In today's art, the devices of Op and kinetic art are ubiquitous.
|
|
Festering becomes a highly dramatic — and kinetic — art when it's Isabelle Huppert who's stewing.
|
|
Sly as ever, Duchamp cast Calder's kinetic art as a kind of sneak attack.
|
|
See: Festering becomes a highly dramatic — and kinetic — art when it's Isabelle Huppert who's stewing.
|
|
Common Ground is a fanciful kinetic art project that uses the internet to connect its pieces.
|
|
To the horologically minded, who fetishize engineering for engineering's sake, the tourbillon is a form of kinetic art.
|
|
What would an exhibition that brought out all that Mr. Veneciano finds in Op and kinetic art look like?
|
|
Mr Cruz-Diez, who spent most of his career in Paris, helped invent "kinetic art", which appears to move.
|
|
Tristan Perich: It was at some point in college that I started thinking more about video art and kinetic art.
|
|
Moholy-Nagy carried the Constructivist aesthetic into the postwar era — presaging kinetic art, early Minimalism, environmental art and even Conceptual Art.
|
|
Le Parc and his Latin American contemporaries helped shape the Op and Kinetic art movements which celebrated illusion, motion, and machines.
|
|
Creative to the core, Le Parc helped inspire Op Art and Kinetic Art, two movements closely associated with Riley and Calder, respectively.
|
|
Dissenting from previous ways of seeing and interpreting Op and kinetic art, it aspires to cast these genres in a new and different light.
|
|
There he met figures associated with what would be called Op Art and Kinetic Art, and pushed what they were doing in more directions.
|
|
KENN LITTLEBurlington, Canada The murals and floor of the airport in Caracas represent much more than just "kinetic art" ("Art that moves", August 3rd).
|
|
" MB&F's founder on: Horological art and running a gallery "We deconstruct traditional watchmaking and reconstruct it into a piece of 3-D kinetic art.
|
|
When kinetic art goes in for a tune-up, the mechanic may not get called in right away: Prior to action, there's a lot of talk.
|
|
There he met Victor Vasarely and a group of artists associated with what would be called Op Art and Kinetic Art, movements geared to audience interaction.
|
|
The cover was inspired by the catalog for 'The Machine as Seen at the End of the Mechanical Age,' a 1968 MoMA show about kinetic art.
|
|
I…Read more ReadWatching thousands of ball bearings dancing around is so satisfyingThis kinetic art piece created by Tommi Grönlund and Petteri Nisunen is called Unstable Matter.
|
|
The campaign reached its $50,000 goal in the matter of a day and Shapiro's team has since then been churning these kinetic art tables out en masse.
|
|
The discos were strongly influenced by art, too: their surprising light effects were similar to the formal outcomes of contemporary art, especially the then-fashionable Kinetic art.
|
|
Random International had already been working on kinetic art pieces (Audience), and invited cognitive scientist Philip Barnard to participate in one of their early symposia titled Behaviour.
|
|
Related: When an Unplayable Record Preserves a Long-Lost Language | Conservation Lab How to Keep Kinetic Art Moving | Conservation Lab How Replicas Could Save Threatened Artworks | Conservation Lab
|
|
Related: How to Keep Kinetic Art Moving | Conservation Lab The Race to Save Computer-Based Art | Conservation Lab To Preserve Digital Film Culture—Or Lose It Forever | Conservation Lab
|
|
Related: An Ancient Japanese Scroll Gets Pieced Back Together | Conservation Lab How to Keep Kinetic Art Moving | Conservation Lab How the Brooklyn Museum Cares for Its Collection | Conservation Lab
|
|
The wings are made from 340 carbon fiber reinforced polymer rods, and at 180 feet wide, the 18 panels make it one of the world's largest kinetic art installations.
|
|
It is not new media, not glitch, not interactive, not chance operations, and it is not even really kinetic art (he prefers the term "mechanized"), though in dialogue with all of these.
|
|
Mark Hachem Gallery's booth provides a historical anchor with a selection of op and kinetic art, including several small, two-plane constructions by Jesús Rafael Soto that seem to shift and vibrate.
|
|
At first, "Liquid Lens," a 12-by-9-by-3-foot behemoth of welded aluminum tubes, might appear to fall into the realm of George Rickey and other practitioners of kinetic art.
|
|
PARIS — The suburban Paris home studio of the Argentine artist Julio Le Parc, widely considered a pioneer of Op Art and Kinetic Art, is a circus of hands-on — sometimes anarchic — delights.
|
|
That development would be decisive for Jean Tinguely, Mark di Suvero and other postwar sculptors, though while later kinetic art could espouse a machine-age bluntness, Calder's were always lighter and more biological.
