After taking a probability class in the early 1990s I wondered how I might use concepts related to chance in my visual work.  At that time my process entailed moving paint around paper with a brush while simultaneously building up density with the paint. Eventually I would produce a visual record of the brush’s movement only stopping when a form I approved of materialized.  I built between 1 – 4 forms in each work. Their relationship to each other and the clean white space between and around them was of real consequence to me. My human algorithm was making my process restrictive as each decision for placement had to “work” or the piece would be discarded. It occurred to me that I could write a program that would generate the placement decisions. I was curious enough to try it out but uncertain whether I would find a random result acceptable.

I designed a program that would ask for 2 numbers: one number would define the total number of marks I would need to fill a given array and another number would define the total number of available marks. With this information, only a random number from 1 to the total number of marks could be chosen. Each number had to be checked to make sure it was unique and there had to be a randomizer so the order would be totally derived by chance. Next I built 13 sets of 1 x 8 arrays of similar marks using paint and sometimes color pencil. On the back of each drawn mark I wrote a sequential number from 1 to 104. I chose the type of mark from a notebook where I reproduced marks I had made that interested me. Next I built and ran the basic program and with the numeric decisions in hand I placed the selected order of marks in the defined array.  The surprising by-product of the project was the final result (after initially unacceptable to me) became tolerable almost as easily as one I would painstakingly consider. I attribute that to being able to see inside/out which helped me to accept not just one unique placement. There is an example of a 2 x 6 array of marks you will see as you scroll down this page that was generated the way I describe.

(abbr.) C.V.
AWARDS/RESIDENCIES:
2014
• 18th Street Art Center residency, S.M., CA
2008
• Joan Mitchell Foundation Grant, painting
• Pew Fellowship in the Arts, painting
1996
• Philadelphia Museum of Art Purchase Award from Works on Paper 
1987
• Independent Acquisition Fund Competition for WHYY TV 12 “Ghoti” and “The Blue Chair” selected viewing.
• Fellowship. Pennsylvania Council of the Arts.
1986
• Third Place. National Computer Graphics Association. International
Computer Animation Contest. Awards reel.
1985
• Prize of Fine Work, Niccograph International Computer Animation Contest. Nikkei Computer Graphics, Japan.

EXHIBITIONS
2015
one person show, the move, George Billis, culver city, LA. feb – apr
Works on Paper: Survey of Purchase Awards (1978-2009). feb. Arcadia University, Glenside, PA
2014
listening in:artists speak, GrizzlyGrizzly, abington a.c. pa., oct – dec
2013
• surface as signifier, crane arts, philadelphia, PA., feb – march
drafted, schema projects, brooklyn, ny. jan – feb
one person show, systems, george billis, culver city, LA. feb – mar
2012
alltogethernow the galleries at moore c.a., philadelphia. may – jul
2011
One Person Show, May. SchmidtDean Gallery, Philadelphia
2010
PHILAGRAFIKA 2010 Independent Projects: Selections from C.R. Ettinger Studio |
2000-2010, PAFA, Philadelphia. jan – apr
2009
1.5 Million, Stella Elkins Tyler Galleries, Tyler School of Art. curator: Corey Antis, Oct.
Legacies, the Pennsylvania Academy of the Fine Arts. may – sept.
one person show, Hofstra University, Calkins Hall Rosenberg Gallery, Feb.
2008
One Person Show, Schmidt Dean Gallery, may.
2007
• Flow: Miami, SchmidtDean Gallery, Dec.
2005
• Scope”, Miami, Represented by Schmidt-Dean Gallery, Nov
• Very Early Pictures, Arcadia University, Sept
One Person Show, Schmidt-Dean Gallery, Phila., Sept
• Operation Rapid American Withdrawal”, Ice Box Project Space, curator:Jane Iris Phila., sept.
Summer Salon, George Billis Gallery, L.A. paintings and drawing
2004
One Person Show, George Billis Gallery LA, oct-nov.
• Hunt Gallery, Webster College, St. Louis, 5 person painting survey  nov.-dec.
Trace, UArts, Group show in conjunction w/Big Nothing. curator: Sid Sachs.
One Person Show, Line Drawings, George Billis Gallery, nyc, jun.
Affect, 7 person show curated by Andrea Cooper. Ursinus, may.
2003
One Person Show, George Billis Gallery, nyc, may-jun
On the Wall, six person show curated by Nancy Herman and Richard Torchia. Non traditional works.  MLAC, Haverford, PA. mar.
2002
One Person Show, Schmidt-Dean. Phila., Pa Sep-Oct.
One Person Show, Fleisher Challenge Exhibition. Phila., oct-nov.
• One Person Show, 55 Mercer Gallery, nyc. apr.
Works on Paper 1999 Beaver College.  selection: James Elaine
1999
Mind’s Eye  curated: Willie Heeks. Booth Contemporary Art
Wakefield,  RI. jul–aug.
One Person Show, Larry Becker, Phila. may
1998
Remember Biennial 1998. Delaware Museum of Art
One Person Show,  James Madison University. jan
1996
Works on Paper Spruance Gallery, Beaver College.  selection: Bill Arning
In and out of the Box, Nexus Gallery, Phila., feb
Digital Dialects, New Paradigms Part II, curated by Harry Umen. Creiger-Dane Gallery. Boston, MA.
1995
• Selections. Larry Becker Contemporary. Phila. Sept
Chance Encounters, Pennsylvania Academy of Fine Arts. Phila jun-oct
• Closer Look 1, works on paper show  curated: Paula Marincola. Beaver College, jan
1994
One person show,  Larry  Becker, may-jun.
1992
Works on Paper 1992, spruance art gallery- Beaver College. selection: Robert Storr
The Map is Not the Territory,  Rosenwald-Wolf Gallery, Phila. College of Art. Curators: Frank Galuszka and Nathan Knobler.
1991
New Trends in Watercolor, Noyse Museum, New Jersey, 1991-93
• 4th Annual Computer Graphics Invitational Traveling Exhibition. Eastern Washingtion, Cheney. Kent, WA, Aberdeen, WA, Boise, ID, Spokane, WA, Lynnwood, WA, Sidney, MT, Bozeman, MT, Great Falls, MT, Kalispell, MT, Butte, MT, Miles City, MT
1990
• Independent film makers airing in April on Channel 12, animation
• Prix Ars Electronica. International Competition for the Computer Arts. Linz, Austria. animation
• One Person Show. Larry Becker. Philadelphia, PA.
Art from the Computer. Hearst Art Gallery. Saint Mary’s College. Moraga, CA.
1987
• Images Du Futur 87″. Et Nouvelles Technologies. Montreal, Canada.
Emerging Expression: the Artist and the Computer, 2nd Biennial, Bronx Museum of the Arts. Bronx, N.Y.
• Art from the Computer, California College of Arts and Crafts, CA.
Transformations, University of the Pacific. Stockton, California.
1986
The New Television Festival 1986, Included in Much Music, Musique Plus, ky Channel”, and a selected Japanese Broadcast special..Computer Graphic Animation Festival. Odyssey Visual Design. La Jolla Museum, August- September 1986.
• Siggraph  1986, “The Blue Chair”, animation screening room. Art show. Dallas,Texas.
The Best of the Video Festival, Ohio State University. Intern. film and video contest.
42nd La Biennale Di Venezia The Venice Biennale The Blue Chair animation and still mage shown in Art and Technology Pavilion.
1985
One Person Show. University of Akron. mar
Emerging Expression: The Artist and Computer, Bronx Museum. N.Y.

