Digital Dreams: Exploring the Computer as an Art Medium
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About this ebook
Harry Borgman
Harry Borgman's professional career has spanned many fields including graphic design, cartooning and illustration. He was art director on the Chevrolet account at Campbell - Ewald advertising agency and the Chariman of the Advertising Department at the Society of Arts and Crafts ( now the College for Creative Studies ). He has written several art technique books for Watson Guptill Publications, Dover Publications recently reprinting his book "Pen and Pencil Drawing Techniques." For many years he worked as a freelance artist in Detroit, New York and Paris, France. As a painter he works in the watercolor and acrylic mediums and is also very active as a sculptor, doing wood carvings as well as wood and metal constructions. Recently he has been experimenting with the computer medium, currently creating photomontages and collages on the computer for a proposed exhibition.
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Book preview
Digital Dreams - Harry Borgman
Dedicated to Gloria
Copyright © 2004 by Harry Borgman. 535380
Library of Congress Control Number: 2003097457
ISBN: Softcover 978-1-4134-3265-7
EBook 978-1-4771-8132-4
All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.
Rev. date: 05/02/2019
Xlibris
1-888-795-4274
www.Xlibris.com
A word about
the computer art
of Harry Borgman
from art critic
Amy Sult Stevens
14437.pngIf anyone could convince me to seriously consider exploring the computer as an artistic medium, it’s Harry Borgman. It was his work, after all, that convinced me that the very notion of computer art wasn’t a load of hogwash. As a trained and sporadically practicing artist, I’ve always been in love with the nose-to-the-paper, physical act of creating. To me, this always seemed an essential part of making art that conveyed one’s presence; the thing that pressed the artist’s spiritual fingerprint into a piece of work and made it more than just a pretty object. The remote-control aspect of point-and-click technology seemed too distancing of a working method to ever express the more tangible aspects of art.
Admittedly I was a bit of a technophobe. As a freelance art critic for the local paper throughout the 1990’s, however, I had ample opportunity to see exhibits by people in thrall of computers, and it did little