|
|
It's joined by examples of its kinetic art contemporaries, like fellow Latvian artist Jānis Borgs's 1976 "Dynamic City," a vision for an electrokinetic clock that would interact with a graphic mural in Riga.
|
|
Presenting 65 works from the 1950s through the 1970s, it's partly intended to reveal what the MoMA show overlooked: the extent to which Latin American artists contributed to the Op and kinetic art movements.
|
|
Soto and Otero are central figures who brought back to Venezuela the latest developments that they had absorbed in America and Europe between the mid-1940s and mid-19553s, particularly Op and kinetic art.
|
|
Presenting 21717 visually dazzling works dating from the 229s through the 237s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 65 visually dazzling works dating from the 1950s through the 19553s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 57023 visually dazzling works dating from the 57013s through the 57003s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 26780 visually dazzling works dating from the 291s through the 21982s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 22017 visually dazzling works dating from the 21998s through the 23s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 22212 visually dazzling works dating from the 22779s through the 212587s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 65 visually dazzling works dating from the 1950s through the 1970s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Beerkens lectures internationally on the conservation of kinetic art, and has studied and conserved several artworks by Jean Tinguely, Woody van Amen, Martha Boto, László Moholy-Nagy, and Marta Pan, to name just a few.
|
|
Presenting 57043 visually dazzling works dating from the 57033s through the 57023s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
Presenting 57053 visually dazzling works dating from the 57043s through the 57033s, "The Illusive Eye" reveals what the MoMA show overlooked: the contributions of Latin American artists to the Op Art and kinetic art movements.
|
|
At WIRED, we've always loved a good indoor activity, and we've made lots of videos over the years of master-class practitioners doing everything from building world-record airplanes to Rube Goldberg–style kinetic art projects.
|
|
He attended the School of Visual Arts and Applied Arts in Caracas, where he befriended Alejandro Otero and Jesús Rafael Soto, who would become his peers in geometric abstraction and the Op and Kinetic Art movements, respectively.
|
|
He attended the School of Visual Arts and Applied Arts in Caracas, where he befriended Alejandro Otero and Jesús Rafael Soto, who would become his peers in geometric abstraction and the Op and Kinetic Art movements, respectively.
|
|
Check out the spicy political work of the Mexican painter, performer and book publisher Felipe Ehrenberg, at Baro Galeria, from São Paulo; and the witty kinetic art of Abraham Palatnik at Galeria Nara Roesler, another São Paulo space.
|
|
That year he organized the Destruction in Art Symposium (DIAS) in London, which attracted Viennese Actionists and members of the Fluxus movement, including Yoko Ono, and planted the seed for kinetic art, happenings and performance art in Britain.
|
|
The story of Sisyphus inspired the title of this kinetic art table by motion control artist Bruce Shapiro that involves a metal ball rolling through a flat surface of sand to create decorative ripples and grooves like a Japanese rock garden.
|
|
"I liked his line in the interview about [how] it's kinetic art, but the viewer has to move — one understands and (hopefully) enjoys the work by walking around it and exploring and taking in the ever-changing view," Lippincott continued.
|
|
The density of Ms. Molnár's drawings, whether executed by pen or plotter, embodies a pleasure in repetition and exactitude that feels closer to the humanistic minimalism of Agnes Martin and Nasreen Mohamedi than to Paris's groovy-for-groovy's-sake Op and Kinetic art.
|
|
In our age, in which museum directors sometimes seem more adept at administrative duties and extracting money from donors, Mr. Sandberg, who championed abstraction, kinetic art and other avant-garde movements, stands out as a creative force of his own, through his passion for design.
|
|
Mr. Selz's most unusual exhibition at MoMA presented a bizarre hunk of kinetic art: the Swiss artist Jean Tinguely's "Homage to New York" (1960), a white-painted machine built from castoffs like bicycle wheels, a piano, a weather balloon, metal drums and a bathtub.
|
|
"Kinetic art is a fascinating example within the context of the Soviet Union, because it was not always valued by Soviet critics, who often relegated it to decorative art and design," curator Ksenia Nouril, a doctoral candidate in art history at Rutgers, told Hyperallergic.
|
|
Personally, I think the secret sauce to these often viral vids is the potent mix of DIY kinetic art mixed with some Japanese mascot-esque tomfoolery (Erichsen uploads his failed experiments as well as his successes, and often shows moments of flailing before a successful balloon pop or pasta smash).
|
|
Like all of Mr. Büsser's timepieces, the titanium model was a nostalgic ode to his 21994s youth (in this case, his mania for assembling model aircraft) as well as a love letter to kinetic art, a category he champions at his four M.A.D. Gallery locations, in Geneva; Hong Kong; Taipei, Taiwan; and Dubai, in the United Arab Emirates.
