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] ]
]'' cover: art by Joseph Nechvatal]] ]'' cover: art by Joseph Nechvatal]]
Joseph Nechvatal was born in ]<ref name=":0" />{{Rp|1176}} and went to ]. He then studied fine art and philosophy at ], ] and ].<ref>{{cite web|url=http://www.brooklynrail.org/2012/03/books/flawed-composition|title=BIOGRAPHY Flawed Composition - The Brooklyn Rail|author=Joseph Nechvatal}}</ref> Joseph Nechvatal was born in ]<ref name=":0" />{{Rp|1176}} and went to ]. He then studied fine art and philosophy at ], ] and ].<ref>{{cite web|url=http://www.brooklynrail.org/2012/03/books/flawed-composition|title=BIOGRAPHY Flawed Composition - The Brooklyn Rail|author=Joseph Nechvatal}}</ref> He has had a solo exhibition in ]<ref></ref>


His work in the early 1980s chiefly consisted of ] gray graphite drawings that were often photomechanically enlarged.<ref>Milazzo & Collins 1990, pp. 3-7.</ref> Beginning in 1979 he became associated with the artist group ], organized the Public Arts International/Free Speech series, he was a member of ] in the 1980s and helped established the non-profit group ].<ref>{{Cite web|last=Goodeve|first=Thyrza Nichols|date=2015-12-09|title=THE MIGRANT AS CONSCIENTIOUS OBJECTOR JOSEPH NECHVATAL with Thyrza Nichols Goodeve|url=https://brooklynrail.org/2015/12/art/joseph-nechvatal-with-thyrza-nichols-goodeve|access-date=2021-03-13|website=The Brooklyn Rail|language=en-US}}</ref> In 1983 he co-founded the ] ] audio project ].<ref>{{Cite book|url=https://www.worldcat.org/oclc/58832292|title=The downtown book : the New York art scene, 1974-1984|date=2006|publisher=Princeton University Press|others=Marvin J. Taylor, Grey Art Gallery & Study Center, Fales Library, Andy Warhol Museum, Austin Museum of Art|isbn=0-691-12286-5|location=Princeton, N.J.|oclc=58832292}}</ref> In 1984, Nechvatal began work on an opera called '']'' (1984-6)<ref>], ''Die Donnergötter'' (LP, CD), Table of the Elements/Radium 2006, CD Book, p. 14</ref> with the ] musical composer ].<ref>Sharp 1984, pp. 52-55.</ref> His work in the early 1980s chiefly consisted of ] gray graphite drawings that were often photomechanically enlarged.<ref>Milazzo & Collins 1990, pp. 3-7.</ref> Beginning in 1979 he became associated with the artist group ], organized the Public Arts International/Free Speech series, he was a member of ] in the 1980s and helped established the non-profit group ].<ref>{{Cite web|last=Goodeve|first=Thyrza Nichols|date=2015-12-09|title=THE MIGRANT AS CONSCIENTIOUS OBJECTOR JOSEPH NECHVATAL with Thyrza Nichols Goodeve|url=https://brooklynrail.org/2015/12/art/joseph-nechvatal-with-thyrza-nichols-goodeve|access-date=2021-03-13|website=The Brooklyn Rail|language=en-US}}</ref> In 1983 he co-founded the ]</nowiki>]] ]</nowiki>]] audio project ]</nowiki>]].<ref>{{Cite book|url=https://www.worldcat.org/oclc/58832292|title=The downtown book : the New York art scene, 1974-1984|date=2006|publisher=Princeton University Press|others=Marvin J. Taylor, Grey Art Gallery & Study Center, Fales Library, Andy Warhol Museum, Austin Museum of Art|isbn=0-691-12286-5|location=Princeton, N.J.|oclc=58832292}}</ref> In 1984, Nechvatal began work on an opera called '']'' (1984-6)<ref>], ''Die Donnergötter'' (LP, CD), Table of the Elements/Radium 2006, CD Book, p. 14</ref> with the ] musical composer ].<ref>Sharp 1984, pp. 52-55.</ref>


