Stephen Bann: Unity and Diversity in Kinetic Art

Seni kinetik boleh diklasifikasi demonstrasi berdasarkan kecenderungan dalam pergerakan. Perkataan kinetic berasal dari perkataan Greeek yang bermaksud “to move” tetapi maksudnya terbatas pada pengguna maksud saintifik sahaja. Maksud seni kinetic dapat dikaitkan dengan pergerakan dalam tema penghasilan karya dimana ia merupakan berterusan. Dalam karangan ditulis oleh Stephen Bann membincangkan permasalahan uniti dan hala tuju seni kenetik. Beliau menyantakan “ I believe there to be a real unity within the field of kinetic art, in spite of the apparent incompatibility…..” - Stephen Bann. Setiap karya mempunyai identity yang dapat dijelaskan dengan cirinya seperti nama karya dapat menarik minat umum dalam memenuhi kehendak seni kontempori. Pecahan “Op art” dalam seni kinetic berdasarkan penggunaan pergerakan “actual” dimana ia dapat dijelaskan dengan retina. Perbezaan ini menyebabkan pecahan dua pameran di Museum of Modern Art di New York.
Pameran pertama diadakan di muzium tersebut dengan menggunakan tajuk “The Responsive Eye”. Pameran kedua diadakan ditempat yang sama tetapi ia dibatalkan. Ia disebabkan perbezaan pendapat tetapi mereka percayai bahawa mereka yang perkenalkan pergerakan. Perubahan penggunaang pergerakan dilakukan oleh “The Groupe Recherche d’Art Visuel selepas mereka menggunakan kedua – dua pergerakan “virtual” dan “actual” dalam menghasilkan karya. Selain itu, berlaku perbezaan pendapat dengan hasil kerja Martha Boto dan Gregorio Vardanega. Ia lebih jelas berbandingan “The Goupe Recherche d’Art Visuel dimana ia lebih menumpukan kepada bentuk “virtual” dan “actual”.
Stephen berpendapat kinetic di Paris lebih bergantung kepada dua faktor. Faktor pertama dari artist luar, mereka datang ke Paris untuk menjual karya dan berjumpa dengan artist lain tanpa mengekalkan tradisi Negara sendiri. Seniman Amerika mengolah bentuk kepada bentuk abstrak tanpa rujukan. Vasarely menggunakan teknik abstrak dalam menghasilkan karya bentuk semulajadi. Stephen berpendapat seni kinetik antara Amerika dengan eropah berbeza. Dalam temu ramah Bridget Riley oleh “The Time” 19 april 1965 “I think my conception of space is more America than English…..”. Dalam karangangan Stephen menerangkan tema menggunakan permukaan dua dimensi dalam menghasilkan ruang.
Subjek merupakan elemen utama secara langsung hubungan unequivocal dalam satu perspectival. Stephen cuba mengesan uniti dalam seni kinetik berdasarkan gabungan permukaan homogeneous dengan struktur. Percubaan menggunakan uniti pada seni catan barat dibuktikan oleh Cezanne dimana “Femmes d’Algers” oleh Delacroix menghasilkan seperti “Persian carpet” dan menghasilkan pigmen dan homogeneity bagi mengimbangi permukaan catan berdasarkan konsep tradisional iaitu “subject matter”. Penyantaan pada januari 1961 dari isu manifesto dalam pameram pergerakan dalam seni di Stockholm, menerangkan mengenai permukaan pergerakan dimana bentuk hilang dan menyumbangkan pada permukaan tetapi struktur mempunyai hubung kait rapat dengan hasil kerja.
Penghasilan karya banyak melibatkan “The Groupe Recherche d’Art Visuel” dalam seni kenetik. Juxtaposition merupakan seni redikal yang diperkenalkan oleh “The Groupe Recherche d’Art Visuel” sebagai kinetic tetapi merupakan salah tafsiran mengenai maksud seni kinetic. Kebanyakan artist menggunakan dua jenis pergerakan dalam seni kinetik iaitu “actual” dan “virtual” menghasilkan karya. Vardanega menghasilkan karya berbentuk tiga dimensi sebagai “the principle of movement”. Selain itu, Boto menghasilkan karya menggunakan bentuk asas seperti selinder dengan mengubah ruang dan pencahayaan.
Perbezaan pendapat menyebabkan berlaku keliruan mengenai seni kinetik. Keliruan pendapat mengenai kinetik menjadikan kepelbagaian uniti dalam karya. Dalam karangan Stephen Bann banyak menceratakan mengenai permasalahan dalam percanggahan pendapat mengenai kinetik dan konsep digunakan.

