Making/Breaking the Binary: Women, Art & Technology (1968–85) is a multi-venue project in Philadelphia surveying a generation of pioneering artists in new media, reconsidering their role as technology innovators who helped shape the information age.
Women have continually reasserted their role as seminal figures in the history of technology. In 1842–43, Ada Lovelace wrote an algorithm intended to be carried out by a machine, unknowingly creating the world’s first computer program. A century later, a group of women at the University of Pennsylvania in Philadelphia were recruited during World War II to be “human computers” and learned to use the first American digital computer, ENIAC. They are now known as the ENIAC 6, America’s first computer programmers.
As media saturated the domestic sphere and NASA sparked the American imagination, the digital revolution brought a proliferation of more capable computers, Xerox machines, electronic music instruments, and new recording devices and formats. The artists surveyed in this project from 1968–85 employed or interrogated these tools in innovative ways and paved the way for new media art as we know it.
The core exhibition is on view at Rosenwald-Wolf Gallery from October 8 to December 8, with an opening reception on Sunday, October 8 from 4–7pm, accompanied by programs at Lightbox Film Center on October 5, and 12, and screening loops at Icebox Gray Area in conjunction with Vox Populi through October 31.
Supported by The Pew Center for Arts & Heritage, Making/Breaking the Binary: Women, Art & Technology (1968–85) continues at the Rosenwald-Wolf Gallery (333 S Broad Street, Philadelphia, Pennsylvania) through December 8, 2017.
The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
A group called the Boriken Libertarian Forces toppled the monument hours before King Felipe VI of Spain’s visit.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists.
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.