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Op in Vogue Elena Galleani D'agliano 2020

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Op in Vogue Elena Galleani D'agliano 2020 OP IN VOGUE ELENA GALLEANIELENA D’AGLIANO 2020 Op in Vogue Elena Galleani d’Agliano Op in Vogue Master Thesis by Elena Galleani d’Agliano Supervised by Jérémie Cerman Printed at Progetto Immagine, Torino MA Space and Communication HEAD Genève October 2019 Vorrei ringraziare il mio tutor Jérémie per avermi seguito in questi mesi, Sébastien e Laurence per il loro indispensabile aiuto al Musée des Arts Décoratifs, Oliver and Anna per avermi dato una mano con l’inglese, Alexandra e gli altri tutor per i loro incoraggiamenti e la mia famiglia per il loro instancabile supporto. 5 10 18 34 43 87 108 88 A glimse of the Sixties 90 The Optical Woman Portfolio 91 The diffusion of Architectural 64 prêt a porter Defining Op 44 The Guy visions in Mulas 18 92 Economic impli- fashion Bourdin’s elegance 67 Who are you, 34 Fashion pho- cations 11 Definition of The relation- 48 The youth quake William Klein? 21 tography in the 96 Basis for further Op Art according to Bailey Franco Rubar- ship with the Sixties 70 experimentations: 13 The influen- source 52 The female telli, the storyteller 36 Defining Op the Space Age Style ces Op art and emancipation throu- 74 Swinging with 27 photography 102 The heritage 108 Epilogue 14 Exhibitions its representation gh the lens of Hel- Ronald Traeger 83 Advertising mut Newton today 111 Bibliography and diffusion on Vogue 78 Others 57 Monumentality in Irving Penn 60 In the search of other worlds with Henry Clarke Prologue The Op Op Fashion Sociological Epilogue fashion photography implications 7 8 9 Prologue early sixty years ago, mum diffusion, 1965 and 1966. The Then, the structure of the work has piece about the upcoming exhibition 1. Anonymous, “The 2 avant-garde”, New an artistic move- choice of focusing on the European been subdivided into three big blocks: The Responsive Eye, changed Optic in Op. York Herald Tribune, ment known as editions rather than on the US situa- the definition of the Op fashion in On the other hand, the term Kinetic Art special 17th May 1964, p. 4. Op(tical) art became tion, is due to the fact that in the Sixties relation to Vogue magazine, the analysis (from the greek κινητικός, der. from a mainstream phe- Europe had become the actual core in of the images- which is the real core κινέω «to move»), was used originally 2. BORGZINNER Jon, nomenon in mass terms of experimentations and creativ- of this mémoire-, and the sociological by the Spanish group Equipo 57, and “Op art: Pictures Nculture, significantly influencing until ity in fashion, and therefore it guaran- implications that derived from it. In then “adopted” by the Italian designer that attack the eye”, Time, vol. 84, n 17°, the following decade the aesthetics of teed a more fertile ground to explore the last part, I extended my research Bruno Munari. 23th October 1964, p. many other fields, such as publishing, (although Vogue US will be mentioned in order to gain better understanding 78-86. For this paper, I will use the term Op cinema, design and architecture. In in more occasions). This also allowed of the impact that a new kind of fash- 3. GRANZOTTO instead of Kinetic to distinguish the opposition to the American and figu- to make frequent parallels between the ion could have on the society. I could Giovanni; MARGOZZI artistic phenomenon from its diffusion. Mariastella, Arte rative Pop art, the Op art was instead different Vogue, discovering the differ- assume that the success of the prêt à programmata e This choice is motivated by the fact that cinetica: da Munari interested in the perceptive and kinetic ences and the choices in fact of con- porter and the various imitations of the Op art was the denomination through a Biasi a Colombo phenomena. tents and graphic, as well as providing Op fashion made it more accessible and e...,Roma, Il Cigno, which it was internationally known, and 2012, p. 36. diversified material to analyse. As for therefore, most widespread. This research will focus on the influ- therefore, the use of this term to refer the images, after an early research on ences of the Op art in fashion, and in Before starting, I considered it neces- to a popular trend is more precise. internet (which was obviously impre- particular on how fashion photography sary to introduce the Op/Kinetic art, in An accurate definition of Kinetic Art cise, lacking and unreliable), it was nec- contributed to his diffusion, by creating order to better understand the elements was provided by Umberto Eco in the essary to go directly to the source, in in response his own aesthetic language, and the forms that inspired the patterns catalogue of