|
|
While at art school in the 1950s, he was intrigued by the participatory possibilities of Op Art and Kinetic Art, then nascent movements in France, and a 1958 grant from the French Cultural Service brought him to Paris, where he immediately made connections with other Latin American artists including Jesús Rafael Soto and Carlos Cruz-Diez.
|
|
A pioneer of Op and kinetic art, Mr. Le Parc tripped out with colorful paintings, like a panorama of groovy rainbow stripes that would not look out of place on the set of "The Price Is Right," but also spotlit mobiles, walk-through mirrored installations and streamers attached to a wind machine that blows at the touch of a button.
|
|
Kane's kinetic art is steeped in stereotypical Asian imagery, and Thomas's words were stylized versions of what was presented in the movies: dragons, jade, fighting stances, and names like Yu-Ti and Lung-Wang: There's a hefty bit of Orientalism here, as Kane and Thomas imagine this pseudo-Asian society to be a mystical land of martial artists instead of a modern Asian civilization.
|
|
Kinetic Art Exhibition MomentuM 2006 at Grounds for Sculpture - With his passion for Kinetic Art, as president from its inception, he co-founded the Kinetic Art Organization (KAO) www.kinetic-art.org in 2001 with a German and a US fellow Kinetic Artist. Now, with more than 1,000 members in over 60 Countries around the world, KAO has become the largest kinetic art organization in the world. KAO has co-organized Kinetic Art Exhibitions, such as the ART IN MOTION in The Netherlands, St. Petersburg, Russia, and the MomentuM exhibition at Grounds for Sculpture in New Jersey, USA.
|
|
Eventually, she evolved her own original path of kinetic art.
|
|
In 2006 he established the first kinetic art website in China called KAO CHINA, dedicated to bringing kinetic art to China. Currently he is helping to establish the first Kinetic Art curriculum at the Central Academy of Fine Arts in Beijing. As an award winner of the Beijing City Sculpture Competition 2007 and a finalist for the "Contest of Landscape Sculpture Designs for Beijing 2008 Olympic Games", Ralfonso was invited to speak at "Olympic Culture and Public Art Conference". His speech and Dissertation was entitled "Kinetic Art and to Olympic Union of All People".
|
|
One of the most popular permanent galleries features approximately a dozen works of kinetic art by Arthur Ganson. In November 2013, the museum opened 5000 Moving Parts, a year- long exhibition of kinetic art, featuring the work of Ganson, Anne Lilly, Rafael Lozano-Hemmer, John Douglas Powers, and Takis. The exhibition inaugurated a "year of kinetic art" at the museum, featuring special programming related to the artform.
|
|
His idiosyncratic work serves as a foundation for Estonian sound and kinetic art.
|
|
The kinetic art movement gained force in Europe and Latin-America after this exhibition.
|
|
The town of El Masnou, where he was born and raised, has dedicated a space called "Jordi Pericot Kinetic Art Space", within the El Masnou Municipal Nautical Museum. It is the only permanent space dedicated to the author and the only permanent collection of kinetic art in Spain.
|
|
Lumino Kinetic art was also aligned with Op art in the late 1960s because the moving lights were spectacular and psychedelic. Frank Popper views it as an art historical term in the context of kinetic art; he states that "there is no lumino kinetic art after the early 70s; it stands as a precursor to other contemporary cybernetic, robotic, new media-based arts, and is limited to a very small number of (male) European avant-garde artists (part of the New Tendencies movement)".
|
|
Denise René (born Denise Bleibtreu; June 1913 – 9 July 2012) was a French art gallerist specializing in kinetic art and op art.
|
|
Duane Flatmo (born 1957) is an American artist best known for his murals, label art and kinetic art sculptures in northern California.
|
|
Both apparent and virtual movement are styles of kinetic art that only recently have been argued as styles of op art. The amount of overlap between kinetic and op art is not significant enough for artists and art historians to consider merging the two styles under one umbrella term, but there are distinctions that have yet to be made. "Kinetic art" as a moniker developed from a number of sources. Kinetic art has its origins in the late 19th century impressionist artists such as Claude Monet, Edgar Degas, and Édouard Manet who originally experimented with accentuating the movement of human figures on canvas.
|
|
In November 2013, the MIT Museum opened 5000 Moving Parts, an exhibition of kinetic art, featuring the work of Arthur Ganson, Anne Lilly, Rafael Lozano- Hemmer, John Douglas Powers, and Takis. The exhibition inaugurates a "year of kinetic art" at the Museum, featuring special programming related to the artform. Neo-kinetic art has been popular in China where you can find interactive kinetic sculptures in many public places, including Wuhu International Sculpture Park and in Beijing. Changi Airport, Singapore has a curated collection of artworks including large-scale kinetic installations by international artists ART+COM and Christian Moeller.
