Sentences with phrase «term op art»

The term Op Art first appeared in a 1964 Time Magazine article that sought to contextualize exhibitions such as Stanczak's first solo show at Martha Jackson Gallery, «Optical Paintings,» which had opened in September of that same year.

In 1964, Time Magazine first used the term Op Art to describe the paintings at a Julian Stanczak show.

Today the term Op Art is understood by most art lovers, curators, educators and collectors to refer to a kind of trippy, geometric art that tricks the eye into perceiving movement, space and light where none actually exists.

But at the time, MoMA never used the term Op Art to refer to the work in the show.

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.

Not exact matches

And in the «happening» mid-60s, Op (an abbreviated term for optical illusion) Art came on the scene, just in time to mesh nicely with the psychedelic music.

Characterized by mathematically complex compositions of color, shape and dizzying pattern, the term «Op Art,» was first used by artist Donald Judd in his review of Julian Stanczak's «Optical Paintings,» and was later popularized by a 1964 Time magazine article, catapulted the term into main - stream use.

The term came to refer to the work of artists who playfully flirted with Op art, Minimalism, and geometric abstraction with an emphasis on transcendentalist levity, boundary - dissolving luminescence, and — in place of New York Minimalism's hard - edged industrial materials — an embrace of cutting - edge space - age fabrication methods.

I don't think you'd be far wrong to see it as simultaneously a riff on op art (a term coined by Time magazine the same year as Greenberg's Post Painterly show), a metaphor for the fluidity of U.S. race relations and a sort of tidying up of what Brummel calls «the thick, frayed brushstrokes» of Franz Kline and the bulbous forms of Robert Motherwell, both of whom worked largely in black and white.

The exhibition's title Julian Stanczak: Optical Paintings played on the growing talk of the «optical» style; the exhibition led artist and critic Donald Judd to use the term «Op Art» for the first time in print in his review of the exhibition for Arts Magazine.

Soon after the ground - breaking Le Mouvement show, Denise René's position as the champion of Op and Kinetic art were cemented, and by 1965, the Museum of Modern Art (MoMA) solicited her help in assembling the historical exhibition, The Responsive Eye, where the term «Op and Kinetic Art» was first formally recognisart were cemented, and by 1965, the Museum of Modern Art (MoMA) solicited her help in assembling the historical exhibition, The Responsive Eye, where the term «Op and Kinetic Art» was first formally recognisArt (MoMA) solicited her help in assembling the historical exhibition, The Responsive Eye, where the term «Op and Kinetic Art» was first formally recognisArt» was first formally recognised.

As part of the interest in exhibition history, the «remembering exhibition,» the term introduced by art historian Reesa Greenberg, has a special place.8 In the past five years alone, remembering exhibitions have been organized in the Stedelijk Museum Amsterdam reflecting on Bewogen Beweging (Moving Movement)(1961) and Op losse Schroeven.

By constantly developing «Neometry» (a geometric based Op - art made with a primarily neon based palette, as he titled his work), the artist produced some of his most complex pieces yet — in terms of sizes, shapes, colors, and general concepts or visual effects.

The earlier paintings were discussed in terms of op art.

While the term became widely popular to refer to the particular kind of paintings Op artists tend to create, many of the artists didn't like the term and preferred for their work to be referred to as perceptual art instead.

Donald Judd, the artist and critic often credited with originating the term «Op art,» once wrote that Stanczak's work had a «painterly expressiveness,» making it different from other Op art that privileged formal experimentation over engaging viewers.

The Op art, or optical art, is a term used to describe certain artistic research that started in the 1960s which exploit the reliability of the eye through illusions or optical games.

Op Art (a term coined in 1964 by Time magazine) is a form of abstract art (specifically non-objective art) which relies on optical illusions in order to fool the eye of the viewArt (a term coined in 1964 by Time magazine) is a form of abstract art (specifically non-objective art) which relies on optical illusions in order to fool the eye of the viewart (specifically non-objective art) which relies on optical illusions in order to fool the eye of the viewart) which relies on optical illusions in order to fool the eye of the viewer.

After studying under Josef Albers at Yale, Stanczak and his peers soared into international prominence for their involvement with Op Art, a term named after Stanczak's first solo exhibition in New York City in 1964.