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 each object 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.

First 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 unique sequential number from 1 to 104. I chose the type of mark from a notebook where I reproduced marks I had made over the years that interested me. Next I decided how large the final array of images would be. If i wanted a 7 x 5 array i needed to randomly choose 35 marks from my total of 104 i had made. I then 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 (35) and another number would define the total number of available marks (104). 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 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
2020• Color Theory: Object Culture Modern, Perez Art & Design Center, Palm Springs, CA, 5 person show: Riedell, Seidman, Levine, Hayes, Bolinger. curator:Barry Bryant. feb-june
2019
• Culcita:, Monte Vista Projects, Los Angeles, CA, 4 person show: Oliveria, Rocine, Seidman, Campuzano. curator:Justin Michell. apr-may
• Medium, FOCA–Fellows of Contemporary Art, Los Angeles, CA, curator:Carolie Parker. catalog. jan-mar
• Inquiry: Investigation through Abstraction, Meyers Gallery at the University of Cincinnati, Ohio. Curator: Mark Brosseau, jan-apr
2018
• Bodies of a Different Mass, Tiger Strikes Astroid-LA, Los Angeles, CA. apr–may
2017
• one person show, wayfinding, George Billis, culver city, LA. oct–nov
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:
2019
• Review-MEDIUM, ArtilleryMag, mar., DiMichele, [link]
2015
• Review-GeorgeBillisLA, Mockingbird, feb., Gibson, [link]
• Arcadia Announcement: purchase awards survey, [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, Mario Naves, 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.