Programmed Rules Codes and Choreographies in Art 1965 ââ“ 2018
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 establishes connections betwixt 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 code, but they besides accost the apply of programming in their creation. The exhibition links two strands of artistic exploration: the get-go examines the program equally instructions, rules, and algorithms with a focus on conceptual art practices and their emphasis on ideas as the driving force behind the art; the second strand engages with the use of instructions and algorithms to dispense the TV plan, its apparatus, and signals or image 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 before works take evolved in contemporary artistic practices. At a time when our world is increasingly driven by automated systems, Programmed traces how rules and instructions in art have both responded to and been shaped past technologies, resulting in profound changes to our image culture.
The exhibition is organized by Christiane Paul, Adjunct Curator of Digital Fine art, and Carol Mancusi-Ungaro, Melva Bucksbaum Associate Director for Conservation and Research, with Clémence White, curatorial banana.
Please be warned this exhibition includes video and projection with a flashing calorie-free effect.
Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 is sponsored past Audi
Major support is provided by the Alfred P. Sloan Foundation.
Generous support is provided past the Carl & Marilynn Thoma Art Foundation, the Korea Foundation and the Jon and Mary Shirley Foundation.
Additional support is provided past Hearst.
In-kind back up is provided by the Hakuta Family.
1
Dominion, Instruction, Algorithm:
Ideas every bit Class
1
two
Rule, Instruction, Algorithm:
Generative Measures
2
3
Rule, Didactics, Algorithm:
Collapsing Teaching and Form
3
4
Betoken, Sequence, Resolution:
Paradigm Resequenced
iv
five
Signal, Sequence, Resolution:
Liberating the Point
5
6
Betoken, Sequence, Resolution:
Realities Encoded
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7
Augmented Reality:
Tamiko Thiel
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Events
View all-
Saturday,
May 11
Ethics of Looking
4:30 pm
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Sat,
May four Ideals of Looking
4:thirty pm
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Sat,
Apr 27 Ethics of Looking
4:30 pm
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Sat,
Apr 6
Whitney Signs: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
iv–6 pm
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Thurs,
Mar 28
Fellow member Night
vii:30–10 pm
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Fri,
Mar 22
Verbal Description and Bear on Tour: Programmed: Rules, Codes, and Choreographies in Art, 1965–2018
10–eleven:30 am
Essay
Histories of the Digital At present
By Christiane Paul, adjunct curator of digital art
Walk into any given gallery or museum today, and one will presumably encounter work that used digital technologies as a tool at some point in its production, whether videos that were filmed and edited using digital cameras and post-product software, sculptures designed using estimator-aided design, or photographs as digital prints, to name just a few examples.
Audio Guides
"The hope was for me as an creative person to lose command, and to take my control be at the level of setting up the experiment." —Ian Cheng
Hear directly 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 Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). 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, 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 2, 1966; Josef Albers, Variant Vii, 1966; John F. Simon Jr., Colour Console v1.0, 1999; Sol LeWitt, 5 Towers, 1986; Casey Reas, {Software} Structure #003 A, 2004 and 2016; Donald Judd, Untitled, 1965. 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–Apr fourteen, 2019). From left to right, top to bottom: Ian Cheng, Babe feat. Ikaria, 2013; 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 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; Casey Reas, {Software} Structure #003 A, 2004 and 2016; Casey Reas, {Software} Structure #003 B, 2004 and 2016; Donald Judd, Untitled, 1965; Sol LeWitt, 5 Towers, 1986. 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). Donald Judd, Untitled, 1965. Photograph past Ron Amstutz. © 2020 Judd Foundation / 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). From left to right, superlative to bottom: Josef Albers, Homage to the Square 5, 1967; Josef Albers, Homage to the Foursquare Ix, 1967; Josef Albers, Homage to the Square XII, 1967; Josef Albers, Homage to the Square 10, 1967; Josef Albers, Variant V, 1966; Josef Albers, Variant VI, 1966; Josef Albers, Variant X, 1966; Josef Albers, Variant IV, 1966; Josef Albers, Variant 2, 1966; Josef Albers, Variant Seven, 1966; John F. Simon Jr., Color Panel v1.0, 1999. 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). From left to right: Casey Reas, {Software} Construction #003 A, 2004 and 2016; Casey Reas, {Software} Structure #003 B, 2004 and 2016; Sol LeWitt, 4th Wall: 24 lines from the centre, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976. 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). 