The history of art contains works by artists that may be seen as `holographic' in their aesthetic, philosophic and formal implications. This paper briefly explores some of these parallels, chosen for their interest as preholographic images. Examples are taken from works of Eastern and Western visionary art, works by individual artists such as Rembrandt and Marcel Duchamp, and from early 20th century art movements.
This paper reports on developments in display holography in the UK since 1994, covering the activities of individual holographers and artists, small companies and larger commercial concerns. It also includes comments on reactions to the withdrawal of Agfa-Geveart Ltd from the production of silver-halide materials for holography.
The progress of holographic technology and developments in commercial and art holography in the UK since 1991 are reviewed, and the present status of holography in the UK is briefly discussed.
Specific works from the last three years provide a basis for the discussion of some arguments in art and culture, such as the development of a female aesthetic and the `naturalization' of holography, as well as some practical aspects of making holograms with krypton, pulse, and stereogram technology.
This paper reports on work which sets out some considerations for the translation of holography into an art medium. It continues an interaction with the traditional art area of painting within holography, and includes a collaboration with British painter Richard Hamilton
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