Manetti Renzo, Schwartz Lillian, Vezzosi Alessandro, Monna Lisa: il volto nascosto di Leonardo (Leonardo’s hidden face), Florence, Polistampa, 2007
→Kalantari Bahman, “Polynomiography: From the Fundamental Theorem of Algebra to Art”, illustrated by Lillian Schwartz’s color figure Brain, in LEONARDO, vol. 38, n° 3, June 2005
An Evening with Lillian Schwartz, Modern Mondays, The Museum of Modern Art, New York, 10 décembre 2012
→GOOGLEPLEX, British Film Institute South Bank, 2005
→Algorithmic Revolution, Films at Zentrum für Kunst und Medientechnologie (ZKM), 2004
American videographer.
Lillian F. Schwartz is a pioneer of computer-generated art. In the 1970s, she made a series of abstract films exploring the formal potentialities of a technology whose language, still experimental at the time, offered unprecedented perspectives on the emergence of a new visual paradigm. Born into a large and modest family, L. Schwartz worked as a nurse in postwar Japan before studying drawing and painting, and then turning to kinetic art in the 1960s. She became an active member of the New York art scene, where she got to know the E.A.T. (Experiments in Art and Technology) group and took part in the exhibition The Machine as Seen at the End of the Mechanical Age at the Museum of Modern Art in 1968. That same year, she became the first ‘unofficial’ female artist to be integrated within the team of scientists working at Bell Laboratories in New Jersey.
As published in Women in Abstraction © 2021 Thames & Hudson Ltd, London