Frank Popper: Kinetic Art – Yesterday, Today and Tomorrow

Kinetik banyak digunakan dalam kerja perekaan seni dan aspek pergerakan dalam kinetik adalah domina. Kebanyakan artist menggunakan expressi seni kinetik dalam mendapat gambaran ilusi abstrak dan ia menunjukan bentuk rekaan dalam menhasilkan complek elektronik tiga dimensi. Terdapat tiga perbezaan aspek iaitu kinetic dalam pergerakan ‘virtual’, tiga dimensi dalam pergerakan ‘actual’ dan dua dimensi dalam pergerakan ‘actual’. Seni kinetik adalah sesuatu yang mungkin difikir imaginasi atau sumber intelektual dan pengaruh dalam perubahan seni. Ia menpunyai hubungan rapat antara gambaran pergerakan dan falsafah seperti ‘Vitalisme’ atau expressi masa dan pergerakan dalam seni dan pengiraan matematik. Konsep seperti ‘progress’, ‘order’, repetition’ dan ‘the terms of information theory’ adalah perkembangan kerja seni dalam elemen pergerakan. Teori aestetik mempunyai kaitan dengan pergerakan dan ia banyak mempengaruhi artist, dan Frank Popper menyantakan bahawa kinetik berkait dengan kekuatan dan tenaga – ‘The Aesthetic of Movement’ oleh P. Souriau (1899) – Bergson’s notion of ‘mobilties’.

Kebanyakan artist menggunakan kinetik dalam menghasilkan seperti dalam seni catan dan arca. penggunaan ‘trompe-l’oeil’ dalam karya menghasilkan kesan illusi pada muka banguanan, dalam ‘cupolas’ dan dalam catan. Sejarah ‘colour-organs’ mempunyai hubungan rapat dengan kerja kinetik dalam dua dimensi. Pada abad ke 18, Jesuit, Father Castel, cuba mengembangkan ‘ocular harpsichord’ dengan tujuannya adalah mencari prinsip analogi antara warna dan not muzik. Kebanyakan artist menggunakan kinetik dalam menghasilkan karya seperti Eggeling, Richter pada sekitar 1920, menghasilkan “tangible motion sculpture’ dalam mengkaji pergerakan. Dalam photography banyak mempengaruhi artist sebagai model ‘kinetic artist’, selain itu, meraka tidak menggunakan prinsip pergerakan “actual’ atau konsep pergerakan dalam karya meraka. Selain itu terdapat teknik photo dalam karya “Degas; the ‘chronophotographies’ of Etienne – Jules Marey and animal and ‘locomotion photographs’ ” oleh Eadweard Muybridge ditunjuk dalam catan oleh Seurat dan penggunaan dalam menerangkan pergerakan ‘stroboscopic’ oleh Futurists. Seorang artist Venezuelan,Cruz-Deiz menggunakan optikal kinetik sebagai karyanya selain itu beliau menggunakan ‘chromatic illusions’. Soto menggunakan pergerakan ‘virtual’ dimana pergerakan sebagai phenomenan optikal dan tekanan suara atau ‘vibration’. Dengan ‘polyphonic painting’ karya ini mempunyai maksud gerak, dan struktur dihasilkan oleh Agam. Ia bergetar apabila disentuh dan menghasilkan gambaran dan bentuk hilang dalam pergerakan. Banyak karya menggunakan pergrakan ‘virtual’ menjadi berkesan dalam menghasilkannya.

