Richard Anuszkiewicz in His Studio, 2016 Richard Anuszkiewicz: Centered Squares October 13

FOR IMMEDIATE RELEASE: Richard Anuszkiewicz in his studio, 2016 Richard Anuszkiewicz: Centered Squares October 13 – November 12 2016 Loretta Howard Gallery is pleased to present Richard Anuszkiewicz: Centered Squares. Conceived in the late 1970s, this series occupied the artist throughout the 1980s. He ultimately returned to these works several years ago. The paintings on display continue the artist’s focus on the optical possibilities of juxtaposing colors. While Anuszkiewicz is known for his early involvement as an Op artist, the subtle depths of these paintings call fourth other associations mainly the rigorous color theory of his mentor Josef Albers. Anuszkiewicz activates the space around his vividly chromatic squares with diagonals radiating lines to suggest volumes of depth. The resulting paintings exemplify the artist’s mastery of the alchemical properties of color; challenging the eye of each viewer while simultaneously suggesting otherworldly, light filled expanses. This exhibition is presented in conjunction with Richard Anuszkiewicz: Line and Space, an exhibition of large-scale Centered Square paintings in addition to new works by the artist at 499 Park Avenue. Richard Anuszkiewicz received his MFA in painting from the Yale school of Art and Architecture in 1955. His work is included in many important public and private collections including The Albright-Knox Art Gallery, Buffalo, NY, Art Institute of Chicago, Chicago, IL, Brooklyn Museum, Brooklyn, NY, The Corcoran Museum of Art, Washington, DC, Denver Museum of Art, Denver, CO, Detroit Institute of Art, Denver, CO, Solomon R Guggenheim Museum, New York, NY, Hirschhorn Museum and Sculpture Garden, Washington, DC., Metropolitan Museum of Art, New York, NY, Museum of Modern Art, New York, NY, Philadelphia Museum of Art, Philadelphia, PA and the Whitney Museum of American Art, New York, NY For additional information please contact: [email protected] Please note our new address: 521 West 26th street 1st floor New York, NY 10001 .

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The Late Richard Anuszkiewicz's Work Is a Rigorous Yet Joyous Exploration
THE MIND’S EYE EYE S ’ MIND THE The late Richard Anuszkiewicz’s work is a rigorous yet The term “Op Art” was invented by a critic, not an artist, the way color affects the human eye, mind, and spirit. joyous exploration of the realm of pure color and form. and the movement to which it was applied—if movement it Anuszkiewicz’s paintings and prints are instantly recognizable was—came and went within a span of about five years in the for their bold contrasts between complementary colors, their geo- By John Dorfman mid- to late 1960s. But the work of Richard Anuszkiewicz, who metrically rigorous organization, and their intricate use of fine was hailed as one of Op’s two greatest practitioners, lives on, a lines. To 21st-century eyes, they look as if they could have been This page: Richard Anuszkiewicz, Dynamic Blue Eclipse, acrylic on wood panel, 18 x 18 in. Opposite: Soft Orange, 1972, acrylic on canvas, 60 x 60 in. COURTESY OF THE OF ESTATE RICHARD ANUSZKIEWICZ © 2021 THE OF ESTATE RICHARD ANUSZKIEWICZ.RIGHTS SOCIETY, ALL NEW RIGHTS YORK, RESERVED. NY AT ARSNY.COM; GIFT LICENSED OF THE MINT BY ARTISTS MUSEUM AUXILIARY. 1974.12.© 2021 THE COURTESY OF ESTATE RICHARD THE ANUSZKIEWICZ. MINT MUSEUM OF ART, CHARLOTTE, ALL RIGHTS NC RESERVED. LICENSED BY ARTISTS RIGHTS SOCIETY, NEW YORK, NY AT ARSNY.COM unique contribution to abstract art and to our understanding of made with computer software, but in fact they are hand-made, 62 ART&ANTIQUES FEBRUARY 2021 FEBRUARY 2021 ART&ANTIQUES 63 THE MIND S EYE EYE S MIND THE HOOD MUSEUM OF ART, DARTMOUTH: GIFT OF THE ARTIST © 2021 THE OF ESTATE RICHARD ANUSZKIEWICZ.
