, Broken Volume (x L), 2013. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to right: Alex Dodge, Human being-Assisted Simulations of a Universal Volition to Go (Simulation 9), 2014; Ian Cheng, Baby feat. Ikaria, 2013. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Steina, Mynd, 2000. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Steina, Mynd, 2000. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Steina, Mynd, 2000. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). Steina, Mynd, 2000. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). Steina, Mynd, 2000. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–Apr 14, 2019). Lawrence Weiner, HERE At that place & EVERYWHERE, 1989. Photo past Ron Amstutz. © 2020 Lawrence Weiner/Artists Rights Society (ARS), New York
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Jim Campbell, Tilted Plane, 2011. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). From left to correct: Earl Reiback, Thrust, 1969; James L. Seawright, Searcher, 1966; Nam June Paik, Magnet TV, 1965. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018(Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). James L. Seawright, Searcher, 1966. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Cory Arcangel, Super Mario Clouds, 2002. Photograph by Ron Amstutz. © Cory Arcangel. Courtesy of the artist and Team Gallery, New York
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018(Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Paul Pfeiffer, Goethe's Message to the New Negroes, 2001. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Lynn Hershman Leeson, Lorna, 1979–84. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). Lynn Hershman Leeson, Lorna, 1979–84. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). Siebren Versteeg, New York Double Hung, 2008. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–Apr 14, 2019). From left to right: Jonah Brucker-Cohen and Katherine Moriwaki, America'southward Got No Talent, 2012 and 2018; Jim Campbell, Tilted Aeroplane, 2011. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to correct: Jonah Brucker-Cohen and Katherine Moriwaki, America'southward Got No Talent, 2012 and 2018; Jim Campbell, Tilted Airplane, 2011; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian Ii, 1978; Cory Arcangel, Super Mario Clouds, 2002. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian II, 1978; Cory Arcangel, Super Mario Clouds, 2002; Earl Reiback, Thrust, 1969; Marc Lafia and Fang-Yu Lin, The Battle of Algiers, 2006. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to correct: Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian II, 1978; Cory Arcangel, Super Mario Clouds, 2002; Earl Reiback, Thrust, 1969; Marc Lafia and Fang-Yu Lin, The Battle of Algiers, 2006. Photo past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). From left to correct: Lynn Hershman Leeson, Lorna, 1979–84; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian II, 1978; Cory Arcangel, Super Mario Clouds, 2002. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). From left to right: Lynn Hershman Leeson, Lorna, 1979–84; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian II, 1978; Cory Arcangel, Super Mario Clouds, 2002. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April xiv, 2019). From left to right: Lynn Hershman Leeson, Lorna, 1979–84; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian II, 1978; Cory Arcangel, Super Mario Clouds, 2002. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to correct: Marc Lafia and Fang-Yu Lin, The Boxing of Algiers, 2006; Mendi + Keith Obadike, The Interaction of Coloreds, 2002 and 2018. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). From left to right: Mendi + Keith Obadike, The Interaction of Coloreds, 2002 and 2018; Paul Pfeiffer, Goethe's Message to the New Negroes, 2001. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). Barbara Lattanzi, C-Bridge Alphaville and C-SPAN Karaoke, 2005. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Jim Campbell, Tilted Plane, 2011; Barbara Lattanzi, C-Span Alphaville and C-SPAN Karaoke, 2005. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr fourteen, 2019). From left to right: Barbara Lattanzi, C-Bridge Alphaville and C-Bridge Karaoke, 2005; Lynn Hershman Leeson, Lorna, 1979–84; Jim Campbell, Reconstruction 7, 2006; Jim Campbell, Ambiguous Icon #5 (Running, Falling), 2000. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr 14, 2019). Tamika Thiel, Unexpected Growth, 2018. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr fourteen, 2019). Tamika Thiel, Unexpected Growth, 2018. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, elevation to bottom: Nam June Paik, Fin de Siècle 2, 1989; Sol Lewitt, Five Towers, 1986; Josef Albers, Variant I, 1966; Josef Albers, Variant Ix, 1966; Josef Albers, Variant Eight, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Foursquare Half-dozen, 1967; Josef Albers, Homage to the Square Three, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square Ii, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Foursquare Seven, 1967; John F. Simon Jr., Colour Console v1.0, 1999; Mika Tajima, Negative Entropy (Digital Bounding main, NYC2, 4U, NAS, Pink, Quad), 2018. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–Apr xiv, 2019). From left to correct, top to bottom: Nam June Paik, Fin de Siècle 2, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant 9, 1966; Josef Albers, Variant Eight, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Square Half-dozen, 1967; Josef Albers, Homage to the Square Three, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square II, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square Seven, 1967. