Creativity and Technology in Mathematics: from Story Telling to Algorithmic with Op'art
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Trent’anni di chiavi di lettura Siamo arrivati ai trent’anni, quindi siamo in quell’età in cui ci sentiamo maturi senza esserlo del tutto e abbiamo tantissime energie da spendere per il futuro. Sono energie positive, che vengono dal sostegno e dal riconoscimento che il cammino fin qui percorso per far crescere ArtePadova da quella piccola edizio- ne inaugurale del 1990, ci sta portando nella giusta direzione. Siamo qui a rap- presentare in campo nazionale, al meglio per le nostre forze, un settore difficile per il quale non è ammessa l’improvvisazione, ma serve la politica dei piccoli passi; siamo qui a dimostrare con i dati di questa edizione del 2019, che siamo stati seguiti con apprezzamento da un numero crescente di galleristi, di artisti, di appassionati cultori dell’arte. E possiamo anche dire, con un po’ di vanto, che negli anni abbiamo dato il nostro contributo di conoscenza per diffondere tra giovani e meno giovani l’amore per l’arte moderna: a volte snobbata, a volte non compresa, ma sempre motivo di dibattito e di curiosità. Un tentativo questo che da qualche tempo stiamo incentivando con l’apertura ai giovani artisti pro- ponendo anche un’arte accessibile a tutte le tasche: tanto che nei nostri spazi figurano, democraticamente fianco a fianco, opere da decine di migliaia di euro di valore ed altre che si fermano a poche centinaia di euro. Se abbiamo attraversato indenni il confine tra due secoli con le sue crisi, è per- ché l’arte è sì bene rifugio, ma sostanzialmente rappresenta il bello, dimostra che l’uomo è capace di grandi azzardi e di mettersi sempre in gioco sperimen- tando forme nuove di espressione; l’arte è tecnica e insieme fantasia, ovvero un connubio unico e per questo quasi magico tra terra e cielo. -
Jcmac.Art W: Jcmac.Art Hours: T-F 10:30AM-5PM S 11AM-4PM
THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection Above: Carmelo Arden Quin, Móvil, 1949. 30 x 87 x 95 in. Cover: Alejandro Otero, Coloritmo 75, 1960. 59.06 x 15.75 x 1.94 in. (detail) THE UNBOUNDED LINE A Selection from the Juan Carlos Maldonado Art Collection 3 Juan Carlos Maldonado Art Collection was founded in 2005 out of a passion for art and a commitment to deepen our understanding of the abstract-geometric style as a significant part of Latin America’s cultural legacy. The fascinating revolutionary visual statements put forth by artists like Jesús Soto, Lygia Clark, Joaquín Torres-García and Tomás Maldonado directed our investigations not only into Latin American regions but throughout Europe and the United States as well, enriching our survey by revealing complex interconnections that assert the geometric genre's wide relevance. It is with great pleasure that we present The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection celebrating the recent opening of Juan Carlos Maldonado Art Collection’s new home among the thriving community of cultural organizations based in Miami. We look forward to bringing about meaningful dialogues and connections by contributing our own survey of the intricate histories of Latin American art. Juan Carlos Maldonado Founding President Juan Carlos Maldonado Art Collection Left: Juan Melé, Invención No.58, 1953. 22.06 x 25.81 in. (detail) THE UNBOUNDED LINE The Unbounded Line A Selection from the Juan Carlos Maldonado Art Collection explores how artists across different geographical and periodical contexts evaluated the nature of art and its place in the world through the pictorial language of geometric abstraction. -
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. -
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. -
9009558 01-Victor-Vasarely-Lecture.Mp3
Guggenheim Museum Archives Reel-to-Reel collection Victor Vasarely, introduced by Herbert Rickman and Diane Waldman, 1984 HERBERT RICKMAN Can you hear me? You cannot hear me. Now you can hear me. Okay, I feel like this is the Academy Awards Ceremony, but I assure you I am not Johnny Carson. Now we are here to listen to Victor Vasarely in what will undoubtedly be a rather sterling speech. There are however (break in audio) HERBERT RICKMAN — urban architecture. Many of the cities of Europe today are reflective, in the best sense, of his influence, so, I am proud to read this message from the mayor and then, I want to make a presentation to Victor Vasarely. It reads, “To all in attendance, Guggenheim Museum, greetings. On behalf of the City of New York, I salute our distinguished visitor from France, the world- renowned artist, Victor Vasarely. The enduring impact of Vasarely, the father of optical art, lives in the beauty [00:01:00] and power of shape, light, color, and movement, the stuff of which light itself is made. How fortunate we New Yorkers are that Victor Vasarely is sharing his vision and genius with us once more. While I cannot join you this evening, I am very much with you in the vibrant spirit of this occasion. Accordingly, I have asked my special assistant, Herb Rickman, to relay my best wishes to one and all with a special 76th birthday congratulations to our welcome guest and superb artist, and now, honorary New Yorker, Victor Vasarely.” (applause) I’m going to pin Mister Vasarely with the — this is New York’s most significant gift, sir, and I will explain it to you later in French. -
