Haifa, Israel: Technion Research and Development Foundation Ltd., 1965. Second edition. Wraps. 4to. Publisher's pale green wraps with cloth tape binding (as issued). SIGNED by Hoenich at title page and dated 1965. Wraps show a few spots and toning. Minor wear at corners. Very good. Second printing, from an edition of 100, after the first edition of 200 copies published in 1962, none intended for sale. [xii], 64, [6, plates]. Very good. Item #16825
Alternatively titled "THE HOPEFUL MONSTER: A Subjective Report About Art-Robots," an unusual academic report of the machine-aided artistic techniques of P.K. Hoenich, professor of art at Technion-Israel Institute of Technology. Primarily consisting of theories on the possibilities of robot art, it includes a complete a history of its development and full details of technical elements. Educated in various European art academies and originally a painter in the fauvist style, Hoenich reached the conclusion in the mid 1950s that because of technological progression and the development of film, figurative painting was being rendered obsolete and that visual art must incorporate a dimension of time. To this end, Hoenich developed a process incorporating machines, or "art-robots," for what he called sunray paintings. Using light and shadow with the aid of specially designed projectors, screens, glass sculptures, and other often mechanical objects, Hoenich created vivid, kinetic abstractions, examples of which can be seen in the nine photographic plates tipped into the edition. In the introduction to this volume, Hoenich takes a reactionary position against currents of contemporary art as unnecessarily shocking and primitive, and seeks to create joyful art for a new age. Hoenich continued developing his work on sunrays until 1980, and the Paul Konrad Hoenich Center for Art, Science and Technology at the center of the Technion's Faculty of Architecture and Town Planning in Haifa was created after his death in 1997. A fascinating intersection of aesthetics and technology in the atomic age, melding dadaism and romanticism, and one of the earliest computer-influenced artists books we've seen.