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. Photo 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 Art, New York, September 28, 2018–April 14, 2019). From left to correct: Sol LeWitt and Lucinda Childs, Trip the light fantastic toe #iv, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Trip the light fantastic toe, 1979 and 2014. On flooring, left to correct: Lucinda Childs, Trip the light fantastic toe #1, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #iii, 1979; Lucinda Childs, Dance #four, 1979; Lucinda Childs, Dance #5, 1979. 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 xiv, 2019). From left to right: Sol LeWitt and Lucinda Childs, Trip the light fantastic #four, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Trip the light fantastic toe, 1979 and 2014. On floor, left to right: Lucinda Childs, Dance #i, 1979; Lucinda Childs, Dance #ii, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #four, 1979; Lucinda Childs, Dance #five, 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: 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, Trip the light fantastic toe, 1979 and 2014. On floor, left to right: Lucinda Childs, Dance #1, 1979; Lucinda Childs, Trip the light fantastic #2, 1979; Lucinda Childs, Dance #three, 1979; Lucinda Childs, Dance #4, 1979; Lucinda Childs, Trip the light fantastic toe #5, 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–Apr 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 Drinking glass, and Sol LeWitt, Dance, 1979 and 2014. On flooring, left to right: Lucinda Childs, Trip the light fantastic #one, 1979; Lucinda Childs, Dance #2, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #4, 1979; Lucinda Childs, Dance #five, 1979. 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 14, 2019). From left to right: Sol LeWitt and Lucinda Childs, Trip the light fantastic toe #four, 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 right: Lucinda Childs, Dance #1, 1979; Lucinda Childs, Dance #two, 1979; Lucinda Childs, Trip the light fantastic toe #3, 1979; Lucinda Childs, Trip the light fantastic #iv, 1979; Lucinda Childs, Dance #5, 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 fourteen, 2019). From left to right: 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 correct: Lucinda Childs, Dance #1, 1979; Lucinda Childs, Dance #ii, 1979; Lucinda Childs, Dance #3, 1979; Lucinda Childs, Dance #iv, 1979; Lucinda Childs, Dance #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 14, 2019). From left to correct: Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; Lucinda Childs, Dance #1, 1979; Lucinda Childs, Trip the light fantastic toe #2, 1979; Lucinda Childs, Dance #3, 1979; Rafaël Rozendaal, Abstract Browsing 17 03 05 (Google), 2017; Casey Reas, {Software} Structure #003 A, 2004 and 2016; Casey Reas, {Software} Structure #003 B, 2004 and 2016. 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 correct: Lucinda Childs, Philip Glass, and Sol LeWitt, Dance, 1979 and 2014; Lucinda Childs, Dance #ane, 1979; Lucinda Childs, Dance #ii, 1979; Lucinda Childs, Trip the light fantastic toe #three, 1979; Rafaël Rozendaal, Abstruse 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 Fine art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). From left to correct: Sol LeWitt and Lucinda Childs, Dance #iv, 1979; Casey Reas, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Drinking glass, and Sol LeWitt, Trip the light fantastic, 1979 and 2014; Lucinda Childs, Dance #5, 1979; Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018); 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 Fine art, New York, September 28, 2018–April 14, 2019). From left to right, top to lesser: Nam June Paik, Fin de Siècle Ii, 1989 (partially restored, 2018); 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 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; Rafaël Rozendaal, Abstruse Browsing 17 03 05 (Google), 2017. 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, tiptop to bottom: Charles Csuri, Sine Curve Human being, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; Tauba Auerbach, Binary Upper-case letter/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Dialectic Triangulation: A Visual Philosophy, series #three, 1970; Lawrence Weiner, HERE At that place & EVERYWHERE, 1989; Sol LeWitt and Lucinda Childs, Dance #4, 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 fourteen, 2019). From left to right, top to bottom: Charles Csuri, Sine Curve Man, 1967; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 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 Fine art, New York, September 28, 2018–April 14, 2019). From left to right: Tauba Auerbach, Binary Upper-case letter/Lowercase, 2005; Charles Gaines, Walnut Tree Orchard: M1, M2, M3, 1977; Agnes Denes, Dialectic Triangulation: A Visual Philosophy, series #3, 1970. 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 right: West. Bradford Paley, Lawmaking 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 xiv, 2019). From left to right: Nam June Paik, Fin de Siècle II, 1989 (partially restored, 2018); Sol LeWitt, V Towers, 1986; Josef Albers, Homage to the Square V, 1967; Josef Albers, Homage to the Square IX, 1967; Josef Albers, Homage to the Foursquare XII, 1967; Josef Albers, Homage to the Square X, 1967; Josef Albers, Variant Five, 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., Colour Panel 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 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 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). Photograph 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). Photograph 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 Ii, 1989 (partially restored, 2018). Photo past Ron Amstutz. © Nam June Paik Manor
