Worlds within Planes: Martin Steele, the Flaneur, and Twenty-First Century Painting

The decision to collapse illustration, drawing, photography, typesetting, painting, and the totality of the graphic arts into a piece of software, developed on Industrial Light & Magic’s Pixar Image Computer in the late 1980s, was not so much a strategy of disruption as a necessity born from the parameters of efficient production. When Photoshop 1.0 was unleashed for public use in 1990, the technology was not taken seriously as a tool applicable to the fine arts. The software, which we now take for granted, collapsed decades of worldwide darkroom research and development. Moreover, it drew on the cut-and-paste of the original avant-garde as well as the precise grids of Bauhaus-trained designers, such as Jan Tschichhold and Herbert Bayer. Photoshop was a collapse of the history of twentieth century technique, in part initiated by the aesthetic breakthroughs in advanced culture and refined by commercial...

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