|
|
Wind and light interactive. Utah Arts Council, Salt Lake Community College. Robert Perless is an American artist whose particular focus is kinetic art sculptures.
|
|
There is a special place for Bursztyn among the company of artists working in the field of kinetic art. For her, the movement was never a source of fascination. Rather, it was a way of conjuring up a feeling of discomfort in the viewer. The kinetic art created by Bursztyn wasn't so much a research tool as a method of depicting that which wasn't supposed to be spoken of.
|
|
Other kinetic sculptures of Todor Todorov can be seen at Artparks Sculpture Park, Guernsey UK, Sculpture by the Sea, Sydney, Venice Sculpture Park, designed by Carlo Scarpa etc. In 2004 and 2005 he won First Prize awards for Kinetic Sculpture in the Kinetic Art Organization's International Kinetic Art Competition, in Palm Beach, Florida, USA.Todor Todorov Sculptor profile – ArtParkS Sculpture Park – Bringing Sculpture into the Open. Todor-todorov.artparks.co.uk (11 March 2016).
|
|
Valdis Celms (born 24 October 1943) is a Latvian graphic designer, known for his kinetic art and one of the leaders of the neopagan organization Latvijas Dievtuŗu sadraudze.
|
|
George Rickey, Four Squares in Square Arrangement, 1969, terrace of the New National Gallery, Berlin, Germany, Rickey is considered a kinetic sculptor Naum Gabo, Kinetic Construction, also titled Standing Wave (1919–20) Kinetic art is art from any medium that contains movement perceivable by the viewer or depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art. More pertinently speaking, kinetic art is a term that today most often refers to three-dimensional sculptures and figures such as mobiles that move naturally or are machine operated (see e. g. videos on this page of works of George Rickey, Uli Aschenborn and Sarnikoff).
|
|
Weather Machine a lumino kinetic bronze sculpture and columnar machine that serves as a weather beacon, displaying a weather prediction each day at noon, in Portland, Oregon. Lumino Kinetic art is a subset and an art historical term in the context of the more established kinetic art, which in turn is a subset of new media art. The historian of art Frank Popper views the evolution of this type of art as evidence of "aesthetic preoccupations linked with technological advancement" and a starting-point in the context of high- technology art.Popper (1993) László Moholy-Nagy (1895–1946), a member of the Bauhaus, and influenced by constructivism can be regarded as one of the fathers of Lumino kinetic art.
|
|
The Jordi Pericot Kinetic Art Space is part of the museum and is the only permanent collection of kinetic art in Spain. It is the result of a donation made by artist Jordi Pericot i Canaleta to El Masnou. This space, opened on December 2011, is a modern space where one can see a sample of the whole work of the artist divided into six areas, according to the different stages through which his career has evolved.
|
|
The moving parts are generally powered by wind, a motor or the observer. Kinetic art encompasses a wide variety of overlapping techniques and styles. There is also a portion of kinetic art that includes virtual movement, or rather movement perceived from only certain angles or sections of the work. This term also clashes frequently with the term "apparent movement", which many people use when referring to an artwork whose movement is created by motors, machines, or electrically powered systems.
|
|
Apparent movement is a term ascribed to kinetic art that evolved only in the 1950s. Art historians believed that any type of kinetic art that was mobile independent of the viewer has apparent movement. This style includes works that range from Pollock's drip technique all the way to Tatlin's first mobile. By the 1960s, other art historians developed the phrase "op art" to refer to optical illusions and all optically stimulating art that was on canvas or stationary.
|
|
Riga border road sign designed by Celms Celms was educated at the Art Academy of Latvia. He is considered one of the founders of kinetic art in Latvia due to his exploration of the artform in the 1960s. He became prominent in the Latvian artworld in the 1970s with his kinetic art, photomontages and graphic design. In 1980 he designed the large "Rīga" signs that welcome people as they enter the Latvian capital through its main roads.
|
|
Kinetic art principles have also influenced mosaic art. For instance, kinetic- influenced mosaic pieces often use clear distinctions between bright and dark tiles, with three-dimensional shape, to create apparent shadows and movement.
|
|
Sempere's work is defined by the abstraction of its elements, geometric repetition and linearity, all of which evolved into his synthesis of Op Art and constructivism with elements of kinetic art. Móvil. 1972, Museo de Escultura al Aire Libre de Madrid. His personal contribution to the development of kinetic art is a series of abstract geometric constructions that demonstrate the perceptual effects of optical vibration and the illusion of motion. Light also plays an important role in his artistic work.
|
|
As a philosopher, Gleizes also studied the concept of artistic movement and how that appealed to the viewer. Gleizes updated his studies and publications through the 1930s, just as kinetic art was becoming popular.