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). Nam June Paik, Fin de Siècle 2, 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 Art, New York, September 28, 2018–Apr 14, 2019). Cheyney Thompson, Broken Volume (x L), 2013. Photo by Ron Amstutz
Cheyney Thompson, Broken Volume (ten L), 2013 (installation view, Programmed: Rules, Codes, and Choreographies in Art, 1965-2018, Whitney Museum of American Art, New York, September 28, 2018-April xiv, 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 Art, New York, September 28, 2018–April fourteen, 2019). Cheyney Thompson, Broken Volume (x L), 2013. 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 right: Alex Contrivance, Human being-Assisted Simulations of a Universal Will to Become (Simulation 9), 2014; Ian Cheng, Infant feat. Ikaria, 2013; Cheyney Thompson, Broken Volume (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 xiv, 2019). From left to right: Alex Contrivance, Human-Assisted Simulations of a Universal Will to Become (Simulation 9), 2014; Ian Cheng, Baby feat. Ikaria, 2013. 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). 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 fourteen, 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–Apr 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 fourteen, 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 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 fourteen, 2019). Lawrence Weiner, Here In that location & EVERYWHERE, 1989. Photo by Ron Amstutz. © 2020 Lawrence Weiner/Artists Rights Order (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 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 Fine art, New York, September 28, 2018–April fourteen, 2019). From left to right: Earl Reiback, Thrust, 1969; James L. Seawright, Searcher, 1966; Nam June Paik, Magnet Television receiver, 1965. 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). James Fifty. Seawright, Searcher, 1966. 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). Cory Arcangel, Super Mario Clouds, 2002. Photograph by Ron Amstutz. © Cory Arcangel. Courtesy of the creative person and Squad Gallery, New York
Installation view of Programmed: Rules, Codes, and Choreographies in Art, 1965–2018(Whitney Museum of American Fine art, New York, September 28, 2018–Apr fourteen, 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 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). Lynn Hershman Leeson, Lorna, 1979–84. 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). Siebren Versteeg, New York Double Hung, 2008. 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). From left to right: Jonah Brucker-Cohen and Katherine Moriwaki, America'southward Got No Talent, 2012 and 2018; Jim Campbell, Tilted Aeroplane, 2011. 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: Jonah Brucker-Cohen and Katherine Moriwaki, America's Got No Talent, 2012 and 2018; Jim Campbell, Tilted Plane, 2011; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian 2, 1978; Cory Arcangel, Super Mario Clouds, 2002. Photo 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–Apr 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 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: 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 Fine art, New York, September 28, 2018–April fourteen, 2019). From left to correct: Lynn Hershman Leeson, Lorna, 1979–84; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian Two, 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 14, 2019). From left to right: Lynn Hershman Leeson, Lorna, 1979–84; Lillian Schwartz, Enigma, 1972; Lillian Schwartz, Newtonian I, 1978; Lillian Schwartz, Newtonian Two, 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 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. 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: Marc Lafia and Fang-Yu Lin, The Boxing of Algiers, 2006; 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 Fine art, New York, September 28, 2018–April xiv, 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 Art, 1965–2018 (Whitney Museum of American Art, New York, September 28, 2018–April 14, 2019). 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 14, 2019). From left to right: Jim Campbell, Tilted Plane, 2011; Barbara Lattanzi, C-Span Alphaville and C-SPAN Karaoke, 2005. 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 14, 2019). From left to right: Barbara Lattanzi, C-Bridge Alphaville and C-SPAN Karaoke, 2005; Lynn Hershman Leeson, Lorna, 1979–84; Jim Campbell, Reconstruction 7, 2006; Jim Campbell, Ambiguous Icon #5 (Running, Falling), 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–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–April 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 14, 2019). From left to correct, elevation to bottom: Nam June Paik, Fin de Siècle II, 1989; Sol Lewitt, V Towers, 1986; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant Iii, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Square III, 1967; Josef Albers, Homage to the Foursquare I, 1967; Josef Albers, Homage to the Square Ii, 1967; Josef Albers, Homage to the Square Xi, 1967; Josef Albers, Homage to the Foursquare VII, 1967; John F. Simon Jr., Colour Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Sea, NYC2, 4U, NAS, Pink, Quad), 2018. 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). From left to right, summit to bottom: Nam June Paik, Fin de Siècle 2, 1989; 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 Foursquare VI, 1967; Josef Albers, Homage to the Foursquare III, 1967; Josef Albers, Homage to the Foursquare I, 1967; Josef Albers, Homage to the Square Two, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Square Vii, 1967. 