He began using computers and robotics to make ] paintings in 1986 <ref>Joseph Nechvatal, ''Selected Writings''. Paris: Editions Antoine Candau, 1990</ref> and later, in his signature work, began to employ self-created ].<ref>Popper 2007, pp. 120-123.</ref><ref>Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 p. 87</ref> From 1991–1993 he was artist-in-residence at the ] ] in ], France and at the ]/] Foundation's computer lab. There he worked on ''The Computer Virus Project'', his first artistic experiment with ] and computer virus ].<ref>Morgan 2006, pp. 75-76.</ref> He exhibited computer-robotic paintings at ] 8 in 1987.<ref>Documenta GmbH., Museum Fridericianum Veranstaltungs GmbH, ''Volume 3 de Documenta 8: Kassel'' 1987</ref><ref>Nechvatal, J. 1987. ''Theoretical Statement Concerning Computer Robotic Paintings'', Documenta 8 Catalogue, Vol. 3</ref> He began using computers and robotics to make ] paintings in 1986 <ref>Joseph Nechvatal, ''Selected Writings''. Paris: Editions Antoine Candau, 1990</ref> and later, in his signature work, began to employ self-created ].<ref>Popper 2007, pp. 120-123.</ref><ref>Lieser, Wolf. ''Digital Art''. Langenscheidt: h.f. ullmann. 2009 p. 87</ref> From 1991–1993 he was artist-in-residence at the ] ] in ], France and at the ]/] Foundation's computer lab. There he worked on ''The Computer Virus Project'', his first artistic experiment with ] and computer virus ].<ref>Morgan 2006, pp. 75-76.</ref> He exhibited computer-robotic paintings at ] 8 in 1987.<ref>Documenta GmbH., Museum Fridericianum Veranstaltungs GmbH, ''Volume 3 de Documenta 8: Kassel'' 1987</ref><ref>Nechvatal, J. 1987. ''Theoretical Statement Concerning Computer Robotic Paintings'', Documenta 8 Catalogue, Vol. 3</ref>

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Joseph Nechvatal
BornJanuary 15, 1951 (1951-01-15) (age 73)
Chicago, Illinois
NationalityAmerican
Known forPost-conceptual art, digital art, sound art, art theory, art criticism
Movementpost-conceptualism generative art

Joseph Nechvatal (born January 15, 1951) is an American post-conceptual digital artist and art theoretician who creates computer-assisted paintings and computer animations, often using custom-created computer viruses.

Life and work

Joseph Nechvatal birth Of the viractual 2001 computer-robotic assisted acrylic on canvas
Full viral symphOny cover: art by Joseph Nechvatal

Joseph Nechvatal was born in Chicago and went to Hinsdale Central High School. He then studied fine art and philosophy at Southern Illinois University Carbondale, Cornell University and Columbia University. He has had a solo exhibition in Berlin

His work in the early 1980s chiefly consisted of postminimalist gray graphite drawings that were often photomechanically enlarged. Beginning in 1979 he became associated with the artist group Colab, organized the Public Arts International/Free Speech series, he was a member of Colab in the 1980s and helped established the non-profit group ABC No Rio. In 1983 he co-founded the ] ] audio project ]. In 1984, Nechvatal began work on an opera called XS: The Opera Opus (1984-6) with the no wave musical composer Rhys Chatham.

He began using computers and robotics to make post-conceptual paintings in 1986 and later, in his signature work, began to employ self-created computer viruses. From 1991–1993 he was artist-in-residence at the Louis Pasteur Atelier in Arbois, France and at the Saline Royale/Ledoux Foundation's computer lab. There he worked on The Computer Virus Project, his first artistic experiment with computer viruses and computer virus animation. He exhibited computer-robotic paintings at Documenta 8 in 1987.

Partially supported by Maja Hoffmann, in 1999 Nechvatal obtained his Ph.D. in the philosophy of art and new technology concerning immersive virtual reality at Roy Ascott's Centre for Advanced Inquiry in the Interactive Arts (CAiiA), University of Wales College (now the Planetary Collegium at the University of Plymouth).

In 2002 he extended his experimentation into viral artificial life through a collaboration with the programmer Stephane Sikora of music2eye in a work called the Computer Virus Project II, inspired by the a-life work of John Horton Conway (particularly Conway's Game of Life), by the general cellular automata work of John von Neumann, by the genetic programming algorithms of John Koza, by the work of John Cage and Marcel Duchamp, and by the auto-destructive art of Gustav Metzger.

Nechvatal has also created a noise music work called viral symphOny, a collaborative sound symphony created by using his computer virus software at the Institute for Electronic Arts at Alfred University. In 2016, a limited edition CD recording of his sex farce poetry book Destroyer of Naivetés was released on Entr'acte label under the name of Cave Bacchus. Cave Bacchus is Nechvatal, Black Sifichi and Rhys Chatham.

