The History and Evolution of Kinetic Art
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Open Etoth Dissertation Corrected.Pdf
The Pennsylvania State University The Graduate School The College of Arts and Architecture FROM ACTIVISM TO KIETISM: MODERIST SPACES I HUGARIA ART, 1918-1930 BUDAPEST – VIEA – BERLI A Dissertation in Art History by Edit Tóth © 2010 Edit Tóth Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 The dissertation of Edit Tóth was reviewed and approved* by the following: Nancy Locke Associate Professor of Art History Dissertation Adviser Chair of Committee Sarah K. Rich Associate Professor of Art History Craig Zabel Head of the Department of Art History Michael Bernhard Associate Professor of Political Science *Signatures are on file in the Graduate School ii ABSTRACT From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest – Vienna – Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA (“Today,” 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassák – writer, poet, artist, editor, and the main mover and guiding star of MA , – the painter Sándor Bortnyik, the polymath László Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 – August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. -
Art Masterpiece: Pisa II, by Al Held Keywords
Art Masterpiece: Pisa II, by Al Held Keywords: Abstract Expressionism, Kinetic Art/Op-Art, Geometric Grade(s): Activity: Optical-Art 3-D hand drawing About the Artist: Al Held, born in Brooklyn, New York, on October 12, 1928. He was a high-school drop-out who joined the Navy and discovered an interest in art. He later became a Professor at Yale University. Held touched on several styles of art from Abstract Expressionism to Op- Art, Illusionism, Minimalism, and Hard Edge. Abstract Expressionism is a style of artwork that is focused on expressing a feeling through the use of color and shape. Held developed his geometric form of abstraction by blending the randomly dripped painting style of Jackson Pollack with the meticulously ordered canvases of Piet Mondrian. Held used straight edges, masking tape and multiple coats of evenly applied paint to create works with intersecting lines, overlapping circles, triangles and other geometric figures. With subtle splashes of color and illusions of Chandler Unified School District Art Masterpiece Program, Chandler, Arizona, USA three-dimensional depth, the paintings could, in the words of one critic, be "disorienting to the point of vertigo." Busy until the end, Held could command more than $1million for his monumental works. He felt proprietary about his paintings along after completed. He would oversee a team of artists whenever his murals needed touching up. About the Artwork: Pisa II is a work that exemplifies the intersection of math and art. The painting was created during a time when abstract art was gaining prominence all over the world, particularly in America. -
Kinetic Masters & Their Legacy (Exhibition Catalogue)
KINETIC MASTERS & THEIR LEGACY CECILIA DE TORRES, LTD. KINETIC MASTERS & THEIR LEGACY OCTOBER 3, 2019 - JANUARY 11, 2020 CECILIA DE TORRES, LTD. We are grateful to María Inés Sicardi and the Sicardi-Ayers-Bacino Gallery team for their collaboration and assistance in realizing this exhibition. We sincerely thank the lenders who understood our desire to present work of the highest quality, and special thanks to our colleague Debbie Frydman whose suggestion to further explore kineticism resulted in Kinetic Masters & Their Legacy. LE MOUVEMENT - KINETIC ART INTO THE 21ST CENTURY In 1950s France, there was an active interaction and artistic exchange between the country’s capital and South America. Vasarely and many Alexander Calder put it so beautifully when he said: “Just as one composes colors, or forms, of the Grupo Madí artists had an exhibition at the Museum of Fine Arts in Buenos Aires in 1957 so one can compose motions.” that was extremely influential upon younger generation avant-garde artists. Many South Americans, such as the triumvirate of Venezuelan Kinetic Masters & Their Legacy is comprised of a selection of works created by South American artists ranging from the 1950s to the present day. In showing contemporary cinetismo–Jesús Rafael Soto, Carlos Cruz-Diez, pieces alongside mid-century modern work, our exhibition provides an account of and Alejandro Otero—settled in Paris, amongst the trajectory of varied techniques, theoretical approaches, and materials that have a number of other artists from Argentina, Brazil, evolved across the legacy of the field of Kinetic Art. Venezuela, and Uruguay, who exhibited at the Salon des Réalités Nouvelles. -
Carlos Cruz-Díez
