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- "BIG MOMA" by Lillian F. Schwartz, 1984 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- 1984
- Collections - Artifact
"BIG MOMA" by Lillian F. Schwartz, 1984
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- "Evangeline Discovering Her Affianced in the Hospital," by Samuel Richards, Detroit Museum of Art -
- Collections - Artifact
"Evangeline Discovering Her Affianced in the Hospital," by Samuel Richards, Detroit Museum of Art
- "BIG MOMA" by Lillian F. Schwartz, 1984 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- 1984
- Collections - Artifact
"BIG MOMA" by Lillian F. Schwartz, 1984
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- "The Machine as Seen at the End of the Mechanical Age" Poster, 1968 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- 1968
- Collections - Artifact
"The Machine as Seen at the End of the Mechanical Age" Poster, 1968
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- Oblique Perspective of a Museum Exhibit Gallery, Digital Art Print, March 1, 1983 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- March 01, 1983
- Collections - Artifact
Oblique Perspective of a Museum Exhibit Gallery, Digital Art Print, March 1, 1983
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- Computer-Generated Image of a MoMA Exhibit Gallery, Digital Art Print, 1984 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- 1984
- Collections - Artifact
Computer-Generated Image of a MoMA Exhibit Gallery, Digital Art Print, 1984
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- Ford Motor Company Designers at the Detroit Institute of Arts, January 1947 - Designer John Najjar (right) was photographed with a colleague in January 1947 at the Detroit Institute of Arts, where the two men were surrounded by automotive art and advertisements. Established in 1885, the DIA grew into one of the most important art museums in the United States.
- January 01, 1947
- Collections - Artifact
Ford Motor Company Designers at the Detroit Institute of Arts, January 1947
Designer John Najjar (right) was photographed with a colleague in January 1947 at the Detroit Institute of Arts, where the two men were surrounded by automotive art and advertisements. Established in 1885, the DIA grew into one of the most important art museums in the United States.
- Invitation to an Exhibit Preview for "The Machine as Seen at the End of the Mechanical Age," 1968 - Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- November 26, 1968
- Collections - Artifact
Invitation to an Exhibit Preview for "The Machine as Seen at the End of the Mechanical Age," 1968
Lillian Schwartz is a pioneer of computer-generated art. From 1969-2002, she was a "resident visitor" at Bell Laboratories, producing groundbreaking films, videos, and multimedia works. The Schwartz Collection spans Lillian's childhood into her late career, documenting an expansive mindset, mastery over traditional and experimental mediums alike--and above all--an ability to create inspirational connections between science, art, and technology.
- The Metropolitan Museum of Art Series, American Wing, No. 17, 1924 -
- 1924
- Collections - Artifact
The Metropolitan Museum of Art Series, American Wing, No. 17, 1924
- Michigan Avenue, Looking South from the Art Institute, Chicago, Illinois, 1900-1915 - From 1895 to 1924, the Detroit Publishing Company was one of the world's major image publishers. It had a wide-ranging stock of original photographs, including this image of Chicago's Michigan Avenue. The street was one-sided, except for the Art Institute of Chicago, where this photograph was taken. The other buildings overlooked Grant Park and the street's namesake, Lake Michigan.
- 1900-1915
- Collections - Artifact
Michigan Avenue, Looking South from the Art Institute, Chicago, Illinois, 1900-1915
From 1895 to 1924, the Detroit Publishing Company was one of the world's major image publishers. It had a wide-ranging stock of original photographs, including this image of Chicago's Michigan Avenue. The street was one-sided, except for the Art Institute of Chicago, where this photograph was taken. The other buildings overlooked Grant Park and the street's namesake, Lake Michigan.