|
|
Fletcher C. Benton (February 25, 1931 – June 26, 2019) was an American sculptor and painter from San Francisco, California. Benton was widely known for his kinetic art as well as his large-scale steel abstract geometric sculptures.
|
|
By the 1940s, new styles of mobiles, as well as many types of sculpture and paintings, incorporated the control of the spectator. Artists such as Calder, Tatlin, and Rodchenko produced more art through the 1960s, but they were also competing against other artists who appealed to different audiences. When artists such as Victor Vasarely developed a number of the first features of virtual movement in their art, kinetic art faced heavy criticism. This criticism lingered for years until the 1960s, when kinetic art was in a dormant period.
|
|
Vasarely created many works that were considered to be interactive in the 1940s. One of his works Gordes/Cristal (1946) is a series of cubic figures that are also electrically powered. When he first showed these figures at fairs and art exhibitions, he invited people up to the cubic shapes to press the switch and start the color and light show. Virtual movement is a style of kinetic art that can be associated with mobiles, but from this style of movement there are two more specific distinctions of kinetic art.
|
|
The fountain was developed by Agam for ten years and is one of Agam's most famous creations. Agam has gained international recognition as one of the founders of the kinetic art movement. The fountain consists of an illusory dimension and a movement dimension, both typical to works of Kinetic art and Op art, which is achieved by the use of technology and by the observer's movement. The fountain is composed of several big jagged wheels, which were designed in the kinetic style (colored geometric shapes, which are perceived as different images from different angles).
|
|
Retrieved on 2016-03-25. One of his bronze sculpture "Totem" has been placed at the New Town Square of Hamilton, Scotland for the Millennium celebration.Kineticus the Data Base for kinetic Art. Kineticus.com. Retrieved on 25 March 2016.
|
|
Jean-Pierre Vasarely (1934–2002), professionally known as Yvaral, was a French artist working in the fields of op-art and kinetic art from 1954 onwards. He was the son of Victor Vasarely, who was a pioneer of op-art.
|
|
Teams had to write a story that incorporated an invisible visitor and wind energy. A team created piece of kinetic art had to be incorporated as well. Two items of the teams choosing would be scored additionally as Team Choice Elements.
|
|
The surrealist style of the 20th century created an easy transition into the style of kinetic art. All artists now explored subject matter that would not have been socially acceptable to depict artistically. Artists went beyond solely painting landscapes or historical events, and felt the need to delve into the mundane and the extreme to interpret new styles. With the support of artists such as Albert Gleizes, other avant-garde artists such as Jackson Pollock and Max Bill felt as if they had found new inspiration to discover oddities that became the focus of kinetic art.
|
|
Matt Hope (born 1976, Hammersmith, London) is a British artist who lives and works in Caochangdi, an arts district in Beijing, China. He is known for elaborate kinetic art and sound art constructions made in large-scale fabrication factories in Mainland China.
|
|
Denise René developed different generations of abstract art by introducing to Paris the historical figures of the concrete avant-gardes of Eastern Europe while seeking historical antecedents like Marcel Duchamp. In 1955 she organized the exhibition Le Mouvement, which helped to popularize kinetic art.
|
|
Osmo Valtonen (1929–2002) was an artist from Finland. He was a pioneer of kinetic art in Finland. His most popular works were machines which drew shapes in sand. Valtonen was one of the founders of Dimensio group in 1972, and chair of the group 1976–1979.
|
|
Anna Moszynska, Abstract Art, Thames & Hudson, London 1990, p.120 The former eventually fed into international movements building on technological aspects championed by the pioneers of Concrete Art, emerging as optical art, kinetic art and programmatic art.Alessandro Del Puppo, L'arte contemporanea: Il secondo novecento, Einaudi, 2013, table 3 page 238.
|
|
Inventions: student showcase displays inventions and kinetic art made by MIT students, often as part of coursework such as "STS.035 Exhibiting Science". Some of these projects were built at the MIT Museum Studio, a makerspace for students, while others were created in a variety of courses and laboratories at MIT.
|
|
Ludwig Wilding (19 May 1927 - 4 January 2010) was a German artist whose work is associated with Op art and Kinetic art. Wilding was born in Grünstadt, Germany. He studied at the University of Mainz Art School. Wilding's works are three-dimensional structures that create shifting patterns through their black and white designs.
|
|
In his books Origins and Development of Kinetic Art and Art, Action and Participation, Popper showed how Kinetic Art played an important part in pioneering the unambiguous use of optical movement and in fashioning links between science, technology, art and the environment.Kristine Stiles & Peter Selz, Theories and Documents of Contemporary Art: A Sourcebook of Artists' Writings (Second Edition, Revised and Expanded by Kristine Stiles) University of California Press 2012, p. 450 Popper was a champion of the humanizing effects of such an interdisciplinary synthesis. Key to his initial thinking and activities as an aesthetician, cultural theorist, curator, teacher and art critic was his encounter in the early 1950s with the kinetic artist (and author of the book Constructivism) George Rickey.