Todos nuestros catálogos de arte All our art catalogues desde/since 1973 Carlos Cruz-Diez Color Happens 2009 El uso de esta base de datos de catálogos de exposiciones de la Fundación Juan March comporta la aceptación de los derechos de los autores de los textos y de los titulares de copyrights. Los usuarios pueden descargar e imprimir gra- tuitamente los textos de los catálogos incluidos en esta base de datos exclusi- vamente para su uso en la investigación académica y la enseñanza y citando su procedencia y a sus autores. Use of the Fundación Juan March database of digitized exhibition catalogues signifies the user’s recognition of the rights of individual authors and/or other copyright holders. Users may download and/or print a free copy of any essay solely for academic research and teaching purposes, accompanied by the proper citation of sources and authors. www.march.es Fundación Juan March Fundación Juan March Fundación Juan March Fundación Juan March Fundación Juan March CARLOS CRUZ-DIEZ COLOR HAPPENS Fundación Juan March Fundación Juan March This catalogue accompanies the exhibition Carlos Cruz-Diez: Pompidou, Paris; Atelier Cruz-Diez, Paris; and MUBAG (Council Color Happens, the first solo exhibition devoted to the work of Alicante), for their generous help in arranging decisive loans. of Cruz-Diez at a Spanish museum or, to be more precise, two We are also grateful to the Atelier Cruz-Diez Documentation museums. Since the 60s, the works of Cruz-Diez have been Service, especially Catherine Seignouret, Connie Gutiérrez featured in major exhibitions dedicated to Kineticism and in Arena, Ana María Durán and Maïwenn Le Bouder, for their important group shows focusing on Latin American art and assistance in managing and gathering documentation and kinetic movements. -
Exhibition Catalogue
In memory of Denise René June 25, 1913 - July 9, 2012 Denise René at Vasarely, Galerie Denise René Rue de la Boétie, Paris, 1966 © D.R (rights reserved) FOREWORD In the spring of 2017, Puerta Roja presented the ground-breaking exhibition Carlos Cruz-Diez: Mastering Following a few years where conceptual art took over the spotlight, it was the strength of the philosophical Colour. In 2018, we present once more the works by the Franco-Venezuelan master in a joint exhibition ideals at the heart of the artists’ intent that would ensure the movement’s lasting legacy and current revival. with the iconic Galerie Denise René. The exhibition titled Movement (2018) provides historical context A myriad of retrospectives on the artists, the movement and the gallery itself have taken place in the last through the works of the artist’s contemporaries whose careers, alongside Cruz-Diez, were catapulted twenty years. In 2001, the French National Museum of Modern Art paid tribute with the exhibition The Intrepid by Denise René in the 1950s. Historical and recent works by Jesús Rafael Soto, Victor Vasarely and Denise René, a Gallery in the Adventure of Abstract Art, at the Centre Pompidou. The Pompidou would also Yaacov Agam, are accompanied by younger artists’ works, furthering the legacy of the Op and Kinetic reinstall its collection along the lines of art theory, including a dedicated section to Op and Kinetic Art. The Art movement into the twenty-first century and giving both tribute and future life to the visionary spirit Tate Modern opened A View from Zagreb: Op and Kinetic Art in 2016, a permanent room in its new building of Denise René and her artists. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Sternberg Press / Style Sheet
STERNBERG PRESS / STYLE SHEET • Titles: First and all significant words in text/essay titles are capitalized • Titles of books, artworks, films, musical albums etc. are italicized • Titles of exhibitions, essays, poems, songs, short stories, etc. appear within double quotation marks (“ ”) • Punctuation: following American standards, punctuation appears within the quotation marks (with the exception of colons or semi-colons, i.e. “free speech”:). Also consistent with American standards, a serial comma is used in a phrase with three or more elements, preceding an “and,” “or,” etc.: “There were lectures, performances, and screenings.” • Quoted material: All quotes appear within double (“ ”) quotation marks. The same is the case with words used by an author in a pejorative (critical/disbelieving/sardonic) way, i.e. I became a “serious” artist. Single quotations appear only when there is a quotation within a quotation. Quotations within block quotations should be contained with double quotation marks. • Foreign words and words that need special emphasis are italicized, although the use of italics for emphasis should be done sparingly. • Artistic/Architectural styles: Names of specific artistic styles are uppercased unless they are used in a context that does not refer to their specific art-historical meaning, however “modernism” is always lowercase. Example 1: “Her piece was characteristically minimalistic.” Example 2: “This sculpture bears all the markings of the Minimalist movement.” • Dates/Years: Consistent with American format: February 6, 2005 / 1960s / 1990 / centuries are spelled out, i.e. the twentieth century, and hyphenated when used as an adjective, i.e. twentieth-century architecture. Abbreviated decades are written with an apostrophe (not single quotation mark) (i.e., ’60s). -