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). From left to right, top to lesser: Nam June Paik, Fin de Siècle Ii, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant Iii, 1966; Josef Albers, Homage to the Square Six, 1967; Josef Albers, Homage to the Foursquare 3, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square Ii, 1967; Josef Albers, Homage to the Square Eleven, 1967; Josef Albers, Homage to the Square VII, 1967; John F. Simon Jr., Color Panel v1.0, 1999; Mika Tajima, Negative Entropy (Digital Ocean, NYC2, 4U, NAS, Pink, Quad), 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–April 14, 2019). From left to correct, height to bottom: Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 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 Ii, 1974; Lawrence Weiner, Hither At that place & EVERYWHERE, 1989; In vitrine: Channa Horwitz, Suite 8, 1979. 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 right: Lucinda Childs and Sol LeWitt, Trip the light fantastic toe #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; Projection of: Lucinda Childs, Trip the light fantastic #1-5, 1979; In vitrine: Philip Drinking 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, height to lesser: Manfred Mohr, Band Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#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–Apr xiv, 2019). From left to right, elevation to bottom: Casey Reas, {Software} Structures #003 B, 2004 and 2016; Sol LeWitt, fourth wall: 24 lines from the middle, 12 lines from the midpoint of each of the sides, 12 lines from each corner, 1976; Manfred Mohr, Ring Structures P-021-U, 1970–83; Joan Truckenbrod, Curvilinear Perspective, 1979; Joan Truckenbrod, Coded Algorithmic Drawing (#9), 1975; Joan Truckenbrod, Coded Algorithmic Drawing (#45), 1975; In vitrine: Channa Horwitz, Suite 8, 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 14, 2019). From left to right: Channa Horwitz, Suite viii, 1979; Lucinda Childs and Sol LeWitt, Dance #iv, 1979; Casey Reas, {Software} Structures, Sol LeWitt Wall Drawing #358, 2004 and 2016; Lucinda Childs, Philip Glass, and Sol LeWitt, Trip the light fantastic toe, 1979 and 2014; June Paik, Fin de Siècle Ii, 1989; Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant 8, 1966; Josef Albers, Variant Iii, 1966; Josef Albers, Homage to the Square VI, 1967; Josef Albers, Homage to the Foursquare Three, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Foursquare II, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Foursquare 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 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. 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 14, 2019). Mendi + Keith Obadike, The Interaction of Coloreds, 2002 and 2018. 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). 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–April 14, 2019). From left to right: Cory Arcangel, Super Mario Clouds, 2002; Nam June Paik, Magnet Television, 1965; Shigeko Kubota, Meta-Marcel: Window, 1976. 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). Shigeko Kubota, Meta-Marcel: Window, 1976. Photograph past 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 Fine art, New York, September 28, 2018–April 14, 2019). Shigeko Kubota, Meta-Marcel: Window, 1976. Photograph past Ron Amstutz. © Estate of Shigeko Kubota / Artists Rights Order (ARS), New York
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, top to bottom: Josef Albers, Variant I, 1966; Josef Albers, Variant IX, 1966; Josef Albers, Variant VIII, 1966; Josef Albers, Variant Three, 1966; Josef Albers, Homage to the Square 6, 1967; Josef Albers, Homage to the Square Iii, 1967; Josef Albers, Homage to the Square I, 1967; Josef Albers, Homage to the Square Two, 1967; Josef Albers, Homage to the Square XI, 1967; Josef Albers, Homage to the Foursquare 7, 1967. Photo by Ron Amstutz
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In the News
"How Artists Made Code Their Paintbrush"
—Science Fri
"Tamiko Thiel's 'Unexpected Growth' is an augmented reality installation on the future of oceans and climatic change."
—Hyperallergic
"The showroom uses the Whitney'due south ain collection to explore how computational art has evolved and changed over the decades based on engineering."
—Smithsonian
"Is a particularly urgent, relevant exhibition and a perfect setting in which to consider some of the nigh pressing questions of our time."
—Sotheby's Museum Network
"Programmed explores the limits of code-based art, looking at past generations of computational art and illustrating how the ideas of before works have adult to form new gimmicky styles."
—SVA NYC
"From early on mathematical works, to Generative art, to digital art in a diverseness of media, the works in Programmed accept many forms."
—Fine art and Object
"Artists play and experiment with algorithms and engineering, working within limits but achieving effects greater than the sum of their codes or instructions. The duality at play in this exhibition is equally separable equally the wave and particle natures of light. To recognize only ane explanation would be reductive; to see both is beautiful."
—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
Source: https://whitney.org/exhibitions/programmed
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