Jane Veeder

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Jane Veeder is an artist-programmer, filmmaker, and professor at San Francisco State University in the Department of Design and Industry.[1] While Jane Veeder is best known for her work in computer graphics, she has also worked extensively with traditional art forms such as painting, ceramics, and theatre.[2]

Veeder moved away from traditional art making and began her work in the digital arts in 1976. Her video 'Montana' lead her to become the first computer graphic artist to have their work featured in the video collection of the Museum of Modern Art in New York. Her video work typically involves working with a computer to create the images, rather than a video recorder, to achieve a more direct relationship between the artist and the piece.[3] Many pieces are meant to involve participation between the viewer and the work itself.[4] Veeder's work marks some of the significant steps that took digital technology into the fine arts, which never had been done previously.[4][5]

Early life[edit]

From 1967-1969 Veeder studied ceramic sculptures and photography at California College of Arts & Crafts graduating with a Bachelor Degree in Fine Arts (BFA) .[6] Veeder then moved from California to the neighborhood of Pilsen, Chicago in the early 1970s to pursue her masters degree at The School of the Art Institute of Chicago (SAIC) studying video and filmaking[6]. It was there, in 1976, she first met Phil Morton, the founder of the Video Department at SAIC. Soon after meeting, their individual art practices become influenced heavily by the other. New technologies and artistic communities were emerging at this time. Their collaboration resulted in them creating a number of programs from scratch.[7][8]

Chicago & Digital Animation[edit]

Veeder's knowledge of photography lead her to experiment with video art, eventually working across multiple program platforms. These included Bally Home Computer/Arcade, and ZGRASS computer language which was eventually combined with Sandin Image Processor. The burgeoning professional video game industry in Chicago gave Veeder an outlet to put her theories into practice.[9] Images produced in these early programs can alter an image directly on the screen, changing its size, torsion, color and texture.[10]

Veeder collaborated with Phil Morton to create the video art pieces "Program #7" and "Program #9" in 1978.

Veeder lectured on the importance of collaboration and play at the Museum of Modern Art,[11] two years before her involvement in the 1988 SIGGRAPH Exhibition of Computer Art.[9]


  1. ^ Veeder, Jane. "San Francisco State University Faculty Site." San Francisco State University. Web. 11 Oct. 2015. <https://faculty.sfsu.edu/~jveeder/>.
  2. ^ Veeder, Jane. "J a N E v E E D E R." J a N E v E E D E R. Web. 11 Oct. 2015. <http://userwww.sfsu.edu/jkveeder/index.htm>.
  3. ^ Youngblood, Gene. "Computer Art as a Way of Life." Send 1983: 24-35. Print.
  4. ^ a b Moldofsky, Mitch (April 12, 1984). "Computer Chiaroscuro". Globe and mail.
  5. ^ Zippay, Lori., eds. Artists' Video: An International Guide. New York : Cross River Press, 1991. Print.
  6. ^ a b "Jane Veeder Resume". userwww.sfsu.edu. Retrieved 2018-09-16.
  7. ^ Lovejoy, Margot.Lovejoy, Margot.Digital Currents: Art In The Electronic Age. New York : Routledge, 2004. Print.
  8. ^ Auzenne, Valliere Richard. The Visualization Quest: A History Of Computer Animation. Rutherford, [NJ] : Fairleigh Dickinson University Press ; 1994. Print.
  9. ^ a b Tucker, Daniel (2014). Immersive Life Practices. School of the Art Inst of. ISBN 978-0982879849.
  10. ^ Moldofsky, Mitch (April 12, 1984). "Computer Chiaroscuro". The Globe and Mail. Retrieved October 12, 2015.
  11. ^ Tamblyn, Christine. "Computer Art as Conceptual Art." Art Journal 49.3 (1990): 253-56. ProQuest Art, Design and Architecture Collection. Web. 12 Oct. 2015.