7Th Grade Week 7 Art E-Learning Optical Illusion
7 th Grade Week 7 Art E-Learning Optical Illusion Drawing Prompts Complete a drawing activity on a piece of paper. Any kind of paper will be acceptable. Select one drawing prompt. Remember, creativity is all about thinking in new ways! ● Op Art: Create a dot (also known as a vanishing point) in the middle of the paper. Draw an even number of lines that start at the dot and extend to the edge of the paper, like a pinwheel. Draw curved lines (as pictured in the design to the right) → to create stripes in each section. Shade every other stripe to create an optical illusion. ● Op Art Shapes : Watch the video Art Lesson Online: Op-Art!. Follow the steps to create a mind boggling optical illusion using geometric shapes and stripes. Be sure to take a picture of your work. Images can be saved to a Google doc and shared with Mrs. Campbell or may be e-mailed to m [email protected]. ------------------------------------------------------------------------------------------------------------------------------------------------------- Op Art This week, you will continue to study perspective while taking a look at a modern art movement called Op Art. Read the text and complete the graphic organizer below on your own paper or in Google Classroom. 1. Read the paragraph below. 2. Very Important Points The term Op Art refers to Optical Art. Op Art followed the List 5 facts you feel are most important from the Pop Art movement of the 1960’s. It was first called paragraph. “kinetic art” (art which moves) because some of the art actually moved or appeared to move because of the way 1. -
Download Lot Listing
Monday, September 17, 2018 NEW YORK DOYLE+DESIGN® MODERN AND CONTEMPORARY ART AND DESIGN AUCTION Monday, September 17, 2018 at 10am EXHIBITION Friday, September 14, 10am – 5pm Saturday, September 15, 10am – 5pm Sunday, September 16, Noon – 5pm LOCATION DOYLE 175 East 87th Street New York City 212-427-2730 www.Doyle.com Catalogue: $35 PAINTINGS, SCULPTURE, PHOTOGRAPHS & PRINTS INCLUDING PROPERTY CONTENTS FROM THE ESTATES OF Fine Art 1-95 Aurora Biamonte Prints 96-115 Norman Dorsen Furniture & Decorative Arts 116-179 An East Hampton Collection Silver 180-187 Dr. Paul Hershenson Furniture & Decorative Arts 188-253 Carl Lesnor Dorothy Lewis 2013 Irrevocable Trust Jesse Mines The Patricia and Donald Oresman Collection Felice Ross Florence Segal The Wynant D. Vanderpoel Trust Glossary I Conditions of Sale II Terms of Guarantee IV Information on Sales & Use Tax V INCLUDING PROPERTY FROM Buying at Doyle VI The Collection of Charlotte Bergman Selling at Doyle VIII A Private Connecticut Collection Auction Schedule IX A Private Collection of Important Design Company Directory X Sold to Benefit a New York Not-For-Profit Organization Absentee Bid Form XII The Collection of Margo Howard Lot 70 1 4 Yaacov Agam Leo Amino Israeli, b. 1928 Japanese/American, 1911-1989 Petit Triangle Volant Object Untitled, circa 1946 Signed Agam and numbered 2/4 Signed LEO 18 kt. gold, 52.1 dwts Terracotta Height 1 7/8 inches 14 1/2 x 18 x 12 inches Provenance: C The artist $4,000-6,000 [Sale]: Enghien Hôtel des Ventes See Illustration Acquired by the current owner, Dec. 1980 from the above venue Exhibited: 5 Enghien-les-Bains, France, Enghien Hotel des Leo Amino Ventes, Bijoux-Sculptures et Mobiles en Japanese/American, 1911-1989 Or par Yaacov Agam, Dec. -
Agamograph Challenge.Pdf
