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T Want There to Be Anything Mysterious About the Way That I Work,' She Says
NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 14 NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 15 Fig. 7 Bridget Riley Red with Red 1, 2007 Oil on linen, 177.5 ¥ 255 cm Private collection Fig. 8 Raphael (1483–1520) Saint Catherine of Alexandria, about 1507 (detail) Oil on poplar, 72.2 ¥ 55.7 cm The National Gallery, London (ng 168) and she is happy for them to be seen. ‘I don’t want there to be anything mysterious about the way that I work,’ she says. ‘I mean there is doubt and uncertainty, and the very act of enquiry means that things go wrong and have to be changed and revised. But to me this is part of the pleasure of working.’4 These are just three of the many surviving studies that Seurat used to gather the visual information with which he built his final composition. One study selected by Riley, A River Bank (The Seine at Asnières), about 1883 (plate 20), establishes the location, where he pins down the diagonal division between water and river bank. Seurat makes special use of the striped tidal-measuring post, which helps to carefully balance the compositional components of horizontal, diagonal and vertical. In Study for ‘Bathers at Asnières’, 1883–4 (plate 19), he makes notations of some of the figures that will eventually relate to this location. Lastly, in The Rainbow: Study for ‘Bathers at Asnières’, 1883 (plate 21), he begins to integrate the figures into the space. -
Bridget Riley's Paintings Continue to Mesmerize, Six Decades On
Galerie Max Hetzler Berlin | Paris | London Artsy Cohen, Alina: Bridget Riley‘s Paintings Continue to Mesmerize, Six Decades On November 2019 Bridget Riley’s Paintings Continue to Mesmerize, Six Decades On Alina Cohen Nov 1, 2019 11:47am Bridget Riley, 1963. Photo by Ida Kar. © National Portrait Gallery, Bridget Riley Blue Dominance, 1977 London. ARCHEUS/POST- MODERN British artist Bridget Riley, who is known for bold, blocky, and striped canvases of brilliant hues and contrasts, got her Drst taste of international celebrity back in 1965. Curator William Seitz included two of her paintings, Current (1964) and Hesitate (1964), in his groundbreaking exhibition at the Museum of Modern Art, titled “The Responsive Eye.” The eye-popping black-and-white squiggles of Riley’s Current adorned the catalogue cover, asserting Riley’s prominent position within the show. The exhibition situated her among an impressive roster of global artists whose artwork reconsidered ideas about perception. The group included American painters ranging from Morris Louis to Agnes Martin, along with Brazilian artist Almir da Silva Mavignier and a Spanish collective called Equipo 57. Along with Mavignier, Riley was considered part of a new wave of “Op artists” who exploited visual principles to make work that seemed to vibrate with new energy. Josef Albers, Salvador Dalí, and the museum-going public all swooned at Riley’s work. maxhetzler.com Galerie Max Hetzler Berlin | Paris | London While Op art has gone in and out of style, Riley herself is still working and is beloved on both sides of the pond. London’s Hayward Gallery is displaying a major Riley retrospective through January 26th, celebrating over six decades of the artist’s bold geometric abstratractions. -
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. -
52 Brook's Mews. Mayfair, W1K 4ED T: 02074953101 E: [email protected]
Press Release Not So Original: Carlos Cruz-Diez, León Ferrari, Terry Frost, Cipriano Martinez, Bridget Riley, Jesus Soto and Emilia Sunyer 8th November – 25th January 2014 This November Maddox Arts will be staging ‘Not So Original’ an exhibition that delves into the symbiotic relationship between the print and the original. Though printmaking is often assumed to be an afterthought in an artist’s practice ‘Not So Original’ demonstrates the variety of roles it may play, spurring the artist’s imagination and engaging in a dialogue with their primary practices. Taking Walter Benjamin’s seminal ‘The Work of Art in the Age of Mechanical Reproduction’ as it's starting point, ‘Not So Original’ features the work of five, celebrated 20th century printmakers: Bridget Riley, Carlos Cruz-Diaz, Leon Ferrari, Terry Frost and Jesus Soto, alongside the emerging talents of Cipriano Martinez and Emilia Sunyer. From the Middle Ages to the advent of the digital era, technology has allowed artists to disseminate their images in the form of reproductions to a wider audience than a single canvas would ever be able to reach. In facing the prospect of engaging a wider audience artists are often compelled to formalize their style so that a singular print may surmise an artist’s catalogue. Likewise such technologies have enabled art lovers to acquire a ‘piece’ of an original via a process in which the artist may have had no hand. The rise of e-editions and 3D printing ask further questions as to how we distinguish the original from the reproduction, when an infinite number of copies can be instantly and flawlessly reproduced indefinitely. -
Viewership and How These Binaries Function and Appear Within Abstract Painting
