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Optical Mix Australian Centre for Contemporary Art 16 August – 28

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Optical Mix Australian Centre for Contemporary Art 16 August – 28 Optical Mix Australian Centre for Contemporary Art 16 August – 28 September 2014 Optical Mix : The Exhibition ACCA Education Optical Mix brings together a series of works that use light, kinetics and visual oscillations. Although the exhibition presents various artistic styles, movements (some historical, others contem- porary) influences, materials and techniques there is a common thread between the works: they all optically mix elements – be it colour, light, line, shape or pattern – to play with or shift the viewer’s visual perception. In Optical Mix there is colour mixing, blending and shifting, geometric Op Art op- erations and kinetic movements. Optical Mix accompanies the ACCA commissioned exhibition, SLAVE showcasing work by Aus- tralian artist Christian Capurro. ACCA’s Artistic Director, Juliana Engberg curated both exhibitions and although they may appear at first glance quite distinct, they both share similar optical issues and qualities of light, lumines- cence and movement. A Spot Of Context And A Dash ACCA Education Of Art History To support an in-depth explora- and consecutive movement; line; tion of Optical Mix it is important perspective; colour contrasts and to provide context around key art chromatic vibration. historical and contemporary move- ments and styles evident in the The term Op Art was first coined exhibition, including: Op Art, Neo- in a 1964 Time magazine article, Impressionism, Minimalism and to describe the new, intense vi- Conceptual Art. sual art style that was emerging. Op Art came to prominence as a OP ART movement after an exhibition The Responsive Eye at the Museum “OPTICAL ART IS A METHOD OF of Modern Art (MoMA) New York. PAINTING CONCERNING THE IN- Curated by William C. Seitz, the ex- TERACTION BETWEEN ILLUSION hibition displayed work by a range AND PICTURE PLANE, BETWEEN of artists exploring perception and UNDERSTANDING AND SEEING.” senses including Victor Vasarely, (John Lancaster. Introducing Op Art, Lon- Frank Stella, Ellsworth Kelly and don: BT Batsford Ltd, 1973, p. 28.) Bridget Riley. Op Art (or Optical Art) is an art Describing Op Art in the exhibition style that refers to painting and press release, Seitz described them sculpture in which precise arrange- as works that “exist less as objects ments of colour, line or shape are to be examined than as generators used to create illusions of move- of perceptual responses in the eye ment (vibration, pulsing, warping, and the mind of the viewer. Us- swelling), patterns, light or space. ing only lines, bands and patterns, flat areas of colour, white, gray or Artists have long been intrigued black … perceptual artists establish by the nature of perception and a new relationship between the by optical effects and illusions, observer and a work of art.” (MOMA however it was the Op artists who Press release, 1965 delved further. Informed by art and https://www.moma.org/momaorg/shared/ pdfs/docs/press_archives/3439/releases/ science of the past to exploit vari- MOMA_1965_0015_14.pdf?2010 ). ous phenomena: the after-image ACCA Education “These new kinds of subjective and fight for women’s rights; new Glossary experiences, which result from the developments in science - advanc- simultaneous contrast of colours, es in computing, aerospace, tech- Colour theory: in visual arts is the after images, illusions and other nology and television; explosion theories behind colour mixing and optical devices are entirely real to of consumerism and mass media. the visual effects of specific colour the eye even though they do not combinations. Including the co- exist physically in the work itself. Finally, although Op Art is gener- lour wheel, colour harmonies and Each observer sees and responds ally viewed as an ephemeral art contrast. somewhat differently.” (Seitz). trend it’s processes, influences, aesthetic qualities, and intentions Gestalt theory: is a psychology These relationships that Seitz iden- (shifting perceptions) are still term which means “unified whole”. tified between the viewer and the present and impacting upon art It refers to theories of visual percep- artwork still play out today and are created today. The influence of Op tion developed by German psychol- present in the works within ACCA’s Art is evident in contemporary art ogists in the 1920s. These theories Optical Mix. within Optical Mix by artists such attempt to describe how people as Joseph Kosuth, Ugo Rondi- tend to organise visual elements Op artists of the 1960s were typi- none, Nike Savvas, Callum Morton into groups or unified wholes when cally concerned with the behav- and Daniel von Sturmer, whose certain principles are applied: simi- iour of the eye and perceptions. work