|
|
The parlor is well apportioned: it has a bar, library, veranda, vintage stuffed chairs, and a camera obscura. There are even stairs to the "widows walk" which has a rooftop view. While many media sources cite the Neverwas Haul as an unusual RV or Winnebago, it is primarily a large overly detailed kinetic art piece.
|
|
Heinz Mack (born March 8, 1931) is a German artist. Together with Otto Piene he founded the ZERO movement in 1957. He exhibited works at documenta in 1964 and 1977 and he represented Germany at the 1970 Venice Biennale. He is best known for his contributions to op art, light art and kinetic art.
|
|
In 1963 Moorman founded the Annual Avant Garde Festival of New York,Norman, Geraldine. "Material Challenges", The Independent, Retrieved 23 May 2014. which presented the experimental music of the Fluxus group and Happenings alongside performance, kinetic art, and video art."4th and 7th Annual Avant Garde Festivals of New York", Electronic Arts Intermix, Retrieved 15 June 2014.
|
|
The sculpture suggests the movement of underwater life.Moyle, Peter B.; Moyle, Marilyn A. (1992). Fish imagery in art 28: Calder's Lobster Trap and Fish Tail. Environmental Biology of Fishes, Volume 35, Number 2, 204 Calder became a leading exponent of kinetic art, combining his engineering training with his studies of art in New York and Paris.
|
|
He made a work that unrolled colored plastic sheets on the floor, and he became fascinated with kinetic art. Finishing his formal education, he then went to work for a robotics engineering firm, where he added computer modeling (CAD-CAM) to his skills. After six years, he left to pursue his artistic and technical interests full-time.
|
|
Initially inspired by Russian Constructivism, Kinetic art, and Cubism, Benn's style evolved over time. He went through a geometric period that was influenced by Wassily Kandinsky, then Symbolism; eventually he adopted a Poetic Realist style. In 1930, Benn was admitted to the Association of Professional Artists, Paris. His first exhibition in Paris was in 1931 at Galerie L'Époque.
|
|
Max Bill became an almost complete disciple of the kinetic movement in the 1930s. He believed that kinetic art should be executed from a purely mathematical perspective. To him, using mathematics principles and understandings were one of the few ways that you could create objective movement. This theory applied to every artwork he created and how he created it.
|
|
Taylor has taught at The Crucible (arts education center),Faculty list The Crucible, an Educational Collaboration of Arts, Industry, Community, Berkeley, California. Retrieved December 25, 2010 the University of California, Berkeley and the California College of the Arts, teaching classes in kinetic art, and new media. Also a lead artist on the Raygun Gothic Rocket.The Raygun Gothic Rocket Crew List.
|
|
"Sphere Rouge" installed at Palais du TokyoJulio Le Parc (born September 23, 1928) is an Argentina-born artist who focuses on both modern op art and kinetic art. Le Parc attended the School of Fine Arts in Argentina. A founding member of Groupe de Recherche d’Art Visuel (GRAV) and award-winning artworks, he is a significant figure in Argentinean modern art.López, S. (2005).
|
|
These artists are followed by abstract painting artists such as Rupprecht Geiger, Ulrich Erben, Bruno Erdmann and Gotthard Graubner. The ZERO group and kinetic art are featured by artists such as Günther Uecker with his work Spirale Weiß ("White spiral", 1963), Rolf Kissel, Hermann Goepfert, Heinz Mack and Adolf Luther. Also Sigmar Polke and, above all, Gerhard Richter belong to the collection.
|
|
His son Trafford Klots inherited the chateau and continued to paint there and entertain other visiting artists. After his death his wife donated the building to the French government. In the grounds of the building is the NAIA museum, named after an early twentieth century witch who lived in the town. It houses a small collection of fantasy and kinetic art and sculpture.
|
|
Moscovich's kinetic art and other art creations have been shown in major art exhibitions at the Institute of Contemporary Arts, the International Design Centrum in Berlin, and the Museo de Arte Moderno in Mexico City. His computer art creations and his patented "Harmonograph" (an analog computer which functions as an art- drawing machine) have been awarded many prizes and medals.
|
|
Early on, he became absorbed in experimentations in photography, and in optic and visual phenomena. He played a part in Italy's second Futurist and Constructivist movements. Subsequently, his work was more closely associated with Kinetic Art and Op Art. Based on theories of perception, particularly on the Psychology of Form and his knowledge of architecture, he created more than 14000 experimental works.