The Agamograph Challenge Intro to Art/ Applied & Advanced Agamographs are compositions in which images change constantly. The images appear and disappear; the viewer never sees the whole picture at one time. Agam has advanced, renewed, revolutionized and expanded the graphic art form. The Agamograph enables the viewer to interact, explore and stretch his own view. Before beginning this project, I would like to introduce you to the work of a contemporary artist Yaacov Agam, who is known for his "kinetic" works that involve movement and viewer participation. In 1953, Agam created his first “polyphonic paintings.” He used two or more different abstract designs on a zigzagged panel, so that the viewer would see one image when the work was viewed from one angle and an entirely different image when the work was viewed from another angle. Your challenge is to draw or paint three separate realistic images that were related in some way. After completing them, they constructed a folded paper "frame" for the three works that contained repetitive "mountains" and "valleys" that were 1" wide and 1" tall. 1 About the Artist, Yaacov Agam- Biography: Born to an Orthodox Jewish family, Agam studied in Jerusalem, before moving to Zurich and then to Paris, where he still lives. Agams first solo exhibition was at the Galerie Graven in 1953, and in 1955 he established himself as one of the leading pioneers of kinetic art at the Le Mouvement exhibition at the Galerie Denise Ren alongside Jesus Rafael Soto, Carlos Cruz-Diez, Pol Bury, Alexander Calder and Jean Tinguely. Born to an Orthodox Jewish family, Agam studied in Jerusalem, before moving to Zurich and then to Paris, where he still lives. -
Multiples in Late Modern Sculpture: Influences Within and Beyond
South Dakota State University Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange Faculty Publications School of Design 6-2015 Multiples in Late Modern Sculpture: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT Leda Cempellin South Dakota State University, [email protected] Follow this and additional works at: http://openprairie.sdstate.edu/design_pubs Part of the Art and Design Commons Recommended Citation Cempellin, Leda. “Multiples in Late Modernism: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT.” Nierika: Revista de Estudios de Arte (Ibero Publicaciones), vol. 7, special issue Las piezas múltiples en la escultura (June 2015): 58-73. This Article is brought to you for free and open access by the School of Design at Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. 58 Multiples in Late Modern nierikaARTÍCULOS ATEMÁTICOSRTÍCULOS TEMÁTICOS Sculpture: Influences Within and Beyond Daniel Spoerri’s 1959 Edition MAT 1 1 Acknowledgments: Daniel Spoerri and Leda Cempellin Barbara Räderscheidt; South Dakota State University Corinne Beutler and the [email protected] Daniel Spoerri Archives at the Swiss National Library; Hilton M. Briggs Library, South Dakota State University; Adamo Cempellin, Severina Armida Sparavier, Mary Harden, Danilo Restiotto. Fig. 1: Daniel Spoerri, Claus and Nusch Bremer reading concrete poems at the Galerie Schmela in Düsseldorf, 1959. Cour- tesy Daniel Spoerri. Abstract The firstEdition MAT was founded by Daniel Spoerri in 1959 and recreated in collaboration with Karl Gerstner in 1964 and 1965, with a special Edition MAT Mot the same year. -
The Best of The
THE BEST OF THE ™ CHANUKAH 2014 / 5775 New Orleans Holocaust Memorial by Yaacov Agam Photo by Hunter Thomas Photography New Orleans U NDERDOGS? Never underestimate the resilient spirit of New Orleanians. The Jewish New Orleans community only totaled about a decisive victory at the Battle of New Orleans was quite the ego dozen men when the Louisiana Purchase was signed in 1803. boast for the underdog militia. It was a banner of pride to be However there are indications that they were quite comfortable worn proudly that, no matter what the obstacles, success would and connected in their newly adopted home. A decade later—at come to those fi ghting on the right side. the Battle of New Orleans most of these same Jewish men were fi ghting alongside Andrew Jackson’s troops defending and pro- Although the Crescent City Jewish News website is about tecting their beloved hometown of New Orleans. four years old, our commitment to the New Orleans Jewish community through our print issues is in its second year. This Who were these men who settled into the New Orleans com- publication—The Best of the Crescent City Jewish News – is the munity more than two centuries ago? First, of all , they were third issue of our semi-annual publications, which document the men seeking economic opportunities to improve their fi nancial events of the past several months. With each publication, we are well being and social standing. They voluntarily relocated from reaching more of our core local Jewish audience. Like those brave large Northeast and New England communities fi lled with the Jewish defenders of New Orleans from a previous century, we are security of their family and friends to an isolated region full of also proud to acknowledge that each new publication affords us high humidity, swamps teeming with alligators and disease car- invaluable recognition from our fellow journalists on the quality rying mosquitoes.