exhibits alongside the ‘moth- larity, continuation, closure, prox- Their work incorporated and was er of Op Art’ Bridget Riley and her imity, area and symmetry. informed by the study of optics, Op Art contemporaries. visual perception, Gestalt theory Optics: the scientific study of sight and colour theory being explored and the behaviour of light, or the from the mid 19th century scien- properties of transmission and de- tists such as Helmholtz (1821-94) flection of other forms of radiation. and Chevreul (1786-1889. Visual perception: is the ability to When Op Art emerged in the interpret the surrounding environ- 1960s it was a time of great so- ment by processing information cial and political change: a time that is contained in visible light. of challenging and overturning This is done while incorporating traditional values with antiwar all the integrated information with protests, the civil rights movement other things, such as past experi- ences, so that we can derive under- standing and meaning from what we are experiencing. A Dash Of Art History continued... ACCA Education Neo-Impressionism: the viewer when seen at the right distance. This separation of colour Colour Theory through individual strokes came to be known as divisionism, while the Led by Georges Seurat and Paul application of precise dots came to Signac, the Neo-Impressionists be called Pointillism. (1886 – 1906) based their practice around scientific studies of colour The artistic applications of colour analysis and visual perception, theory and contrast by the Neo- including the influential research Impressionists influenced many The Law of Simultaneous Co- artists, styles and future move- lour Contrast, 1839, by Eugene ments, including the Op Artists, Chevreul. Chevreul’s study ex- who informed by such art and Paul Signac, plored colour contrast: the change science, created optical illusions French 1863–1935 Juan-les-Pins. in the appearance of a colour through use of colour contrasts when surrounded by another Evening (first version) 1914 and chromatic vibrations. oil on canvas colour. Chevreul concluded that 73.0 x 92.0 cm if two colour areas are seen close Private collection together in space or time, each will shift in hue and value as if the complementary colour of the neighbouring or preceding colour were mixed with it. For example: orange rimmed with blue, red with green and yellow with purple. Informed by this and the practice of the preceding Impressionists, the Neo-Impressionists started creating landscape paintings using tiny dots of pure colour. Instead of being mixed on the palette, the Neo-Impressionists stippled pure dots of juxtaposed or complemen- tary colour side by side, so the co- lours fused optically in the eye of A Dash Of Art History continued... ACCA Education Kinetic Art: Movement pression of ‘what you see is what Conceptual Art: The Idea but instead is a concept or an idea. you get’ is evident in Optical Mix Le Witt attached great importance Kinetic means relating to mo- in Joseph Kosuth’s work and mini- Conceptual art is artwork that to the primacy of ‘the idea’ stating, tion. Kinetic art emerged during malist sentimentalities in Daniel emphasizes the idea or concept “all of the planning and decisions the 1950s as a diverse movement von Sturmer’s practice. instead of the traditional aesthetic are made beforehand and the that experimented with both real or physical concerns of a work. execution is a perfunctory affair.” and apparent movement. The Op The conceptual art movement bor- His attitude can be illustrated by Artists created implied movement rowed elements from linguistics, the fact that many of his works can through the repetition of line, soci- ology, history and philosophy be constructed by anyone who fol- pattern and contrasting colours wishing to stand apart from the lows his written instructions. to create illusions of movement. ‘art market’ as well as separating Some examples of artworks in itself from the current economic, In Optical Mix there are examples Optical Mix that reference Kinetic political, social and cultural estab- of conceptual practices in works Art are Jean-Pierre Yvaral’s Inter- lishments of the time. Fundamen- by Martin Creed and Joseph Ko- ference with circle ‘A’ and Bridget tally conceptual art values the idea suth. Riley’s Nineteen Greys and Aurum. more than the way it is represent- ed. Conceptual art has its roots All I make are models. The actual with the European Dadaists but works of art are ideas...All art Minimalism: Minimal emerged as a movement in New (after Duchamp) is conceptual (in nature) because art only exists Minimalism emerged at a similar York in the 1960’s. French artist conceptually. Joseph Kosuth time (mid 1960s) and context to Marcel Duchamp paved the way Op Art. The movement sought to for the 1960’s and 70’s conceptual- create a pure, geometric,
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