|
|
Karina Smigla-Bobinski (1967) is a German-Polish intermedia artist, working primarily in new media art and digital art, based in Berlin and Munich.Her work bridges kinetic art, drawing, video, installation, painting, performance and sculpture. Her works have been exhibited in Europe, Asia, North America and South America. One of her major works is ADA, a large, interactive kinetic sculpture and drawing machine.
|
|
Ronald Mallory (born 1939) is an artist who worked in New York City and now lives in Mexico. In the sixties he was one of the foundational members of the kinetic art movement. In particular, his works involving mercury and acrylic have become icons, and are represented in many collections, including the Museum of Modern Art in Manhattan. Mallory was a student of the late Pol Bury.
|
|
After retiring from teaching, Halaby began experimenting with electronic art forms, teaching herself how to program Basic and C programming languages on an Amiga computer. Creating user friendly programs that would allow viewers to witness the process of live computerized painting, she enlisted the help of musicians for kinetic art performances that were inspired by jam sessions. Her "Kinetic Painting Group" toured extensively in the late 1990s.
|
|
Wajid Khan (born 10 March 1981) is an Indian artist, portraitist and sculptor. He is specialized in carving canvas with nails. Khan is famous for his various art forms like shadow art, metal art, stone art, kinetic art, and "nail art". His shadow art of Vallabhbhai Patel had garnered him attention and praises for his technique and was later placed under Madhya Pradesh's administration.
|
|
The Indiana state stone sculpture is the Indiana Statehouse’s only piece of kinetic art. The engraved limestone cube sits atop a dolly that rotates 360 degrees so that individuals can spin it in order to read the inscriptions that are carved into the five visible sides of the six-sided sculpture."State Stone/ Photo, story of official state stone in statehouse." Indianapolis Star. Jan. 11, 1987.
|
|
Each of his sculptures involves billions of calculations using an algorithm derived from the mathematical constant π. Hurwitz asserts that his art is "contemporary to the millisecond". Kinetic Art curator and director of the London Kinetica Museum, Dianne Harris, described Hurwitz's art as follows "The works of polymath Jonty Hurwitz are contemporary trompe l'oeil, at first glance appearing abstract, but in mirrored reflections, representational".
|
|
Both Shade and Mobile have a single string attached to a wall or a structure that keeps it in the air. The two works have a crinkled feature that vibrates when air passes through it. Regardless of the obvious similarities, Calder's style of mobiles created two types that are now referred to as the standard in kinetic art. There are object-mobiles and suspended mobiles.
|
|
Ultra Fast Stick Bomb "Xyloexplosive", by Rachel Mansur, 27 Feb. 2010, accessed 11 May 2012; Videos of Kinetic Art Gadgets, by Tim Fort, accessed 11 May 2012; or Xyloexplosives 1001: Introduction to Large Stick Bombs, by Tim Fort, posted on the Internet Archive, accessed 11 May 2012., Cobra wave, and frame bombs. Stick bombs are created for fun and as art, not for any practical use.
|
|
Eusebio Sempere Juan (3 April 192310 April 1985) was a Spanish sculptor, painter and graphic artist whose abstract geometric works make him the most representative artist of the Kinetic art movement in Spain and one of Spain's foremost artists. His use of repetition of line and mastery of color to manipulate the way light plays on the surface give depth to his pictorial compositions.
|
|
Feliza Bursztyn was a Colombian artist who evolved her own original path of kinetic art. Her later sculptures took a more direct approach to the critique of political and religious elites. Bursztyn never shied from her support of leftist opposition movements. After a trip to Cuba, she found Colombia's political police in her flat, who accused her of smuggling weapons to the partisans through her studio.
|
|
In 1968, he wrote: > The work of art may be regarded as a machine programmed by the artist to > produce a deferred output. Its objective is survival--by survival I mean not > continued acclamation but a continued ability to stand intact as the > organized system that the artist originally intended. To survive it must > operate within a culturally accepted genre of some kind. ... That is why an > artist like Tsai is likely to be so valuable; not because he is an innovator > (all his techniques taken separately have been used before) but because he > has the kind of authority that establishes a stylistic tradition.Jonathan > Benthall, Artists and Technicians, Times Literary Supplement, October 31, > 1968, 1229 Tsai's interactive sculpture marked a major step in the development of kinetic art: > A major portion of luminist and kinetic art originated in Europe, beginning > with the formation in 1960 of GRAV (Groupe de Recherche d'Art Visuel) by > eleven artists of different nationalities, all resident in Paris.
|
|
This phrase often clashes with certain aspects of kinetic art that include mobiles that are generally stationary. 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. 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 most European countries, it generally included the form of optical art that mainly makes use of optical illusions, such as op art, represented by Bridget Riley, as well as art based on movement represented by Yacov Agam, Carlos Cruz-Diez, Jesús Rafael Soto, Gregorio Vardanega, or Nicolas Schöffer. From 1961 to 1968, GRAV (Groupe de Recherche d’Art Visuel) founded by François Morellet, Julio Le Parc, Francisco Sobrino, Horacio Garcia Rossi, Yvaral, Joël Stein and Vera Molnár was a collective group of opto-kinetic artists.
