In most European countries, it generally includes the form of optical art that mainly makes use of optical illusions, like op art, as well as art based on movement represented by Yacov Agam, Carlos Cruz-Diez, Jesús Rafael Soto, Gregorio Vardanega or Nicolas Schöffer. The expression kinetic art in this modern form first appeared at the Museum für Gestaltung of Zürich in 1960, and found its major developments in the 1960s. In 1955, for the exhibition Mouvements at the Denise René gallery in Paris, Victor Vasarely and Pontus Hulten promoted in their "Yellow manifesto" some new kinetic expressions based on optical and luminous phenomenon as well as painting illusionism. Op artists thus managed to exploit various phenomena," writes Popper, "the after-image and consecutive movement line interference the effect of dazzle ambiguous figures and reversible perspective successive colour contrasts and chromatic vibration and in three-dimensional works different viewpoints and the superimposition of elements in space. There, the movement took root in Chicago and eventually at the Black Mountain College in Asheville, North Carolina, where Anni and Josef Albers eventually taught. When the Bauhaus was forced to close in 1933, many of its instructors fled to the United States. Links with psychological research have also been made, particularly with Gestalt theory and psychophysiology. Op art also stems from trompe-l'œil and anamorphosis. Students learned to focus on the overall design or entire composition to present unified works. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. Op art perhaps more closely derives from the constructivist practices of the Bauhaus. Op art in modern architecture as a mosaic, painting with enamel paint on steel by Stefan Knapp in University of Toruń in Poland (1972).
His Woolmark logo (launched in Britain in 1964) is probably the most famous of all his designs. In Italy, Franco Grignani, who originally trained as an architect, became a leading force of graphic design where op art or kinetic art was central. Martin Gardner featured op Art and its relation to mathematics in his July 1965 Mathematical Games column in Scientific American.
#Art of illusion color change of one element series#
Also, the early black and white "dazzle" panels that John McHale installed at the This Is Tomorrow exhibit in 1956 and his Pandora series at the Institute of Contemporary Arts in 1962 demonstrate proto-op art tendencies. Consequently, the stripes appear to both meld into and burst forth from the surrounding background. For instance, Victor Vasarely's painting Zebras (1938) is made up entirely of curvilinear black and white stripes not contained by contour lines. Works now described as "op art" had been produced for several years before Time's 1964 article. Time magazine coined the term op art in 1964, in response to Julian Stanczak's show Optical Paintings at the Martha Jackson Gallery, to mean a form of abstract art (specifically non-objective art) that uses optical illusions. One of his lessons consisted of making his students produce holes in cards and then photographing them. László Moholy-Nagy produced photographic op art and taught the subject in the Bauhaus. The antecedents of op art, in terms of graphic and color effects, can be traced back to Neo-impressionism, Cubism, Futurism, Constructivism and Dada.
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