selected publications


2019

Paul Taberham

Miriam Harris

Lilly Husbands

Experimental Animation

From Analogue to Digital

p.161-163, Routledge, 2019

2017

Adriano Abbado

Visual Music Masters

Abstract Explorations:

History and Contemporary Research

p.86, Skira

2016

Maureen Furniss

A New History of Animation

Thames and Hudson, p.253-254


Casey Reas

Ben Fry

Processing:

a Programming handbook for visual designers and artists

(2nd edition), p.397-401, 2014

PDF

2013

Tom Sito

Moving Innovation

A History of Computer Animation

p.29, 34-35, 60-61, 94, 111, 136, 157, 273

2010

Casey Reas,

Ben Fry

Form + Code

In design, art, and architecture

p.103

PDF
2009

Robert Russett

Hyperanimation: Digital Images and Virtual Worlds

p.17. 86, 216, 218, 2009

2008

Maureen Furniss

The Animation Bible!

A Guide to Everything - from Flip Books to Flash

p.296-297, Laurence King Publishing

HTML

2008

Ron Miller

Digital Art and Painting; Painting with pixels

The early digital artist

p.296-297, Laurence King Publishing


2006

Michael Rubin

Droidmaker

George Lucas and the Digital Revolution

p.66-67, 71-72, 132, 163-165, 172, Triad Publishing


2006

Bruce Wands

Art of the Digital Age

p.148-149, Thames and Hudson

PDF

2006

Kerry Brougher

Jeremy Strick

Ari Wiseman

Judith Zilcher


Visual Music

Synaesthesia in Art and Music Since 1900

p.175, 250, Thames and Hudson


2004

Liz Faber

Helen Walter

Animation Unlimited

Innovative short films since 1940

p.64-65, Laurence King Publishing

PDF


1999

Terrence Masson

CG101

A Computer Graphics Industry Preference

p.410-412, New Riders


1998

Karl Ruhrberg

Ingo F Walther

Art of the 20th Century

Painting. Sculpture. New Media. Photography

Vol.2, p.593, Taschen


"In the 70s Larry Cuba was recognised worldwide as one of the few artists exclusively using digital computer techniques to explore the possibilities of abstract animation. His work followed in the tradition of abstract film going back to the 20s in the work of artists such as Oskar Fischinger, Len Lye, Norman McLaren and the Whitney brothers."
1997

Margaret Morse

Hardware, Software, Artware

Confluence of Art and Technology

Art Practice at the ZKM Institute for Visual Media

1992-1997

PDF

1996

William Moritz

Visuelle Musik

Mediagramm

HTML
"Larry Cuba must be considered the most distinguished practitioner of "computer graphics", for, though he has created only three films in the last 20 years, each one of them remains a masterpiece of Visual Music that resonates with fresh interest each time it is viewed-- the same replay-value that fine auditory music possesses."

1989

Mituso Katsui

Toshifumi Kawahara

World Graphic Design Now

Computer Graphics

p.19, Kodansha


1988

William Moritz

Some observations on non-objective and non-linear animation

Storytelling in Animation: The art of animated image

Vol. 2, John Canemaker (ed), p.21-31

PDF

"...a single still from Larry Cuba's wonderful computer animation, TWO SPACE(1979), shows us that it is a 'story' about positive and negative space: about exclusion and inclusion, about matter and anti-matter, about being and nothingness and creation out of nothingness."

1988

Robert Russett

Cecile Starr

Experimental Animation

Origin of a new art

p.28

PDF

1987

Cynthia Goodman

Digital Visions: Computers and Art


1987

Vergani, Gianmarco.

Question of the Musicalization of Art

The Culture of Fragments

Columbia University, p.167 - 169

PDF
"Larry Cuba...has in recent years created a series of abstract film pieces reminiscent of the early black and white studies of Oskar Fischinger, re-interpreted, digtitally, on a higher plane of complexity and accuracy. Cuba's work represents, formally and technically, a still higher formulation of the art of visual music: perhaps a better representation of Whitney's theories than Whitney's work itself."
1987

Peter Weibel

Clip, Klapp, Bum

Von der visuellen Musik zum Musikvideo

p.40, 107


1986

Gene Youngblood

Calculated Movements

an interview with Larry Cuba

Video and the Arts, Stephen Agetstein (ed), p.36-39, Winter, 1986

HTML
PDF (Italian)
"Words like elegant, graceful, exhilarating or spectacular do not begin to articulate the evocative power of these sublime works characterized by cascading designs, startling shifts of perspective and the ineffable beauty of precise, mathematical structure. They are as close to music --particularly the mathematically transcendent music of Bach-- as the moving-image arts will ever get."
1985

Adriano Abbado

Immagini con il Computer


1985

Herbert Franke

Computer Graphics - Computer Art

p.133


1981

Raphael Bassan

Cinema Abstrait et Experimental

enjeux-et-finalites

La Revue Du Cinema, p.109,110,125, 126, March 1981

"... Larry Cuba's work with a computer... is among the most accomplished that can be seen today in the area of abstract cinema. The artist uses hundreds of luminous dots, that he submits to a series of competitive metamorphoses creating a diverse array of animating figures according to a rigorous choreography. In this case, the computer animation establishes a parallel between visual perception and a structure of linguistic or mathematical order: it is concerned with establishing a new organizational field for the esthetic material.

... in the sphere of abstract cinema (lacking a better term), Larry Cuba's research is, in fact, at the origin of a new direction which does not yet have a name."