Wondrous Spring (1992: Unix environment. PHScologram. 81 x 81 cm [32 x 32 in.]). © Charles A. Csuri. 

SIGGRAPH 2006, the 33rd conference and exhibition on computer graphics and interactive techniques, showcases a diverse array of works in its Art Gallery exhibition, Intersections. The show addresses contemporary issues, explores new territories, crosses traditional boundaries, provokes thought and utilizes digital technology in innovative ways. It is the largest art show in the history of SIGGRAPH with 210 pieces. It has the most interactive artwork since 1992, which was strictly an interactive show of 30 installations without any 2D or web art. Approximately 30 countries are taking part in the conference with artists from more than 15 countries around the world accepted into the art show.

This year’s Art Gallery chair, Bonnie Mitchell, an artist and art professor from Bowling Green State University, was impressed with the inventive approaches to making art. These artists would not use software in the ways originally intended; they would do things differently. When they came to an intersection in their creative path, the artists chose to veer off onto these new paths and integrate artistic ideas and elements in unusual, unique, creative ways.

Mitchell became a student volunteer in the early ‘90s after her university coordinator purchased SIGGRAPH membership for all his computer graphics grad students. Mitchell admits, “I didn’t have a clue what SIGGRAPH was, but he insisted we needed to go and get involved.” She was very involved from the beginning. She had a position on the executive committee, had work accepted for exhibition all through the ‘90s and was on the Art Gallery committee. Although she considered the Art Gallery chair as, “sort of a lifetime achievement award,” she had been too busy to compete for the position, until this year. “I had a sabbatical coming up and thought, this is my one opportunity to do it,” Mitchell explains. “It’s a really important art show and conference in the field. But you have to be kind of crazy to do it, because it takes up a huge amount of time.”

The highlight of the show is sure to be the first, extensive retrospective — from 1963 to the present — of graphics pioneer Charles A. Csuri, recognized by Smithsonian Magazine as “the father of digital art and computer animation.” Mitchell explains, “That article influenced my artistic direction. I always thought of him as an important artist in the field, but never really knew him. I started to do artist profiles for the SIGGRAPH website. I contacted him and he sent me a box filled with original documents from the’60s, including the original catalogue from Cybernetic Serendipity, a very early computer art show that paved the way for computers to be used in the arts. I was dazzled. He didn’t even know me, but he sent me these precious items.”

Last fall, Csuri sent an email to the head of the Computer Animation Festival wanting to submit some work. When Mitchell realized Csuri wanted to get involved, she proposed the idea of a retrospective. That idea quickly grew from having a few of Csuri’s works out in the hall to a show of 75 large-scale works, including prints and new animations produced for the show. Janice Glowski, an art historian from Ohio State University, curates the show with Mitchell coordinating for SIGGRAPH.

Csuri’s early work helped to set the standards commonplace in today’s computer graphics industry. The extensive show contains framed pieces, tile work, dye-sublimation techniques for printing, animation and interactive installation. The art features 3D space, light and color. An installation on what Csuri dubs his “Infinity Series” is based upon the concept of doing infinite variations on an idea. In addition to the early works included in the exhibition, a DVD will be playing other early pieces. “It really is an event,” says Csuri.