Contextualizing Epiphanies and Theories on a Surface of a Painting THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Maija Helena Miettinen-Harris Graduate Program in Art The Ohio State University 2015 Master’s Examination Committee: Laura Lisbon, Advisor George Rush Amanda Gluibizzi Copyright by Maija Helena Miettinen-Harris 2015 Abstract In this thesis I intend to explore the complex, confusing and often paradoxical nature of my painting practice and the way I see it being influenced by historical, socio-political and ideological underpinnings of my reality. During the course of my thesis, I hope to establish a conceptual and contextual basis for my usage of allover pattern-like configurations, rejection of linear perspective, and the manipulation of competing forms and colors in my abstract paintings. I will focus on to the often-elliptical nature of my paintings through variety of ideas and theories and I hope to demonstrate how cultural theory has helped me to contextualize the essential features of my practice. I will first map out the mostly intuitive epiphanies that are rooted in the observations of my reality, which in turn informs the constructions and orientations of my paintings. I will study these in relation to the notions of artist Bridget Riley. I find her writing especially useful in terms of articulating the dichotomy and paradox between active and passive viewership and how these binaries function and appear within abstract painting. I will then examine the circular and expanding theory of liminality by cultural anthropologist Victor Turner, and centers and margins as well as cultural dirt by anthropologist Mary Douglas. -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
Y9 Graphics: Op Art
Y9 Graphics: Op Art Does this picture make your eyes go funny? Don't worry it's not you – it's Op art! Op art is short for 'optical art'. The word optical is used to describe things that relate to how we see. Have you seen an optical Illusion before? Op art works in a similar way. Artists use shapes, colours and patterns in special ways to create images that look as if they are moving or blurring. Op art started in the 1960s and the painting here is by Bridget Riley who is one of the main op artists. What shapes can you see in the Some op artists made artworks picture below? It is by an Op artist that don't just look as if they are called Victor Vasarely. moving – they actually ARE aAlong with Bridget Riley and moving! Art that moves is another artist called Jesus Rafael sometimes called kinetic art. Soto were three of the most important Op artists. The artwork below is by an artist called Julio Le Parc who often created mobiles. To make this work he has hung lots of tiny bits of metal onto almost invisible suspended threads. These bits of metal jiggle and move slightly with any breeze, and their shadows on the white background also jiggle and move. Can you see the shadows? There are also some abstract artists who don't always make op artworks but sometimes slip into it. This picture by Frank Stella uses bright and jazzy colours that create a buzzy effect on our eyes. -
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. -
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. -
The Jeremy Lancaster Collection to Highlight Christie’S Frieze Week
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 29 JULY 2 0 1 9 THE JEREMY LANCASTER COLLECTION TO HIGHLIGHT CHRISTIE’S FRIEZE WEEK DEDICATED EVENING AUCTION ON 1 OCTOBER 2019 Philip Guston, Language I, 1973, estimate: £1,500,000-2,000,000 London – Christie’s Frieze Week programme will be launched with a dedicated auction of the remarkable private collection of Jeremy Lancaster on 1 October 2019. A chorus of vivid colour, radical form and brilliant innovation, the collection showcases some of the greatest achievements in post-war British painting, complemented by a stellar selection of European and American works. Many of the works were acquired through the gallery of Leslie Waddington, and a number have passed through notable collections such as Herbert Read, E. J. Power and Charles Saatchi. Such distinguished provenance is testament not only to a shared championship of the post-war British art scene, but also to the exchange with the European and American avant-gardes in which Waddington and his clients played such a vital role. Several of the works have been on long-term loan to museum collections and Jeremy Lancaster was a trustee at Birmingham’s Ikon Gallery of contemporary art and the Barber Institute of Fine Arts. A frequent traveller with a keen appetite for art and knowledge, Jeremy Lancaster was in part influenced by the seminal exhibition ‘A New Spirit in Painting’. Undoubtedly a profound moment in the landscape of contemporary art it was staged by London’s Royal Academy of Arts in 1981. The direction of his collecting taste follows a similar dedication to transatlantic discourse in paintings from Frank Auerbach and Howard Hodgkin to Philip Guston, Robert Ryman and Josef Albers. -
Experiencing Landscape Introduction
Teachers’ Resource EXPERIENCING LANDSCAPE INTRODUCTION The Courtauld Gallery’s world-renowned collections The Courtauld Institute of Art runs an extensive include Old Masters, Impressionist and Post- programme of learning activities for young people, Impressionist paintings, an outstanding prints and schools, colleges and teachers. From gallery tours and drawings collection and significant holdings of medieval, workshops to teachers’ events there are many ways for Renaissance and modern arts. The gallery is at the heart schools and students to engage with our collection, of the Courtauld institute of Art, a specialist college exhibitions and the Institute’s expertise. of the University of London and is housed in Somerset House. The Experiencing the Landscape resource is for teachers to learn about the history of Western Our teachers’ resources are based on The Courtauld’s Landscape painting looking at different historical art collection, exhibitions and displays. We are able to and social contexts across time. The resource is use the expertise of our students and scholars in our divided into chapters covering a range of themes. The learning resources to contribute to the understanding, accompanying CD can be used in class or shared with knowledge and enjoyment of art history. The your students and we hope the resource will help bring resources are intended as a way to share research and the subject of Landscape Art, and the artists’ experience understanding about art, architecture and art history. We of landscape, alive for you and your students. The hope that the articles and images will serve as a source resource ends with a glossary of art historical terms to of ideas and inspiration which can enrich lesson content aid your understanding. -
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.