From 1999 to 2013, Nechvatal taught art theories of immersive virtual reality and the viractual at the School of Visual Arts in New York City (SVA). A book of his collected essays entitled Towards an Immersive Intelligence: Essays on the Work of Art in the Age of Computer Technology and Virtual Reality (1993–2006) was published by Edgewise Press in 2009. Also in 2009, his book Immersive Ideals / Critical Distances was published. In 2011, his book Immersion Into Noise was published by Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office.

Viractualism

Viractualism is an art theory concept developed by Nechvatal in 1999 from Ph.D. research Nechvatal conducted at the University of Wales College. There he developed his concept of the viractual, which strives to create an interface between the biological and the virtual.

Footnotes

  1. ^ Sara Pendergast; Tom Pendergast (2002). Contemporary artists (5th ed.). Detroit, MI: St. James Press. ISBN 1-55862-488-0. OCLC 47869983.
  2. Joseph Nechvatal. "BIOGRAPHY Flawed Composition - The Brooklyn Rail".
  3. ART LABORATORY BERLIN bOdy pandemOnium. Immersion into Noise
  4. Milazzo & Collins 1990, pp. 3-7.
  5. Goodeve, Thyrza Nichols (2015-12-09). "THE MIGRANT AS CONSCIENTIOUS OBJECTOR JOSEPH NECHVATAL with Thyrza Nichols Goodeve". The Brooklyn Rail. Retrieved 2021-03-13.
  6. The downtown book : the New York art scene, 1974-1984. Marvin J. Taylor, Grey Art Gallery & Study Center, Fales Library, Andy Warhol Museum, Austin Museum of Art. Princeton, N.J.: Princeton University Press. 2006. ISBN 0-691-12286-5. OCLC 58832292.{{cite book}}: CS1 maint: others (link)
  7. Rhys Chatham, Die Donnergötter (LP, CD), Table of the Elements/Radium 2006, CD Book, p. 14
  8. Sharp 1984, pp. 52-55.
  9. Joseph Nechvatal, Selected Writings. Paris: Editions Antoine Candau, 1990
  10. Popper 2007, pp. 120-123.
  11. Lieser, Wolf. Digital Art. Langenscheidt: h.f. ullmann. 2009 p. 87
  12. Morgan 2006, pp. 75-76.
  13. Documenta GmbH., Museum Fridericianum Veranstaltungs GmbH, Volume 3 de Documenta 8: Kassel 1987
  14. Nechvatal, J. 1987. Theoretical Statement Concerning Computer Robotic Paintings, Documenta 8 Catalogue, Vol. 3
  15. Liu 2004, pp. 331-336 & 485-486.
  16. "Gustav Metzger (1926-)".
  17. "Artist in Residence Archive".
  18. "Joseph Nechvatal :: Viral symphony :: IEA :: 2007".
  19. Morgan, Robert (June 2012). "Joseph Nechvatal: nOise anusmOs". The Brooklyn Rail.
  20. Cave Bacchus: Joseph Nechvatal, Black Sifichi, Rhys Chatham Destroyer of Naivetés Entr’acte CD (E207)
  21. Nechvatal. J. Immersive Ideals / Critical Distances, LAP Lambert Academic Publishing (July 7, 2009) ISBN 3-8383-0445-4 / ISBN 978-3-8383-0445-8
  22. Immersion Into Noise published by Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office. Ann Arbor. 2011.
  23. Christiane Paul, in her seminal book Digital Art, discusses Nechvatal's concept of viractualism on page 58. One of the images she chooses to illustrate that section of the book is Nechvatal's painting entitled the birth Of the viractual (2001). Joe Lewis, in the March 2003 issue of Art in America (pp.123-124), discusses the viractual in his review Joseph Nechvatal at Universal Concepts Unlimited. John Reed in Artforum Web 3-2004 Critic's Picks discusses the concept in his piece #1 Joseph Nechvatal. Frank Popper also writes about the viractual concept in his book From Technological to Virtual Art on page 122.
  24. Our Digital Noology: Catherine Perret in conversation with Joseph Nechvatal
  25. Viractualism is a conceptual art concept that indicates and initiates communions of the protoplasmic mass to virtual spatial conditions. Roy Ascott, in his essay "The Architecture of Cyberception"*, has said, "... to inhabit both the real and virtual worlds at one and the same time, and to be both here and potentially everywhere else at the same time is giving us a new sense of self, new ways of thinking and perceiving which extend what we have believed to be our natural, genetic capabilities." Ascott, R. 1994. "The Architecture of Cyberception" In Leonardo Electronic Almanac, Vol. 2, No. 8, MIT Press Journals, August 1994
  26. "CTheory.net".
  27. The title of the Ph.D. dissertation is "Immersive Ideals / Critical Distances : A Study of the Affinity Between Artistic Ideologies Based in Virtual Reality and Previous Immersive Idioms". A url introduction to the thesis, entitled "Frame and Excess", can be read on-line and the entire thesis downloaded in PDF at:
  28. Paul 2006, pp. 57-58.