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Richard Anuszkiewicz
RICHARD ANUSZKIEWICZ SELECTED EXHIBITIONS: 1951 National Exhibition of Paintings by American Artists of Polish Descent, Alliance College, Cambridge Springs, PA, August 1 - August 5, 1951. 1953 35th May Show, Cleveland Institute of Art, Cleveland, OH, May 6 - June 4, 1953. 1953 Mid-Year Show, Butler Art Institute, Youngstown, OH, June 1953. 1955 The Twenty-First Annual Exhibition of Paintings Featuring: Richard Anuszkiewicz, an American Artist and Slawa Sadlowska, a Polish-Born Artist, The Butler Institute of American Art, Youngstown, OH, February 6 - 27, 1955. 1956 38th May Show, The Cleveland Museum of Art, Cleveland, OH, May 2 – June 10, 1956. 1957 National Academy of Design 132nd Annual Exhibition 1957: Painting in Oil and Sculpture, National Academy of Design, New York, 1957. Twenty Fifth Corcoran Biennale, Corcoran Museum, Washington DC, 1957. 1960 Anuszkiewicz, The Contemporaries, New York, February 29 – March 19, 1960. 1961 Recent American Painting and Sculpture, Museum of Modern Art, New York, NY, circulating exhibition 1961. Richard Anuszkiewicz, The Contemporaries, New York, March 27 – April 15, 1961. Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana, IL, February 26 - April 2, 1961. New York University: First Annual Art Competition, New York University, New York, December 4 - 21, 1961. 1962 The One Hundred and Fifty-Seventh Annual Exhibition of American Painting and Sculpture, The Pennsylvania Academy of the Fine Arts, Philadelphia, January 12 - February 25, 1962. Contemporary Artists, Tweed Gallery, March - April 1962. Geometric Abstraction in America, Whitney Museum of American Art, New York, March 20 - May 13, 1962; Institute of Fine Arts, Boston, MA, June 4 -July 17, 1962; Munson-Williams-Proctor Art Institute, Utica, NY, November 19 - December 31, 1962; City Art Museum of St.
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The Responsive Eye by William C
The responsive eye By William C. Seitz. The Museum of Modern Art, New York, in collaboration with the City Art Museum of St. Louis [and others Author Museum of Modern Art (New York, N.Y.) Date 1965 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2914 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MoMA 757 c.2 r//////////i LIBRARY Museumof ModernArt ARCHIVE wHgeugft. TheResponsive Eye BY WILLIAM C. SEITZ THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE CITY ART MUSEUM OF ST. LOUIS, THE CONTEMPORARY ART COUNCIL OF THE SEATTLE ART MUSEUM, THE PASADENA ART MUSEUM AND THE BALTIMORE MUSEUM OF ART /4/t z /w^- V TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-Chairman;William S. Paley, Vice-Chairman; Mrs. Bliss Parkinson, Vice-Chairman;William A. M. Burden, President; James Thrall Soby, Vice-President;Ralph F. Colin, Vice-President;Gardner Cowles, Vice-President;Wa l ter Bareiss, Alfred H. Barr, Jr., *Mrs. Robert Woods Bliss, Willard C. Butcher, *Mrs. W. Murray Crane, John de Menil, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Albert D. Lasker,John L. Loeb, Ranald H. Macdonald, Porter A. McCray, *Mrs. G. Macculloch Miller, Mrs. Charles S.
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Catalog to Accompany Exhibition with Essay by Janet Goleas
R & R M A R I R A N T A N E N BONNIE RYCHLAK R & R M A R I R A N T A N E N BONNIE RYCHLAK ILLE ARTS 1 2 3 4 5 6 R & R: MARI RANTANEN AND BONNIE RYCHLAK ILLE ARTS In their art, Mari Rantanen and Bonnie Rychlak share little in terms of visual imperatives, exe- cution, means or materials, but they do share a studio in Long Island City and an abiding friendship that crosses some two decades. Where Rychlak’s sculpture hovers between mem- ory and allusion, Rantanen is resolutely buoyant; the incandescence in Rantanen’s painting counters the elusive nature of Rychlak’s sculpture. It’s not surprising that within their practices there is little common ground, yet their differences fuel this exhibition with compelling coun- terpoints that are lush and generative. A native of Finland, the arch of Mari Rantanen’s artistic development references both Scandinavian and American art, perhaps most notably the artist Sam Vanni whose rhyth- mic abstractions helped to propel Finland’s artistic dialogue beyond Concretism, a movement that infuenced Finnish art through the early 20th century. Like Vanni, Rantanen’s layered abstractions bounce between ultra-fatness and the multi-dimensional while patterns fnd synthesis amid popping, polyphonic color. She has employed structural elements that range from Persian ornamentation to architecture, maps, networks, and schematics as well as the purely geometric. In new works, the composition is reductive, focused on circles, ovoids, and lozenges, with intersecting diagonals that migrate through parts of the picture plane assert- ing a sense of ordered chaos.
