Introduction
LACMA's Art and Technology program gives artists access to corporate laboratories and industrial resources. It is not an AI art project. Its place in this genealogy is institutional: it offers an early model for later production relationships among artists, large technology companies and research organisations.
View full image ↗Andy Warhol beside a prototype of Rain Machine (1969), developed with Cowles Communication for Art and Technology. The image comes from LACMA’s archival account of the 1967–1971 programme.
LACMA Unframed · original photographer not named in the displayed caption · Rights in the original image and document remain with their respective holders
Source · Art and Technology program/exhibition ↗RESEARCH ACCOUNT
What happens when artists enter industrial laboratories?
ANTI-AI ARCHIVE · Revised 2026-10-02
Exchanging resources and expertise
Maurice Tuchman’s Art and Technology programme at LACMA connected artists with corporate resources between 1967 and 1971. The museum’s later account describes access to fabrication, expertise and financial support. The 1971 exhibition was one outcome of that collaborative process.
Section sources: Networked Catalogue
Documenting friction as well as results
LACMA identifies the project report as a major legacy because it documents ambition, negotiation, obstacles and frustration. It is more than an illustrated record of finished works: the limits of corporate participation and the difficulties of collaboration are historical evidence too.
Section sources: Networked Catalogue
The politics of technological patronage
Editorial interpretation: the programme places contemporary AI-art sponsorship and laboratory access within a longer history. Support can widen the range of possible practice while constraining the questions that can be pursued. The particular power relations still need to be established from each project’s records.
Section sources: Networked Catalogue
Sources for this account
LACMA’s retrospective on the 1967–71 report read; corporate agreements not comprehensively examined.
This account expands the archive within the cited scope. Historical interpretation is not presented as the original author’s statement or as a proven causal influence. The account and translation are AI-assisted, pending independent human review. Section references identify evidence without claiming independent verification of every historical statement.
Continue with a comparative question
Compare the methods, forms of control or presentation contexts of this entry and Experiments in Art and Technology (organization).
Compare the methods, forms of control or presentation contexts of this entry and Software exhibition, Jewish Museum, New York.
Dates & version record
Date displayed for this node: 1971 · Historical date recorded for the source: 1971
These dates refer to the historical event or recorded version, not this page’s publication date. The original date precision and unresolved questions are retained.
Original sources & further reading
These links lead to the cited paper, article, institution or conference page. External texts retain their source languages.
Art and Technology program/exhibition
https://www.lacma.org/lab
Current cited URL
Art and Technology program/exhibition
https://www.lacma.org/art/collection/art-and-technology
URL cited in a research master or supplement; it may have moved or expired
Provenance, translation & verification
Timeline entry #038 · Historical node
Research materials & supplement references · 1
AI Art Genealogy Research Master · p. 10 · 026
Date as recorded: 1971
Art and Technology program/exhibition ↗
Art and Technology program/exhibition
Archive account based on the listed research materials, not a full translation of the linked work. AI-assisted translation; independent human review pending.
The master’s research claims and dates await independent verification.
Cite this node
ANTI-AI ARCHIVE. Art and Technology program/exhibition. Art-history node #038. https://salondesrefuses.cn/en/art-history/026
For specific historical claims, also cite the original sources above and include your access date. This account is not a full translation of the linked work.
Adjacent nodes follow chronological order; adjacency does not establish direct influence or causation.