Gabo’s ‘virtual volume’ merupakan arca kinetic yang pertama tetapi ia merupakan karya pengasingan. Pada tahun 1922, Kemeny dan Moholy-Ngy menggunakan manifesto yang sama dengan Gabo dan Pevsner dalam kaitan dengan kekutan dinamik. Moholy-Ngy berkarya selama bertahun untuk ‘Lichtrequisit’ dan mengembangkan ‘vision in motion’ merupakan terpenting dalam teorikal pada subjek dalam seni. Alexander Calder menumpukan ‘mobile’ dan menggunakan pergerakan rambang dalam arca selepas pameran di Paris pada 1932. Tema ‘mobile’ adalah dicipta oleh Duchamp pada objek direka untuk pameran. Ini dijadikan sebagai alsan kepada Calder untuk meneroka pergerakan rambang. Pada tahun1950, Lynn Chadwick menghasilkan pembinaan wayar dimana menunjukan pengaruh Gonzalez juga dikenali ‘Calder mobile’ sebagai sokongan. Kemudian, Kenneth Martin memulakan siri ‘screw-mobiles’ berdasarkan sambungan dan alat pemantul bergerak.

Selain itu, Andrew Forge menyantakan pergerakan ‘actual’ tidak boleh terlalu ringkas tetapi ia adalah penyelesaian oleh pergerakan yang complek dimana contour bergerak atas dan bawah pada bentuk pejal. George, ‘American of Scottish origin’ dan teorikal bunyi dalam seni kinetik menggunakan ‘garisan lintang’ dan ‘garisan menegak’ ‘mobiles’. Selepas Calder, ‘mobiles’ tidak mendapat perhatian dari pengarca – pengarca dan kumpulan ‘Recherche d’Art visual’ di Paris telah menbuat kajian dalam dua atau tiga dimensi dimana ia berkait dengan penggunaan pergerakan. Selaian itu, idea mengenai ‘Reflektorische Farbenlichtspiele’ oleh Josef Hartwig, 1922 di Bauhaus dimana beliau mengembangkannya kepada satu atau dua displinnya. Sir Hugh Casson menulis “The images can be project to to virtually any size and over almost any surface.”

Schofter telah menyusun pemanadangan ‘Formes et lumieres’ di Liege, dimana alat pantulan dari rekaan dinding kaca ‘Palais de Congres’ dan keluasan permukaannya adalah 1500 meter. Kita dapat tengok dimana seni kinetic adalah sesuatu baru digunakan dalam catan dan arca. Seni kinetic dapat dilihat sebagai contoh media baru dan penggunaan penting dalam hubungan antara seni dan sains dimana ia juga diguna dalam seni bina. Matlamat sains adalah membawa pengetahuan kepada phenomena semulajadi dan seni adalah lebih kepada proses penghasilan.

Seni kinetik pada masa sekarang merupakan penyelesaian pada tema dan masalah umum pada pergerakan dan ia memerlukan rekaan pemandangan yang teratur. Sebagai contohnya, mural kinetik Malina untuk Pergamon Press di Oxford, arca hidrolik di persimpangan jalan terpenting di Buenos Aires oleh Kosice’s dan Vardanega’s model muzik ‘light-colunms’ untuk French Electricity Board. Frank Popper membuat kesimpulan dalam karangannya “new artist, with new problems and new solutions”. Ia merupakan kefahaman kita dalam seni dan kepekaan dalam memahami seni sebenar.

What is Op Art

Movement in Squares, by Bridget Riley, 1961.

Op art, also known as optical art, is used to describe some paintings and other works of art which use optical illusions. Op art is also referred to as geometric abstraction and hard-edge abstraction, although the preferred term for it is perceptual abstraction. The similar sounding Pop art and Plop art are art terms unrelated to Op art.

"Optical Art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing. Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.

Optical art branch of mid-20th-century geometric, abstract art that deals with optical illusion. Achieved through the systematic and precise manipulation of shapes and colours, the effects of Op art can be based either on perspective illusion or on chromatic tension; in painting and it similar with magic.

Magic is a performing art that entertains an audience by creating illusions of impossible or supernatural, feats, using purely natural means. These feats are called magic tricks, effects or illusions.

An artist who performs magic is called a magician. Magicians (or magi) are also referred to by names reflecting the type of magical effects they typically perform, such as prestidigitators, conjurors, illusionists, mentalists, ventriloquists, and escape artists.