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Download Exhibition Catalogue
LIGHT / SPACE / CODE Opposite: Morris Louis, Number 2-07, 1961 (detail) Light / Space / Code How Real and Virtual Systems Intersect The Light and Space movement (originated in the 1960s) coincided with the Visual art and the natural sciences have long produced fruitful collaborations. development of digital technology and modern computer programming, and in Even Isaac Newton’s invention of the color wheel (of visible light spectra) has recent years artists have adapted hi-tech processes in greater pursuit of altering aided visual artists immensely. Artists and scientists share a likeminded inquiry: a viewer’s perception using subtle or profound shifts in color, scale, luminosity how we see. Today’s art answers that question in tandem with the expanded and spatial illusion. scientific fields of computer engineering, cybernetics, digital imaging, information processing and photonics. Light / Space / Code reveals the evolution of Light and Space art in the context of emerging technologies over the past half century. The exhibit begins by iden- — Jason Foumberg, Thoma Foundation curator tifying pre-digital methods of systems-style thinking in the work of geometric and Op painters, when radiant pigments and hypnotic compositions inferred the pow- er of light. Then, light sculpture introduces the medium of light as an expression of electronic tools. Finally, software-generated visualizations highlight advanced work in spatial imaging and cyberspace animation. Several kinetic and inter- active works extend the reach of art into the real space of viewer participation. A key sub-plot of Light / Space / Code concerns the natural world and its ecol- ogy. Since the Light and Space movement is an outgrowth of a larger environ- mental art movement (i.e., Earthworks), and its materials are directly drawn from natural phenomena, Light and Space artists address the contemporary conditions of organisms and their habitation systems on this planet.
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Richard Anuszkiewicz Following Are Questions You Might Have After Seeing the Painting All Things Do Live in the Three, Which Is Reproduced on This Card
Richard Anuszkiewicz Following are questions you might have after seeing the painting All Things Do Live in the Three, which is reproduced on this card: • Why would anyone bother to paint a painting consisting of these diamonds (tilted squares)? • And why have it consist of multiple tones (shades) of red, instead of different colors? • Why are all of those dots there? • What does this painting have to do with real painting, like paintings of the Impressionists? • Is this even a painting? I know it is paint applied to a surface, but ... • And what does this painting mean? Perhaps it is best to start by looking carefully at the piece. First of all, contrary to what you might initially think if you don’t look closely, the painting consists of only one tone of red, not multiple tones. A careful look reveals that the painting consists of one uniform red, on top of which dots of a uniform size have been painted. Close examination also reveals that, even though the red stays the same throughout the piece, the colors of the dots change from one part of the painting to another. The dots change in color from a turquoise blue in the outer part of the painting, to green for the next step in, to blue/gray for the next step, finally arriving at a yellow/green in the interior diamond. The third thing that a careful look at the painting reveals is that, although we see these diamond shapes, they are not actually drawn there. In fact, contrary to what our eyes first tell us, there is no physical contour or other such demarcation of the diamonds.
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Julian Stanczak, Abstract Painter, Dies at 88 by ROBERTA SMITH APRIL 11, 2017
ART & DESIGN Julian Stanczak, Abstract Painter, Dies at 88 By ROBERTA SMITH APRIL 11, 2017 Julian Stanczak at his home in Ohio in 2013. CreditJeff Downie Julian Stanczak, a Polish-born American abstract painter who rose to fame as a leading figure of the popular Op Art movement but slipped into obscurity when its reputation flagged, died on March 25 at his home in Seven Hills, Ohio, a Cleveland suburb. He was 88. His death was confirmed by his New York gallery, Mitchell-Innes & Nash. His family said that he had died after a short illness. Mr. Stanczak was a firmly optimistic artist, despite injuries in a Soviet labor camp during World War II that rendered his dominant right arm useless. He helped name the art movement to which he was linked in 1964 when his New York debut at the Martha Jackson Gallery was titled “Julian Stanczak: Optical Paintings.” Reviewing that exhibition in Arts magazine, Donald Judd, then an emerging Minimalist sculptor, coined the phrase Op Art in a sardonic closing sentence, linking the upsurge in perceptual abstraction, as it was sometimes called, to the Museum of Modern Art’s plans to survey the trend. Indeed, Op Art went supernova in 1965, with the Modern’s exhibition “The Responsive Eye” (even though the museum avoided the term). While critically derided, the exhibition set attendance records at the museum. It represented around 100 artists, from 15 countries and nearly three generations, working in assorted optical or geometric styles. Mr. Stanczak’s art evinced a tremendous geometric inventiveness. He constantly elaborated on the possibilities of parallel stripes, both straight and undulant; squares, both checkerboard and concentric; and grids, usually amplified by contrasting saturated colors.
