There, he met Jef Raskin, a graduate student, who introduced Cohen to the college’s CDC 3200 mainframe.
He left his home in London for an appointment at the art department at the University of California, San Diego. In the late 1960s, Cohen became interested in computer technology. By the late 1960s, Cohen had grown tired of the London art scene and started to shift his thinking to the topics that would inform the rest of his artistic career-How do artists process their information in the creation of artworks? What are the minimum conditions under which a set of marks functions as an image? What makes an image evocative? To answer these questions, he began investigating children’s drawings and ancient petroglyphs, looking for their “artness.” His art represented Great Britain in major events such as the Venice Biennale and the Biennale de Paris, two of Europe’s most prestigious art festivals. His work focused on abstract, biomorphic forms, with a color palette that seemed to come out of the same pool as the Pop Art practitioners insurgent at the time. By the early 1960s, he had gained fame with several exhibitions across England, and by the mid-’60s, had begun to show his work internationally, with gallery shows in London, New York, and Toronto. Graduating from University of London’s Slade School of Fine Art in 1950, he was a member of the generation of British painters that included David Hockney, Bridget Riley, and Richard Smith. Collection of the Computer History Museum, 102627459.
Harold Cohen coloring the forms produced by the AARON drawing “Turtle” at the Computer Museum, Boston, MA, ca.
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