Historical

Op Art is derived from the constructivist practices of the Bauhaus. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. Students were taught to focus on the overall design, or entire composition, in order to present unified works. When the Bauhaus was forced to close in 1933, many of its instructors fled to the United States where the movement took root in Chicago and eventually at the Black Mountain College in Asheville, North Carolina, where Anni and Josef Albers would come to teach.

Origin of "Op"

The term first appeared in print in Time magazine in October 1964, though works which might now be described as "op art" had been produced for several years previously. For instance, Victor Vasarely's painting, Zebras (1938), is made up entirely of curvilinear black and white stripes that are not contained by contour lines. Consequently, the stripes appear to both meld into and burst forth from the surrounding background of the composition. Also the early black and white Dazzle panels of 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 tendencies.

An optical illusion by Hungarian-born artist Victor Vasarely

The Responsive Eye

I

The Responsive Eye

In 1965, an exhibition called The Responsive Eye, created by William C. Seitz was held at the Museum of Modern Art in New York City. The works shown were wide ranging, encompassing the minimalism of Frank Stella and the smooth plasticity of Alexander Liberman, alongside the masters of the movement: Victor Vasarely and Bridget Riley. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. The exhibition was enormously popular with the general public, though less so with the critics. Critics dismissed Op art as portraying nothing more than trompe l'oeil, or tricks that fool the eye. Regardless, Op art's popularity with the public increased, and Op art images were used in a number of commercial contexts. Bridget Riley tried to sue an American company, without success, for using one of her paintings as the basis of a fabric design.

How op works

Black & white and the figure-ground relationship

Op art is a perceptual experience related to how vision functions. It is a dynamic visual art, stemming from a discordant figure-ground relationship that causes the two planes to be in a tense and contradictory juxtaposition. Op Art is created in two primary ways. The first, and best known method, is the creation of effects through the use of pattern and line. Often these paintings are black and white, or otherwise grisaille. Such as in Bridget Riley's famous painting, Current (1964), on the cover of The Responsive Eye catalogue, black and white wavy lines are placed close to one another on the canvas surface, creating such a volatile figure-ground relationship that causes one's eyes to hurt. Another reaction that occurs is that the lines create after images of certain colors due to how the retina receives and processes light. As Goethe demonstrates in his treatise Theory of Colours, at the edge where light and dark meet color arises because lightness and darkness are the two central properties in the creation of color.

Color

Bridget Riley later produced works in full color, and other Op artists have worked in color as well, although these works tend to be less well known. Josef Albers taught the two primary practioners of the "Color Function" school at Yale in the 1950s: Richard Anuszkiewicz and Julian Stanczak. Often, colorist work is dominated by the same concerns of figure-ground movement, but they have the added element of contrasting colors which have different effects on the eye. Anuszkiewicz is a good example of this type of painting. In his "temple" paintings, for instance, the juxtaposition of two highly contrasting colors provokes a sense of depth in illusionistic three-dimensional space so that it appears as if the architectural shape is invading the viewer's space. Although Riley has gained international fame, the fact is she conceives of the work, but does not execute them herself.

How op works

Black & white and the figure-ground relationship

Op art is a perceptual experience related to how vision functions. It is a dynamic visual art, stemming from a discordant figure-ground relationship that causes the two planes to be in a tense and contradictory juxtaposition. Op Art is created in two primary ways. The first, and best known method, is the creation of effects through the use of pattern and line. Often these paintings are black and white, or otherwise grisaille. Such as in Bridget Riley's famous painting, Current (1964), on the cover of The Responsive Eye catalogue, black and white wavy lines are placed close to one another on the canvas surface, creating such a volatile figure-ground relationship that causes one's eyes to hurt. Another reaction that occurs is that the lines create after images of certain colors due to how the retina receives and processes light. As Goethe demonstrates in his treatise Theory of Colours, at the edge where light and dark meet color arises because lightness and darkness are the two central properties in the creation of color.

