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Charles Csuri is recognized as a pioneer of 3D computer art and animation. His artist daughter Caroline shares highlights his 70 year career.

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“Caroline Csuri on Charles Csuri and Computation as Playground” by Peter Bauman @monkantony

Caroline Csuri, daughter of artist Charles Csuri, speaks with Peter Bauman. They discuss how the computer animation and graphics icon first discovered computers in art, the punch cards and plotters behind Hummingbird (1967), and why he called the computer his “playground” and “magic black box.”

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Mentions: @charlescsuri @themuseumofmodernart @spalterdigital @roylichtenstein @theohiostateuniversity @nsfgov @pixar @nasa @artforum @clevelandart @still_museum by @charlescsuri

It is difficult to know where to begin with Charles Csuri. His life reads almost like several lives lived at once: a college football star, a soldier awarded the Bronze Star for heroism, a painter and sculptor, and ultimately one of the most important pioneers of computer art.

After the war, Csuri returned to Ohio State and turned his attention back to art. He taught alongside Roy Lichtenstein, who became a close friend and later his best man. At the same time, Csuri was exhibiting in New York and became part of a generation of artists who would change the course of art.

Csuri began working with computers in 1964, at a time when the art world had little interest in what these machines might offer artists. Over the next six decades, he continued to experiment with code, randomness, colour and three-dimensional form, helping to shape computer art and animation as we know them today. His influence also lives on through the generations he taught and mentored, many of whom went on to work at Pixar, Disney and Industrial Light & Magic.

This October, SOLOS is honoured to present *Ordo*, an artist-curated generative series created in 2017. Bringing together tools and ideas Csuri had refined over decades, the works feature abstract, ribbon-like forms that twist, overlap and float through three-dimensional space.

The series remained unreleased on Csuri’s computer during his lifetime, despite his intention to bring it into the world. It is a privilege to now share it in close collaboration with his daughter and artist, Caroline Csuri.❤️ by @charlescsuri

Excited to visit with Mike at Beeple Studios in charming Charleston SC!Had so much fun thanks to Leyla and Mike! @leylafakhr @beeple_crap by @charlescsuri

𝐂𝐡𝐚𝐫𝐥𝐞𝐬 𝐂𝐬𝐮𝐫𝐢 | 𝐎𝐫𝐝𝐨
𝐍𝐨𝐯𝐞𝐦𝐛𝐞𝐫 𝟐𝟎𝟐𝟔 by @charlescsuri

Charles Csuri (1922- 2022) was making computer art as early as 1964 - long before the computer became a tool of contemporary art.

In 1968, his work was acquired by MoMA and he was included in Cybernetic Serendipity, Jasia Reichardt’s landmark exhibition at the ICA that helped introduce computer art to a wider art audience.

He was also awarded the first National Science Foundation grant ever given to an artist, supporting his pioneering work using computers to create art. The Smithsonian later described him as “the father of digital art and computer animation.”

His work laid the foundations for so much of the digital and generative art being made today, including by many of the artists I’m lucky enough to work with.

So I’m particularly thrilled to be working with his daughter, the artist Caroline Csuri, to bring a series of previously unreleased works from his personal files to SOLOS (minted on @verse_works) this October.

A massive thanks to @ragnar_digital who introduced us to Caroline Csuri. I really couldn't have been more grateful for this introduction 🤍 by @charlescsuri

In honor of FIFA and Csuri who was not only a pioneer but an athlete. I brought his canvas print size 34" x 60" out of storage. Go U.S.A! @onefootball, @usclubsoccer by @charlescsuri

Art Basel Zero 10

Overwhelmingly grateful to have Csuri featured in such an incredible exhibition! by @charlescsuri

Numeric Milling Machine Sculpture by Charles Csuri, 1968

Part of Digital Masterpieces | Art Basel | Booth Z9

Among the earliest computer-generated sculptures, Numeric Milling (1968) demonstrated how code could exist as a sculptural medium — imagined, calculated, modeled, & realized.

Executed in 1968 using Ohio State University’s IBM 7094 Computer, the work represents a pivotal evolution in the sculptural process, wherein an artist could define a form mathematically, explore it visually, and modify its surface prior to realization.

Wood sculpture (33 × 56 × 22 cm) with accompanying plotter drawing on paper (64 × 38 cm), created in 1968 using Ohio State University’s IBM 7094 Computer, realized in physicality through a Tape-Master Numerical Control Machine and CalComp 565 Drum Plotter respectively. by @charlescsuri

Charles Csuri: “You can’t imagine what it was like in 1965... as an artist to be involved with computers, it was not easy. When you are doing something for the first time, people simply don’t understand, and they are very irritated by it for a very, very long time.”

Digital Masterpieces: From Code to Canon, debuting at
@artbasel’s Zero 10, Basel (June 16 – 21, 2026).

A comprehensive survey of the canonical history of digital art spanning 70+ years, tracing the rise of computation as medium through masterworks from the digital art canon. by @charlescsuri

So moved. A Csuri portrait I never saw, just arrived of me and my brother thanks to @nicoleasales connecting me to the collector!

My father was the pioneering bridge between fine art and digital art. ❤️ Caroline by @charlescsuri

Csuri’s early computer art is part of @theassembly.line, a group exhibition of sixteen artists curated by @justingilanyi and @la_rainaaaaa.

The show presents work from the first programmed drawings to today’s shared experiments with AI, highlighting 50 years of art made in collaboration with machines. by @charlescsuri

Happy Father's Day weekend. In honor of my father, I'm proud to share his historic story and his undying spirit through his digital art. I will always love you. by @charlescsuri