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Casey Reas – interview

Reas is known as the man who helped to create the open-source programming language Processing and brought coding within the grasp of visual artists. Here, he talks about how his work has changed over the course of his career and gives his views on the future of creativity and computers

Casey Reas. Untitled Film Still, 2.7, 2019 (detail). © the artist.
Orson Welles. Photo: Getty Images.
A film and a book on Welles’s artwork provide another lens through which to observe one of cinema’s most fascinating protagonists.
Lawrence Lek, AIDOL, 2019. HD CGI Video, 84 min. Courtesy the artist and Sadie Coles HQ, London.
Lek talks about artificial intelligence taking over from human creativity, and AIDOL, his feature-length film on the subject, now showing at Sadie Coles, London.
Joanna Piotrowska. Untitled, 2015. Originally commissioned through the Jerwood and Photoworks Awards 2015. Courtesy Southard Reid.
In this installation at Tate Britain, Piotrowska’s black-and-white photos and 16mm films of intimate, airless interiors expose the latent erotics of the home.
The Weston, Yorkshire Sculpture Park designed by Feilden Fowles. Photo: Peter Cook.
A visitor pavilion by Feilden Fowles opens up an overlooked area of the 500-acre sculpture park. The Weston responds to its setting with a sensitive design - part sculpture, part architecture - utterly in tune with the landscape.
Born to Kill helmet, original prop from the film Full Metal Jacket. Photo: Ed Reeve, courtesy of the Design Museum.
This show takes us through the ephemera of Kubrick’s films – from female mannequins and a giant shiny white penis from A Clockwork Orange to a letter to the director from the woman who played Lolita – but is it inspiring, or simply sordid?.
Jonathan Baldock, Mask LVI, 2018. Courtesy the artist and Camden Arts Centre.
Baldock looks as if he is having fun, pulling faces in mud and decorating them in glaze, and the mood is infectious. He seems less interested in the details of cultural history than in producing the aesthetic of the ruin from pick’n’mix sources.
Perilous Bodies, installation view, image courtesy of Ford Foundation Gallery. Photo: Sebastian Bach.
The 19 artists in this exhibition use photography, video, installation, sculpture and painting in a timely reminder of the injustices faced by oppressed people across the world.
Oscar Murillo, Violent Amnesia, 2019. Kettle’s Yard, University of Cambridge. Photo: Matthew Hollow.
Spread across the various spaces of Kettle’s Yard, Murillo’s works address the recurrent theme of the movement of people across borders and human labour in a global economy.
Allan Sekula, Black Tide/Marea negra, 2002-03. 20 colour photographs in 10 frames, text. Copyright Allan Sekula. Courtesy the artist and Marian Goodman Gallery New York, Paris and London.
A career-spanning presentation of the late photographer and theorist shows an artist redefining the capabilities of his medium.
Performance view of BMW Tate Live Exhibition: Anne Imhof: Sex at Tate Modern 2019, © Tate Photography (Oliver Cowling).
Spending four hours at Imhof’s live works is like Waiting for Godot, for the slacker generation. The audience turns out to be the most fascinating element of the exhibition.
Olivia Erlanger, installation at And Now, Frieze New York 2019.  Photograph courtesy Frieze.
This year’s fair demonstrated a more open-ended approach than usual, exhibiting and promoting diverse art-making practices. By devoting attention to new trends, as well as to forgotten and little-known artists, the organisers created a well-balanced and engaging display.
Victor Wong and A.I. Gemini. Image courtesy of 3812 London Gallery.
Artist-inventor Victor Wong talks about his robot artist AI Gemini, how he feels about his invention and how it might develop in the future.
Jack Whitten. Apps for Obama, 2011. Acrylic on hollow core door, 213.4 x 231.1 cm. Private collection, courtesy Zeno X Gallery. © Jack Whitten, courtesy Zeno X Gallery, Antwerp. Photo: John Berens.
Embellished with sparkling gemstones and richly coloured tiles, Whitten’s memorial paintings on show here are not only extraordinarily beautiful, but communicate so much about the artists and musicians to whom they are dedicated.
Portrait of Angelica Mesiti in her exhibition ASSEMBLY, 2019. Commissioned by the Australia Council for the Arts on the occasion of the 58th International Art
Exhibition – La Biennale di Venezia, courtesy of the artist and Anna Schwartz Gallery, Australia and Galerie Allen, Paris. Photography: Zan Wimberley.
Representing the Australian Pavilion at this year’s Venice Biennale, Angelica Mesiti is showing a multiscreen video installation entitled Assembly, which uses music to explore the power and complexities of collectivity.
Antonello da Messina, Portrait of a Young Man, 1478. Oil on walnut, 20.4 x 14.5 cm. Staatliche Museum, Gemäldegalerie, Berlin. © 2018. Photo: Scala, Firenze/bpk. Bildagentur fuer Kunst, Kultur und Geschichte, Berlin.
A must-see exhibition at Milan’s Palazzo Reale unites two-thirds of the surviving paintings by Sicily’s greatest Renaissance painter.
Jonathan Monk, Exhibit Model Four – plus invited guests. Installation view, Maschinenhaus M1, KINDL – Centre for Contemporary Art. Photo: Jens Ziehe.
This exhibition comprises a wallpaper of Monk’s photographs from the past 20 years, along with artworks from a sprawling list of his ‘invited guests’.
Sean Scully. Robe Magdalena, 2017. Oil on aluminium, 215.9 × 190.5 cm. Private collection. © Sean Scully. Photo: courtesy the artist.
In this exhibition of more than 30 of Scully’s paintings, prints and pastels, JMW Turner’s The Evening Star provides the jumping-off point for the artist’s works.
Balkrishna Doshi: Architecture for the People, 2019. Installation view. © Vitra Design Museum. Photo: Norbert Miguletz.
This comprehensive exhibition guides us through the creative world of this Pritzker Prize-winning architect, whose vision and inventiveness have empowered the people who use his buildings.
Laura Buckley.
Buckley talks about her sculpture and video Fata Morgana, currently on show at the Saatchi Gallery, using her work as a catharsis for difficult times – and the pros and cons of the Instagram moment.
Emma Kunz at her working table, Waldstatt, 1958. Photo copyright Emma Kunz Centrum.
Kunz was a spiritual healer who saw her drawings – all done with crayons and pencil on graph paper and some aided by divination with a pendulum – as part of her research-led practice.
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