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Op Art Spinners
Copyright © 2017 Dick Blick Art Materials All rights reserved 800-447-8192 DickBlick.com Op Art Spinners Why settle for a manufactured spinner when you can take a one-of-a kind piece of art for a spin? “Fidget spinners” became wildly popular because of their reputation as a concentration aid or a means of releasing stress and anxiety. In the same manner as a stress ball, they give the hands something to keep them busy. Op Art (short for Optical Art) is a movement that rose to popularity in the 1960s as a means of keeping the eyes busy. Optical illusions were not invented by scientists or optometrists but by GRADES 3-12 Note: Instructions artists who understand the workings and materials are based upon a class of the human brain and eyes and size of 24 students. Adjust as needed. how to trick them into believing they see Preparation something they don't actually see. A design that is completely stationery can appear to have movement 1. View mind-boggling examples of Op Art from artists as a result of carefully placed color and pattern. such as Victor Vasarely, Bridget Riley, Richard Allen and Richard Anuszkiewicz. Art that is designed to incorporate motion is known 2. Use a paper trimmer to cut heavyweight Dura-Lar into as Kinetic Art, and Op Art is considered kinetic even if 5" squares. A 25" x 40" sheet will produce 40 pieces. the motion is only illusionary. You'll need one per student. In this lesson plan, students create their own hand- 3.
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Vertigo Op Art and a History of Deception 1520–1970
Vertigo Op Art and a History of Deception 1520–1970 May 25 to October 27, 2019 Of all the pioneering art movements of the 1960s, Op art and kinetic art seem to Press conference: have been accorded the least recognition. Often they were depreciatingly seen as Friday, May 24, 2019, 10 am too spectacular and thus superficial. Wrongly so, since Op art and kinetic art sharpen our awareness of the ambiguous nature of reality. They quite literally show us that Opening: perception is not objective but dependent on volatile parameters relating to context Friday, May 24, 2019, 7 pm and to the beholder, with all the epistemological consequences that this has. The exhibition Vertigo. Op Art and a History of Deception 1520–1970 presents a puzzling world of sensory illusion, comprising a broad spectrum of works including paintings, reliefs, and objects, installations and experiential spaces, and film and computer generated art. The exhibition title is taken from Alfred Hitchcock’s famous 1958 film, in which Hitchcock—just like our exhibition—worked with the concept of vertigo in both senses: as a physical phenomenon and as a sensual and optical illusion. The “vertigo effect” of the cinematography in Hitchcock’s film marked a legendary juncture in the history of cinema, in which a view into the abyss was shown as a spectacularly destabilizing spiral draw that leads to a physical reaction in both the character in the Richard Anuszkiewicz film, Scottie, and the audience. The opening credits of this film were also Convex & Concave, 1966 groundbreaking, with a total view of an eye in which a spiral begins to turn, and then Courtesy D.
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List Visual Arts Center
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Download Press Release
Upsurge: Waves, Colour and Illusion UPSURGE: WAVES, COLOUR AND ILLUSION MOHAMED MELEHI | MONA SAUDI | HAMRA ABBAS | MOHAMED AHMED IBRAHIM | SHAIKHA AL MAZROU | VIVIEN ZHANG Spring - Summer 2020 Bringing together the diverse range of practices of a multi-generational group of artists – Mohamed Melehi (b.1936, Asilah, Morocco), Mona Saudi (b.1945, Amman, Jordan), Hamra Abbas (b.1976, Kuwait), Mohamed Ahmed Ibrahim (b. 1962, Khorfakkan, UAE), Shaikha Al Mazrou (b.1988, UAE) and Vivien Zhang, (b.1990, Beijing, China) - Upsurge explores notions of perception within abstract art: how form, colour and contrast affect the visual experience to give illusions of depth or dynamism based on our psychological predisposition. Different starting points lead each to converge on Op art: the perceptual experience is related to how vision functions. A term coined in 1964 by Time magazine, Op art describes a form of abstract art, specifically non-objective art, that uses optical illusions. Never a movement, more a tendency, works now described as "op art" were produced decades earlier by Victor Vasarely in the 1930s and as early as the 1920s, by Francis Picabia. Other artists and works associated with the term include those as diverse as Josef Albers from the 1950s, and Richard Anuszkiewicz and Bridget Riley from the 1960s. For Moroccan modernist Mohamed Melehi, his point of departure was the hard-edge abstraction with which he came into contact in New York at the beginning of the 1960s. Melehi’s early rectilinear works soon gave way to curves (which he described as “Soft Edge”), later morphing into his now-familiar waves.
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Richard Anuszkiewicz in His Studio, 2016 Richard Anuszkiewicz: Centered Squares October 13 – November 12 2016