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to right, superlative to lesser: Nam June Paik, Fin de Siècle Two, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant Nine, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant III, 1966; Josef Albers, Homage to the Square Half-dozen, 1967; Josef Albers, Homage to the Square III, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square 2, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square 7, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Bounding main, NYC2, 4U, NAS, Pinkish, Quad), 2018. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to bottom: Manfred Mohr, Ring Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#ix), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; Tauba Auerbach, Binary Uppercase/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Pascal's Triangle 2, 1974; Lawrence Weiner, HERE THERE & EVERYWHERE, 1989; In vitrine: Channa Horwitz, Suite 8, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to correct: Lucinda Childs and Sol LeWitt, Dance #4, 1979; Casey Reas, {Software} Structures, Sol LeWitt Wall Cartoon #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; Projection of: Lucinda Childs, Trip the light fantastic #i-5, 1979; In vitrine: Philip Glass, Score for Dance #1, 1979. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018(Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, elevation to lesser: Manfred Mohr, Ring Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Cartoon (#ix), 1975; Joan Truckenbrod, Coded Algorithmic Cartoon (#45), 1975. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right, top to lesser: Casey Reas, {Software} Structures #003 B, 2004 and 2016; Sol LeWitt, 4th wall: 24 lines from the middle, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976; Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Cartoon (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; In vitrine: Channa Horwitz, Suite 8, 1979. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to right: Channa Horwitz, Suite eight, 1979; Lucinda Childs and Sol LeWitt, Dance #4, 1979; Casey Reas, {Software} Structures, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; June Paik, Fin de Siècle Two, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant 8, 1966; Josef Albers, Variant Three, 1966; Josef Albers, Homage to the Foursquare Six, 1967; Josef Albers, Homage to the Foursquare III, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Foursquare Two, 1967; Josef Albers, Homage to the Foursquare XI, 1967; Josef Albers, Homage to the Square VII, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Sea, NYC2, 4U, NAS, Pink, Quad), 2018. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Fine art, New York, September 28, 2018–April 14, 2019). Paul Pfeiffer, Goethe's Message to the New Negroes, 2001. Photograph past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). Mendi + Keith Obadike, The Interaction of Coloreds, 2002 and 2018. Photo by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr fourteen, 2019). Mendi + Keith Obadike, The Interaction of Coloreds, 2002 and 2018. Photograph by Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). From left to right: Cory Arcangel, Super Mario Clouds, 2002; Nam June Paik, Magnet Television, 1965; Shigeko Kubota, Meta-Marcel: Window, 1976. Photo past Ron Amstutz
Installation view of Programmed: Rules, Codes, and Choreographies in Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). Shigeko Kubota, Meta-Marcel: Window, 1976. Photograph by Ron Amstutz. © Estate of Shigeko Kubota / Artists Rights Society (ARS), New York
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April fourteen, 2019). Shigeko Kubota, Meta-Marcel: Window, 1976. Photograph by Ron Amstutz. © Estate of Shigeko Kubota / Artists Rights Society (ARS), New York
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–Apr xiv, 2019). From left to correct, height to bottom: Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant 3, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Square Iii, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Foursquare 2, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Foursquare Vii, 1967. Photograph by Ron Amstutz
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In the News
"How Artists Fabricated Code Their Paintbrush"
—Science Friday
"Tamiko Thiel'south 'Unexpected Growth' is an augmented reality installation on the hereafter of oceans and climatic change."
—Hyperallergic
"The exhibit uses the Whitney'due south own collection to explore how computational art has evolved and changed over the decades based on applied science."
—Smithsonian
"Is a specially urgent, relevant exhibition and a perfect setting in which to consider some of the well-nigh pressing questions of our fourth dimension."
—Sotheby's Museum Network
"Programmed explores the limits of code-based fine art, looking at past generations of computational art and illustrating how the ideas of earlier works accept adult to grade new contemporary styles."
—SVA NYC
"From early mathematical works, to Generative art, to digital art in a variety of media, the works in Programmed take many forms."
—Art and Object
"Artists play and experiment with algorithms and engineering, working inside limits only achieving effects greater than the sum of their codes or instructions. The duality at play in this exhibition is as separable equally the wave and particle natures of light. To recognize but 1 explanation would be reductive; to see both is cute."
—Scientific American
"Paik captured both the allure and the futility of following events that happen and then quickly they don't register before they're outdated."
—Forbes
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Source: https://whitney.org/exhibitions/programmed
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