The author reflects on how her work in both kinetic and static arts has influenced—and continues to influence—her approach to her art practice as a whole.

ABSTRACT This article examines three computer animations created by the pioneering filmmaker Lillian F. Schwartz circa 1970 that are currently viewable in 3D chromostereoscopy, specifically with ChromaDepth ® 3D glasses. Reimaging these works 40 years after their creation permits a renewed formalist experience and a thematic analysis that reveals the primacy of Schwartz’s concern with depth and visual perception as part of her poetic sensibility. Excerpted interviews between the author and Lillian Schwartz are provided as an online appendix to this paper.

ABSTRACT This paper selectively traces the art history of the gesture in drawing and painting with electronic painting systems/programs. Beginning with Ivan Sutherland's Sketchpad (1963), which mechanized the hand gesture via light pen; Richard Shoup's SuperPaint system (1973), with the Summagraphics tablet and stylus; the Quantel Paintbox (1983); and the Macintosh (1984), the author concludes with a review of contemporary finger painting via capacitive touchscreens in the iPhone and iPad. A selection of nine classically trained visual artists who have sought to expand their work by creating art via the computer while heuristically inventing unique ways of working reveals the genesis of a hybrid vocabulary for the visual arts.