Further reading

  • John Johnston, The Allure of Machinic Life: Cybernetics, Artificial Life, and the New AI, MIT Press, 2008, cover
  • Donald Kuspit, The Matrix of Sensations VI: Digital Artists and the New Creative Renaissance
  • Joline Blais and Jon Ippolito, The Edge of Art, Thames & Hudson Ltd, p. 213
  • Frank Popper, From Technological to Virtual Art, MIT Press, pp. 120–123
  • Johanna Drucker, Joseph Nechvatal : Critical Pleasure
  • Robert C. Morgan, Voluptuary: An algorithic hermaphornology, Tema Celeste Magazine, volume #93, p. 94
  • Bruce Wands, Art of the Digital Age, London: Thames & Hudson, p. 65
  • Robert C. Morgan, Laminations of the Soul, Editions Antoine Candau, 1990, pp. 23–30
  • Margot Lovejoy, Digital Currents: Art in the Electronic Age Routledge 2004
  • Joseph Nechvatal, Immersive Excess in the Apse of Lascaux, Technonoetic Arts 3, no3. 2005
  • Joseph Nechvatal. Immersion Into Noise. Open Humanities Press in conjunction with the University of Michigan Library's Scholarly Publishing Office. Ann Arbor. 2011
  • Johanna Drucker, Joseph Nechvatal : Critical Pleasure, Redaktion Frank Berndt, 1996, pp. 10–13
  • Mario Costa, Phenomenology of New Tech Arts, Artmedia, Salerno, 2005, p. 6 & pp. 36 – 38
  • Dominique Moulon, L'art numerique: spectateur-acteuret vie artificielle, Les images numeriques #47-48, 2004, pp. 124–125
  • Christine Buci-Glucksmann, L'art à l'époque virtuel, in Frontières esthétiques de l'art, Arts 8, Paris: L'Harmattan, 2004
  • Brandon Taylor, Collage, Thames & Hudson Ltd, 2006, p. 221
  • Dominique Moulon, Conférence Report : Media Art in France, Un Point d'Actu, L'Art Numerique, pp. 124–125
  • Edmond Couchot, Des Images, du temps et des machines, édité Actes Sud, 2007, pp. 263–264
  • Fred Forest, Art et Internet, Editions Cercle D'Art / Imaginaire Mode d'Emploi, pp. 48 –51
  • Wayne Enstice & Melody Peters, Drawing: Space, Form, & Expression, New Jersey: Prentice Hall, pp. 312–313
  • Ellen K. Levy, Synthetic Lighting: Complex Simulations of Nature, Photography Quarterly (#88) 2004, pp. 7–9
  • Marie-Paule Nègre, Des artistes en leur monde, volume 2, la Gazette de l'Hotel Drout, 2008, pp. 82–83
  • Corrado Levi, È andata così: Cronaca e critica dell'arte 1970-2008, Joseph Nechvatal intervistato nel suo studio a New York (1985–86), pp. 130–135
  • Donald Kuspit, Del Atre Analogico al Arte Digital in Arte Digital Y Videoarte, Kuspit, D. ed., Consorcio del Circulo de Bellas Artes, Madrid, pp. 33–34 & pp. 210 – 212
  • Robert C. Morgan, Nechvatal's Visionary Computer Virus, in Gruson, L. ed. 1993. Joseph Nechvatal: Computer Virus Project, Royal Saltworks at Arc-et-Senans: Fondation Claude-Nicolas Ledoux, pp. 8–15
  • Sarah J. Rogers (ed), Body Mécanique: Artistic Explorations of Digital Realms, Columbus, Ohio, Wexner Center for the Arts, The Ohio State University
  • Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. ISBN 978-0-7148-4782-5, pp. 42, 285, 160

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