the exhibition Arte Pro- order to historically contextualize those through the medium of the fashion of the Op fashion creations in that grammata (1962), defining it as « a form pictures. The issues of British Vogue and magazine. period. of plastic art, where the movement of Vogue Paris have been consulted in the forms, colours, plans is the medium to For this analysis, I have selected photo- archive of the Musée des Arts Décora- Definition of Op art obtain a changeable wholeness. The graphs and articles published in Vogue tifs in Paris, while the complete Vogue The Op(tical) art was originally known aim of Kinetic art is to obtain shifting Paris, Vogue British and Vogue Italia (the Italia was available online. in the art field as Kinetic Art:Op was a forms and not definitive artwork ».3 most known and international mag- The mémoire begins with the Kinetic art term coined by the press in the United Among the most known exponents, we azine at the time) between 1964 and and how it became popularly known as States. It appears for the first time in remember the Italians Gruppo T (Milan), 1968. 1964 issues did not give many Op art, attempting to identify the ele- 1964 on the New York Herald Tribune Gruppo N (Padua), Bruno Munari, Get- results, allowing though to identify with ments that inspired further applications as Optic art.1 A few months later, the ulio Alviani and Franco Grignani, the more precision the beginning of the in other fields. Time reporter Jon Borgzinner, in a French group G. R. A. V. (Paris) and trend and the two years of his maxi- 10 11 Prologue 8. MELONI Lucilla, 4. DORFLES Gillo, Victor Vasarely (Hungarian adopted ley and Victor Vasarely, who translated «The scientific research is the guide for exemplars. Victor Vasarely, one of the Gli ambienti Ultime tendenze French), the Yugoslavian group Nove his ideas about a new kinetic language the kinetic artists in their work. But the most known artists of the movement, del Gruppo T: nell’arte d’oggi, arte immersiva Milano, Feltrinelli, Tendencije, the British Bridget Riley, the into the Manifeste jaune (1955). This am- purpose is different and the artistic and considered art as a social phenomenon, e interattiva, 1961, p. 86. German Zero (Düsseldorf), the Venezu- biguity was also made possible by using scientific research can’t be dependent to where the piece of art is conceived to Cinisello Balsamo, Silvana, 2004, p. 84. 5.WERTHEIMER Max, elan Carlos Cruz Diez. malleable materials such as aluminium each other»8. be reproduced and multiplied through Gestalt Theory, Vol. and generating effects with the light, the modern resources. In contrast to 9. ECO Umberto, 21, n. 3, November Within the kinetic movement, it is nec- In occasion of Arte Programmata, the Opera Aperta, Milano, 1999, pp 181-183. as experimented by Bridget Riley, that fully disagreed with Bompiani, 1962, p. essary to make a dis- Italian art critic and writer Umberto 153. The Getulio Alviani.The the unauthorized replication of her 6. SEITZ William, tinction between the Eco introduced the concept of Open responsive Eye, New kinetic artists were pieces, he approved their diffusion 10. MUNARI Bruno, York, The Museum of real kineticism and the Work, Opera Aperta in Italian, that’s also 11 Artista e designer, Modern Art, Library influenced by psy- among the masses. kineticism perceived the subject of the homonymous essay Bari, Editori of Congress, 1965, chology and other Laterza, 1971, p. 72. p. 30. by the spectator.4 he wrote.9 The idea is that the artwork theories of visual The Influences In the first case, the is an open field, that leads the spectator 11. MARI Pauline, Le 7. VERGINE Lea, perceptions, for ex- voyeur et l’halluciné Art on the cutting movement is created to variable and not definitive interpreta- To fully understand what Kinetic Art is, : au cinéma avec l’op edge: a guide ample the Gestalt art, Rennes, Presses to Contemporary physically through tions. He also claimed that through the it is necessary to take a step back to the theory,5 and they at- Universitaires, 2018, movements, Milano, the support of ma- Kinetic art, the movement has entered lesson of the avant-garde of the XXth p. 22. Skira, 1996 p. 92-93. tempted to transfer chines and mechanic art in a more successful and radical way century. In the 1920s, the Dutch group those suggestions 12. Ibid., p. 93. systems, as well as than before, as soon as it started to De Stijl, headed by Theo Van Does- on their works, in 13. POPPER Frank, through the con- include the spectator to complete the burg, theorized for the first time the L’art cinétique, order “activate the struction of spatial artwork. term Concrete Art to designate a type of Paris, Gauthier- vision” besides the Villars, 1970, p.
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