Color

Bridget Riley later produced works in full color, and other Op artists have worked in color as well, although these works tend to be less well known. Josef Albers taught the two primary practioners of the "Color Function" school at Yale in the 1950s: Richard Anuszkiewicz and Julian Stanczak. Often, colorist work is dominated by the same concerns of figure-ground movement, but they have the added element of contrasting colors which have different effects on the eye. Anuszkiewicz is a good example of this type of painting. In his "temple" paintings, for instance, the juxtaposition of two highly contrasting colors provokes a sense of depth in illusionistic three-dimensional space so that it appears as if the architectural shape is invading the viewer's space. Although Riley has gained international fame, the fact is she conceives of the work, but does not execute them herself.

Intrinsic Harmony, by Richard Anuszkiewicz, 1965

Stanczak's compositions tend to be the most complex of all of the color function practitioners. Taking his cue from Albers and his influential book Interaction of Color, Stanczak deeply investigates how color relationships work. "Stanczak created various spatial experiences with color and geometry; the latter is far easier to discuss. Color has no simple systematized equivalent. Indeed, there may be no way to describe it that is both meaningful and accurate. Descriptions of it (the color wheel or color solids, for example) are all necessary distortions. While color derives from the electromagnetic scale that corresponds to the magnitudes of energy expressed by musical pitch, in fact, the neurological occidentals by which we experience color make it seem multidimensional, while musical pitch (not timbre, volume, or duration) is experienced as a linear relationship...Stanczak's 'gift is for layering. He arranges transparent patterns upon patterns so that you see through them as gauziest screens, each one seeming to fold as if it moves.'"

Color interaction

There are three major classes of the interaction of color: simultaneous contrast, successive contrast, and reverse contrast (or assimilation). (i) Simultaneous contrast may take place when one area of color is surrounded by another area of a different color. In general, contrast enhances the difference in brightness and/or color between the interacting areas...Such contrast effects are mutual, but if the surround area is larger and more intense than the area it encloses, then the contrast is correspondingly out of balance, any may appear to be exerted in one direction only. (ii) In successive contrast, first one color is viewed and then another. This may be achieved either by fixing the eye steadily on one color and then quickly replacing that color with another, or by shifting fixation from one color to another. (iii) In reverse contrast (sometimes called the assimilation of color or the spreading effect) the lightness of white or the darkness of black may seem to spread into neighboring regions. Similarly, colors may appear to spread into or become assimilated into neighboring areas. All such effects tend to make neighboring areas appear more alike, rather than to enhance their differences as in the more familiar simultaneous contrast, hence the term reverse contrast (Jameson and Hurvich, 1975). Note that in the interaction of color the constituent colors retain much of the own identity even though they may be altered somewhat by contrast.

Artists known for their Op art

• Yaacov Agam
• Richard Allen
• Richard Anuszkiewicz
• Carlos Cruz-Díez
• John McHale
• Youri Messen-Jaschin
• Julio Le Parc
• Bridget Riley
• Julian Stanczak
• Jesús Rafael Soto
• Günther Uecker
• Victor Vasarely

Pop Art

Pop art bermula di England dengan artist Richard Hamilton’s (1922), kolaj yang kecil yang bertajuk Just What Is It That Makes Today’s Homes So Different, So Appealing ?. Pada tahun 1960, Pop art mula popular United states. Pop art bermaksud “ popular art “ yang diperkenalkan oleh artist muda yang mempunyai kedududkkan dalam hubungan demonasi seni abstrat. Kembali kepada realism oleh persatuan artist muda dalam pergerakkan Pop iaitu Robert Rauschenberg (1925) dan Jasper John (1930), di antara tahun 1955 dan 1960.

Robert Rauschenberg merupakan yang pertama dari Abstrat Expressionism. Dengan gabungan tulen,brushwork dari Abstrat Expressionism dan bahan 3 dimensi untuk disembahkan dalam lukisan Abstrat Expressionismnya. Rauschenberg memperkenalkannya bentuk baru sebagai seni gabungan, tapi artist lain mula merujuk tema pecamtunan (diperkenalkan oleh Marcel Duchamp pada 1950). Pencamtunan protototypical dapat dilihat dadaist “jumpa objek” oleh Marcel Duchamp (see his Bicysle Wheel).

Sculpture Artist - Vera Lightstone

Vera Lightstone started as a potter and evolved into a sculptor, first in clay, then in bronze, and now in silver. Trained as a musician, she came to the visual arts in her thirties, and has been working in clay and teaching sculpture and ceramics ever since.

