In June of 2018, my partner James Pricer and I opened the Generative Art Project to promote the best generative art from across the globe. Briefly, the work features collaborations between human and autonomous, non-human systems. The autonomous systems, mainly tech-tools, contribute to the final work of art by completing tasks and making choices once controlled by the artist alone. These tools are not meant to replace humans or diminish their creative role. Rather they extend the artist’s visual and conceptual reach and allow them to communicate complex narratives over time through the medium of video. 

My interests in science and history drew me to generative, digital, and computer art when as a newspaper writer I first began covering art in 1999. I continue to write about art. Artists like writers record the human experience and I was curious to see how tech-based artists would document the information age. The intersection of technology and humanity gave birth to Generative art and so the movement is uniquely positioned to comment from the frontline.

Over the past two decades, science and technology have increasingly expanded, modified, and controlled our lives. So what does it mean to be human now that being entirely human is no longer the only option, the best option, or even an option at all? Historically speaking art has been a wonderful resource, allowing us to see over time how people visualized themselves and how they conceptualized the issues of their day. Generative art is shaped by the scary, seductive lure of the unknown. The work is drawn from the to the complex relationships we are forming with inanimate objects, ethereal entities, and alien aesthetics. 

The movement encourages the fresh voices of designers, scientists, technologists, and musicians to join the art world choir. Additionally, with so many evolving paths the movement is not yet dependent on academic theory for its conceptual fuel. The artists are coding new ground as they go. Expect innovation steps and discontinuous leaps. 

What does it mean to be an artist when your pen is smarter than you? Generative art may be high tech, but the artists are human. Their tools lead us into unfamiliar visual territory, yet the questions they pose are as old as art itself. What does it mean to be human as we witness the end of all we’ve ever known and turn to face a new and startling reality?


Past History Highlights


In 2017, I completed my memoir of the 1980s East Village You Can’t Eat Pants. More on that project later. 

I’m a freelance arts writer (1998 – ) creating content for fine art and commercial media, but I think of myself as a kind of translator, I convert the complex language of visualization into plain English. I’m interested in artists working in the intersection of humans and technology. Both my curations involved studies of the human condition.

Writing is my second career, my first was fashion design (1978-1997 and 2001-2006). Shortly after graduating from Pratt Institute in Brooklyn, I opened my boutique, Einstein’s, in New York’s East Village – 1981-1987. My shop and the life it inspired is the subject of my memoir. 

After leaving Einstein’s in 1987 I designed for a number of fashion firms including Trash and Vaudeville – rock and roll clothes, Cartoon Beauty – my own print-driven sportswear company. And finally loungewear for Victoria’s Secret Catalog; I left 1997 and transitioned into freelance writing. 

By the late 1990s, I was covering visual art. Writing catalogs, book essays, and columns for newspapers and magazines including Chapel Hill News, San Diego Union-Tribune, Gay and Lesbian Times, Bust, Art Papers, New York Press, and Artnet.com.

2007-2012, I extended the print column to video and produced web content for my art review series – Now On: for City Arts

I’m currently working on the gallery’s first catalog. 



Spring 2000 – Life Studies – Duke University’s Museum of Art, (later the Nasher Art Museum) My first time curating an exhibition the show featured life studies by three artists; painter Kent Williams, sculpture Michael Salter, and installation artist Andre Lekberg.

Fall 2000, Only Human, my second curation project featured ten portraits. Artists include Peter Halasz, Dave Kinsey, K-8 (Kate Wentz)

Designs part of Permanent Collections: 

 Men’s Wedding Skirt, 1986, Smithsonian’s Costume Department 

Various collections 1980- 1985, Fashion Institute of Technology’s Costume Museum 


Amalgam: Kent Wiliams, ASFA, 2008

Paris 62, Rizolli, 2008

Women Then, Photographs by Jerry Schatzberg, Rizolli, 2010