PUBLICATIONS, REVIEWS, PRESENTATIONS AND VIDEO REELS:
2015
• Review-GeorgeBillisLA, Mockingbird, feb., Gibson, [link]
2013
• Review-GeorgeBillisLA, Huffington Post. apr., Frank [link]
• Review-Drafted, Schema Projects, Bushwick, Brooklyn. jan-feb, Hyperallergic, Carroll [link]
2011
• Review-Schmidt-Dean Gallery: Philadelphia Inquirer, Newhall, May [link]
2009
• Review-Schmidt-Dean Gallery: Art in America, Feb, A. Fabbri [link]
• Review for Legacies: Philadelphia Inquirer, July 5, Newhall. [link]
2008
• Review-Schmidt-Dean Gallery: Inquirer, E. Newhall, May 9 [link]
• Blog review: stevenalexanderjournal [link]
• Artblog: I had to say something, L. Rosof, may [link]
2005
• Review-Schmidt-Dean Gallery: artNEWS, Newhall, Feb [link]
• Review-Schmidt-Dean Gallery: Philadelphia, Philadelphia Weekly, Roberta Fallon, Oct 5-11 [link]
2004
• Review-George Billis Gallery LA: LA Weekly, Peter Frank, nov [link]
• Review-Trace: Philadelphia Inquirer, sozanski, jul [link]
• Review-Trace: Philadelphia Weekly, fallon, jul [link]
2003
• Review-George Billis Gallery: New York Observer, June 23, 2003 [link]
• Review -On the Wall: Philadelphia Weekly, R. Fallon, April 2, 2003 [link]
2002
• Review-Schmidt-Dean: Philadelphia City Paper. R. Rice, October 3-10 [link] [link]
2001
• Review–Fleisher Challenge Show: Philadelphia Inquirer, Sozanski [link]
• Review–Fleisher Challenge Show. City Paper. Susan Hagen, Oct 25 [link]
• Review-Two–Person Show – 55 Mercer, NY, AbArtonline.com Apr [link] [link2]
2000
• Review-One Person Show – Larry Becker: Art In America Feb. B. Scott [link]
1999
• Review-One Person Show – Larry Becker.  Phila Inquirer, Jun 25 E.Sozanski [link]
1994
• Review-One Person Show – Larry Becker. New Art Examiner, Oct F. Galuszka [link]
• Review-One Person Show – Larry Becker:  Phila Inquirer May 6 E. Sozanski [link]
1992
• Review-The Map is Not the Territory: Philadelphia Inquirer. Apr 9, E. Sozanski [link]

EDUCATION:
M.A. Ohio State University – 3-d Computer Graphics and Animation 1986
M.F.A. University of Wisconsin – Milwaukee, Painting + Drawing 1976
B.F.A Pennsylvania Academy of the Fine Arts. Phila., PA, 1972

PROFESSIONAL EXPERIENCE:
1986-2010 Professor of Art, Moore College of Art and Design. Digital Drawing and Imaging, Animation and Web Design.
2008-fall Adjunct Professor, University of the Arts. Painting: Junior level
2002 Adjunct Professor, PAFA, Fall term. Painting Principles
1998 Adjunct Professor University of the Arts, Spring term. Multimedia
1995 Juror, Images du Future. Et Nouvelles Technologies. International Animation Contest. Montreal. October
1991-2 Part-time Rutgers-Camden. 3-d Computer Graphics and Animation
1989 Curator for Printmaking: At the Speed of Thought The Print Club Philadelphia, PA. International exhibition of algorithmically generated works. Nov 4 – Dec 23, 1989. Catalog.