She currently teaches ceramics at the Crafts Students League and in her loft studio in midtown Manhattan, in New York City.

She discovered silver clay (PMC) eight years ago and took it as a new challenge, as it demands a very different scale.
In method as well as in concept, her work is about motion. She literally throws a slab of clay in the air, controlling its shape and the direction of its landing. Its weight, density and flight give it form.
She will then adjust and assemble the resulting forms into abstract or figurative sculptures.
Her work has been shown extensively in museums, galleries and stores throughout the country.

Barat dan Timur

Eastern

Ia terbahagi kepada beberapa bahagian iatu ;
obligue
Isometrik
Orthografik

Obligue
Menghubungkan satu titik perspektif, untuk kedua – dua pandangan. Garisan depan dilukis dengan skala penuh dan setiap sudut kiri atau kanan ditujukkan satu titik. Ia mempunyai sudut 45 darjah merupakan seni Asia.

Isometric
Isometric ialah dua titik perspektif dan kedua-dua titik dilukis secara melintang.
Seperti perspektif obligue, kerja isometric tidak mempunyai sudut lindungan. Setiap sudut dilukis secara melintang iaitu 30 darjah dengan kedua-dua kiri atau kanan. Semua objek tiga dimensi menggunakan sistem ukuran sama supaya senang dilukis. System ini dirujuk pada perspektif obligue kerana semua tiga permukaan hilang pada masa yang sama.

Orthografik
Orthografik adalah system mengenali objek dalam spatial tetapi ia biasanya digunakan dalam seni bina dalam menghasilkan lakaran dan skema. Dengan system ini, semua bahagia geometric dilukis dengan garisan lurus dan diukur mengikut skala. Menunjukkan ruang kedalaman kerana ia sama dengan konsep yang digunakan oleh barat.

Western
Linear perspective
Merupakan sistem untuk mengukur jarak dan saiz objek. Merangkumi kadar banding, skala, dan sebagainya. Perspektif dikembangkan pada awal Renaissance iaitu Filippo Brunelleschi (1377-1446) dan digunakan dalam lukisan oleh Masaccio (1401-28). Garis paduan eye level dipanggil infiniti dimana garisannya melintang.

One-point perspektif
Digunakan apabila artist melihat permukaan rata atau pandangan terus. Permukaan rata dilukis pada gambar dan garisan rata. Dalam sistem ini, seorang pelukis akan melukis garisan melintang bagi menunjukkan eye level.

Two-point perspektif
Banyak digunakan oleh pelukis apabila melihat pada permukaan rata. Ini akan menyebabkan muncul geometric pada garisan sudut atau menunjukan kedudukkan kedalaman pada permukaan rata.

Three-point perspektif
Digunakan bila pelukis melihat objek dari kedudukkan exaggerated pada bawah dan melihat atas. Di rujuk sebagai frog’s-eye view dan bird’s-eye view.

Wire sculpture

From Wikipedia,

Wire sculpture refers to the creation of sculpture or jewellery (sometimes called wire wrap jewellery) out of wire. The medium was experimented with by Alexander Calder.
Because the needed tools are simple, wire sculpture can be learned and performed in home studios by hobby artists.
Some of the tools used include pliers, pin vises, file, wire cutters, and mandrels.
The wire used may be of a variety of decorative metals in different cross-sections. Wire sculpture jewellery may have beads or gemstones integrated into the design.

sculpture

Three-dimensional art produced especially by forming hard or plastic materials into three-dimensional objects, usually by carving or modeling. The designs may be produced in freestanding objects (i.e., in the round), in relief, or in environments, and a variety of media may be used, including clay, wax, stone, metal, fabric, wood, plaster, rubber, and found objects. Materials may be carved, modeled, molded, cast, wrought, welded, sewn, or assembled and combined. Various forms of sculpture have been found in virtually every culture throughout history. Until the 20th century, sculpture was considered a representational art, but, beginning in the early 1900, nonrepresentational works were increasingly produced. The scope of the term became much wider in the second half of the 20th century. Present-day sculptors use any materials and methods of manufacture that will serve their purposes, and so the art of sculpture can no longer be identified with any special materials or techniques.