Aperto Geometrismo E Movimento
Aperto BOLLETTINO DEL GABINETTO DEI DISEGNI E DELLE STAMPE NUMERO 4, 2017 DELLA PINACOTECA NAZIONALE DI BOLOGNA aperto.pinacotecabologna.beniculturali.it Geometrismo e movimento Elisa Baldini Tendenze non figurative di orientamento geometrizzante si affermano in Europa nel secondo dopoguerra. La ricerca della purezza formale contraddistingue il nuovo internazionalismo estetico così come l’attenzione al design e alla “sintesi delle arti”. Erede di una sensibilità determinatasi intorno alla metà del secolo precedente, la propensione dell’arte a confrontarsi con le scoperte scientifiche e tecnologiche è caratteristica determinante della attitudine astrattista di questo periodo e mira a superare la tradizionale dicotomia che contrappone arte e scienza, conducendo la prima sul sentiero della regola armonica e del dominio dell’esattezza. Sopravanzando gli esiti delle ricerche astrattiste delle avanguardie di inizio Novecento, che mantenevano una referenzialità con il mondo fenomenico, l’astrazione alla quale gli artisti del secondo dopoguerra fanno riferimento discende dal pensiero concretista di Theo van Doesburg e i suoi esiti contestano tanto la figurazione quanto l’astrazione lirica. All’esistenzialismo informale che aveva dominato la decade precedente le composite sperimentazioni neoconcrete oppongono la necessità di investigare le ragioni oggettive della vista e della percezione. È così che, in molti casi, la grafica evidenzia la necessità degli autori di esplorare con mezzi diversi le poetiche che caratterizzano le loro ricerche. È il caso di Auguste Herbin (1882 – 1960) che in Composizione astratta (Minuit) del 1959 (Tip. 29813) traduce, senza difficoltà alcuna, la sua pittura, fatta di semplici figure geometriche dai colori puri stesi con grandi pennellate piatte, in serigrafia, mezzo peraltro congeniale a dare risalto al contrasto armonico tra sfondo e figure, caratteristica tipica della ricerca di Herbin fin dagli anni Trenta1. -
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. -
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. -
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Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Manuel Espinosa in Europe Josef Albers Max Bill Piero Dorazio Manuel Espinosa Friedrich Vordemberge-Gildewart Frieze Masters 2019 - Stand E7 Manuel Espinosa and his European Grand Tour Dr. Flavia Frigeri Once upon a time, it was fashionable among young members of the British and northern European upper classes to embark on what came to be known as the Grand Tour. A rite of passage of sorts, the Grand Tour was predicated on the exploration of classical antiquity and Renaissance masterpieces encountered on a pilgrimage extending from France all the way to Greece. Underpinning this journey of discovery was a sense of cultural elevation, which in turn fostered a revival of classical ideals and gave birth to an international network of artists and thinkers. The Grand Tour reached its apex in the seventeenth and eighteenth centuries, after which interest in the great classical beauties of France, Italy and Greece slowly waned.1 Fast-forward to 1951, the year in which the Argentine artist Manuel Espinosa left his native Buenos Aires to embark on his own Grand Tour of Europe. Unlike his cultural forefathers, Espinosa was not lured by 4 Fig. 1 Founding members of the Concrete-Invention Art Association pictured in 1946. Espinosa is third from the right, back row. Photo: Saderman. the qualities of classical and Renaissance Europe, but what propelled him to cross an ocean and spend an extended period of time away from home was the need to establish a dialogue with his abstract-concrete European peers. -
Scandinavian Review Clear Form Summer—2019
