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  • Working extensively with social-political context from the 1980s, in 1991 (art)n created »The Equation of Terror« which referred to the Gulf War. The work entailed animated mathematical equations and PHSColograms which depicted economic, biological
  • The scenery referring to Martyl Langsdorf’s painting "Doomsday Clock Have a nice day" is contrasted with Martyl’s Doomsday Clock which she originally designed for the cover of the Bulletin of the Atomic Scientists magazine in 1947. The “Bulletin”,
  • Currently an Assistant Professor developing an electronic art program at Union College in Schenectady, NY, Fernando Orellana uses new and traditional media as a way of transmitting concepts that range from generative art to socialpolitical
  • Cox, Donna J. and Ellen Sandor and Janine Fron. New Media Futures. The Rise of Women in the Digital Arts. Urbana, Champaign: University of Illinois Press, 2018.
  • Sandor, Ellen and Janine Fron. Artists Team Up for the Future: Behind the Scenes of Making Art in the 21st Century (art)n web site (2002).
  • Fron, Janine and Ellen Sandor. The Future of Video Games as an Art: On the Art of Playing with Shadows The University of Chicago Cultural Policy Center (2001).
  • Meyers, Stephan and Ellen Sandor and Janine Fron. PHSColograms and Rotated PHSColograms Computers & Graphics 19, no. 4 (July/August 1995): 513-522.
  • Sandor, Ellen and Janine Fron and K Greiber and Fernando Orellana and Stephen Meyers and Dana M. Plepys and M. Dolinsky and M. Dastagir Ali. Collaborative Visualization: New Advances in Documenting Virtual Reality with IGrams Proceedings of the
  • Sandor, Ellen and Janine Fron. The Art and Science of Collaborative Visualization Silicon Graphics World (September 1999).
  • Sandor, Ellen and Janine Fron and Stephan Meyers. PHSColograms and Rotated PHSColograms Computers & Graphics 19, no. 4 (July/August 1995): 513-522.