[A COMPUTER ART PIONEER: UNPUBLISHED TEXTS FROM TEACHING AND PRACTICE] Archive on Peter Struycken by the renowned art critic and curator Rudi Fuchs

Struycken, Peter

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Arnhem and Den Haag: mainly hectographs for lectures at the ArtEZ Hogeschool voor de Kunsten, and for an exhibition at The Hague's Gemeentemuseum, 1962-1973. Quartos (from 29 × 21 to 34 × 21.5 cm). Hand-labeled cardboard folder ("Teksten Struycken. R. H. Fuchs . Leiden"); contains: handwritten three-page letter to Rudi Fuchs on two leaves with signature, Arnhem, undated; 10 stapled hectographed and carbon-copied typescript texts with a total of 71 single-sided leaves, in places with handwritten corrections and annotations (individual titles listed below). Paper toned in a manner typical for its age; else very good. WITH: 3 extensive catalogs, 3 minor publications by Struycken, 4 minor publications about Struycken, and a few Xerox copies. Amsterdam, Rotterdam, Utrecht, and others: Rijksmuseum, Boymans van Beuningen, and others, 1966-1996. Octavos and quartos (from 19.5 × 19.5 to 35 × 25 cm). Original pictorial wrappers, leporello, stapled and single leaves. (Individual titles listed below). Comprehensive convolute of partly unpublished texts by computer art pioneer Peter Struycken, from the archive of art critic and curator Rudi Fuchs. In the 1970s, Struycken wrote his own computer programs that calculated arrangements and constellations, which he then executed. But as early as 1962, he undertook his first experiments on the mathematical relationships between color and form. In the analytical works of the 1960s, the elements of form and color are systematically examined in terms of their interactions. His exploration of color and light ultimately led to the creation of a light sculpture for the arcades of the Dutch Institute of Architecture in Rotterdam, which changes its colors every ten minutes. Struycken was one of the first Dutch artists to use computers in his work. With his systematic works, he made a significant contribution to the development of digital art. (Cf. Felicitas Krohn, AKL, CVI, 2020, p. 488.) The group contains a series of Struycken's programmatic texts in hectographed typescripts, which were addressed to his students, among others. For the most part, we have been unable to locate publications of these texts. We assume that they were either published under different titles or were never printed at all. Other texts, however, can be clearly identified. For example, the hectographed text on "Structuur 67" included here is a copy of the typescript of the catalog preface submitted by Struycken. The exhibition took place in 1967 at the Gemeentemuseum Den Haag, whose director was Rudi Fuchs. The "Structuur 67" series was created on Plexiglas panels measuring one meter high and one meter wide. The Plexiglas provided an optimally smooth surface for the paint, a kind of car paint, which was applied to carefully masked areas with a spray can. The panels were placed a few centimetres in front of the walls, so that the color form structures seemed to float in front of the walls. In the preface, he explains the necessity of his examination of different structures of space, color, and material. Implicitly, he criticizes functional modernism: "If one sense fails or is not stimulated, this stands in the way of the optimal development of personality. (.) But there's no way we can say that all our senses are being stimulated in the most varied and diverse way possible. (.) It is precisely in the absence of experiences of space, color, material, and texture, of sound, smell, and taste, that our environment becomes largely unliveable." However, Struycken's criticism does not aim at a reception and integration of pre-modernity in the sense of later postmodernism, but rather at a technical-rational solution. He explains, "I imagine that (.) a number of 'climates' will emerge that merge into one another: either as a kind of film that appeals to all the senses, or playing out in everyday life, whereby the different climates do not occur separately alongside one another, but merge into one another, with shifts in emphasis." Another t. N° de réf. du vendeur 55484

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Titre : [A COMPUTER ART PIONEER: UNPUBLISHED TEXTS ...
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