continuing up until today, concrete art has had a stronghold throughout Scandinavia. Extensive international travel by artists from the Nordic regions Clear Form during the post-war period enabled them to establish contacts with key con- temporary figures first in Berlin and then Paris. Eventually the Nordic artists also helped to shape the flow of events. In return, international exhibitions of Cutting Edges: concrete art also traveled to the Nordic capitals, such as in Klar Form (Clear Nordic Concrete Art from the Erling Neby Collection Form) in 1952 and Konkret Realisme (Concrete Realism) in 1956. opens at Scandinavia House this fall. A dedication to concrete art united the Nordic artists in many ways, and throughout the years there have been many joint efforts to focus on this shared aesthetic through various group exhibitions, such as Nordic Concrete By Karin Hellandsjø HIS FALL, SCANDINAVIA HOUSE will present an exhibition of paintings, T drawings and sculpture never before seen in the United States. Joined under the term “Concrete Art,” the works from all five Nordic countries span more than 70 years. All are from the inter- nationally known collection of Norway’s Erling Neby. But what is concrete art? The term “concrete art” was first used in 1929, launched by the Dutch artists Theo van Doesburg and Piet Mondrian. It was devised to avoid the ambiguity inherent in the word “abstract,” and was intended to emphasize the fact that forms and colors were already “concrete realities” in themselves, not needing to refer to anything outside a specific work of art. Over the years, internationally recognized artists such as Victor Vasarely, Frank Stella and Josef Albers became prominent exponents. -
Met Press Release
News Release Communications For Immediate Release T 212 570 3951 [email protected] Julio Le Parc 1959 Contact Ann Bailis Alexandra Kozlakowski The first solo exhibition in a New York museum of Argentinian artist Julio Micol Spinazzi Le Parc (born 1928) will open at The Met Breuer on December 4, 2018. The show celebrates the artist’s extraordinary gift to The Met of 24 Exhibition Dates: works and also marks the occasion of the artist’s 90th birthday. December 4, 2018– Featuring over 50 works, Julio Le Parc 1959 will present a substantial, February 24, 2019 never-before-seen selection of gouaches from one of the most prolific and transformative years in the artist’s career. Exhibition Location: The Met Breuer, Floor 2 The exhibition is made possible by The Daniel and Estrellita Brodsky Foundation. Press Preview: Monday, December 3, Additional support is provided by Tony Bechara, the Institute for Studies 10 am–noon on Latin American Art (ISLAA), and the Latin American Art Initiative of The Metropolitan Museum of Art. www.metmuseum.org #MetJulioLeParc Born in Mendoza, Argentina, in 1928, Le Parc studied under Lucio Fontana during the 1940s and engaged with abstract avant-garde movements in Buenos Aires. In 1958, Le Parc moved to Paris, where his encounter with Op artists such as Victor Vasarely had an important influence on his art. The series of gouaches Le Parc started that year— intimate yet methodic studies of form and color—illuminates his interest in developing geometric abstraction by incorporating movement through variations, sequences, and progressions. This work anticipates his founding role in Kinetic art during the 1960s, when he made paintings and sculptures with movable parts by incorporating mirrors, motors, and electric light. -
JESUS RAFAEL SOTO B. 1923, Ciudad Bolívar, Venezuela D. 2005, Paris, France “… in Order to Achieve Abstraction, I Thought I
JESUS RAFAEL SOTO b. 1923, Ciudad Bolívar, Venezuela d. 2005, Paris, France “… in order to achieve abstraction, I thought it was important to find a graphic system that would allow me to codify a reality rather than represent it.” One of the most important kinetic artists of the 20th century, Jesús Rafael Soto began his artistic career at a very young age, painting posters for movie theaters in his hometown of Ciudad Bolívar. In 1942, he received a scholarship to study art and art history at the Escuela de Artes Plásticas in Caracas, where he met fellow students Carlos Cruz-Diez, Mercedes Pardo, Omar Carreño, and Alejandro Otero. During these studies, he began making paintings inflected with Cubism. He noted, “For me, Cubism was an exercise in construction, in the ordering a planes, a tool that helped me to translate the tropical light.” In Caracas, he regularly attended meetings and discussions at the Taller Libre de Art (Open Air Studio), an institution sponsored by the Ministry of Education, in which intellectuals, critics, and artists debated current avant- garde ideas from Europe and Latin America; his first solo exhibition was held at the Taller in 1949. In 1947, Soto was invited to direct the Escuela de Bellas Artes de Maracaibo, where he remained until 1950. That year, he received a grant to travel to France; he settled in Paris, where he found a dynamic community of artists associated with the Salon des Realités Nouvelles and the Galerie Denise René, including Yaacov Agam, Jean Tinguely, Victor Vasarely. He also rejoined many of his friends from school, including Otero and Pardo.