|
|
Denise René took as her guiding principle the idea that art must invent new paths in order to exist. The first exhibitions organised by René were in June 1945. She studied geometric abstraction and kinetic art. Her work has been championed by art historian Frank Popper.«L'homme moteur».Frank Popper, l’art cinétique et le GRAV René showed modern art masters such as Max Ernst and Francis Picabia during her first five years of activity.
|
|
Graduated in 1958 from the Warsaw Polytechnic University with an engineering degree in architecture, Christophe Lukasiewicz was about to complete a double degree at the Warsaw Academia Sztuk Pieknych (Ecole des Beaux Arts). Thus he met a friend, the painter Fangor, today recognized for his visual work, (Visual art and kinetic art). He also, during his studies, worked for the architect Georges Soltan (close to Team 10 designs). He offered him to work in Paris.
|
|
At this time, he also visited the Dessau Bauhaus and met Naum Gabo, a pioneer of kinetic art. Returning to Amsterdam, Sandberg started work as a graphic designer, utilizing his printing skills and Neurath's Isotype system. In 1928, he started a long relationship with the Stedelijk Museum, and in 1932 became a member of VANK, the Dutch Society for Arts and Crafts. He soon joined the committee that determined the exhibitions of the museum.
|
|
Temporary exhibitions exhibit artistic culture from pre-Hispanic times to the modern kinetic art. Meyer Weismann of Caracas held his first solo exhibition of Venezuelan culture in this museum. Other famous artists whose work is exhibited in the museum are Arturo Michelena, Armando Reverón, Carlos Cruz- Diez, Pájaro and Jesús Soto. The museum's most notable piece is Michelena’s 1896 painting of Francisco de Miranda in a Spanish jail, Miranda en La Carraca.
|
|
In addition to Nordstrom, an Eddie Bauer flagship store opened at the main entrance, Dillard's added a third floor, and Saks also expanded. In 2004, The Rouse Company was acquired by General Growth Properties. The new owners immediately began a remodeling that was completed in time for the 2007 Christmas season. Landscaping and natural light was used to soften the entry and kinetic art was installed to create a greater visual dynamic.
|
|
Naum Gabo, one of the two artists attributed to naming this style, wrote frequently about his work as examples of "kinetic rhythm". He felt that his moving sculpture Kinetic Construction (also dubbed Standing Wave, 1919–20) was the first of its kind in the 20th century. From the 1920s until the 1960s, the style of kinetic art was reshaped by a number of other artists who experimented with mobiles and new forms of sculpture.
|
|
In the next phase of his work, Pollock tested his style with uncommon materials. He painted his first work with aluminum paint in 1947, titled Cathedral and from there he tried his first "splashes" to destroy the unity of the material itself. He believed wholeheartedly that he was liberating the materials and structure of art from their forced confinements, and that is how he arrived at the moving or kinetic art that always existed.
|
|
Although there is very little distinction between the styles of mobiles in kinetic art, there is one distinction that can be made. Mobiles are no longer considered mobiles when the spectator has control over their movement. This is one of the features of virtual movement. When the piece only moves under certain circumstances that are not natural, or when the spectator controls the movement even slightly, the figure operates under virtual movement.
|
|
Ed. Ian Chilvers. Oxford University Press, 2004. eNotes.com. 2006. 19 Mar, 2008 systemic-art John G. Harries considered a common ground in the ideas that underlie developments in 20th-century art such as Serial art, Systems Art, Constructivism and Kinetic art. These kind of arts often do not stem directly from observations of things visible in the external natural environment, but from the observation of depicted shapes and of the relationship between them.
|
|
There, in the following year, she opened a new gallery—which actually was in part a museum—at 30 West 57th Street. It was called The Art of This Century Gallery. Three of the four galleries were dedicated to Cubist and Abstract art, Surrealism and Kinetic art, with only the fourth, the front room, being a commercial gallery. Guggenheim held other important shows, such as the show for 31 Women artists, at the gallery.
|
|
Kaarel Kurismaa (born 13 May 1939 in Pärnu, Estonia) is the first and one of the most important sound art and sound installation artists in Estonia. His work also expands into the field of painting, animation, public space monumental art, stage installations. In Estonian art history, Kurismaa’s significance lies mostly in the pioneering work with kinetic art and with keeping its traditions alive. Kurismaa stands as one of Estonian sound art scene’s central icons.
|
|
Büsser created the first MB&F; M.A.D. Gallery in 2011 in Geneva, Switzerland. "M.A.D." stands for Mechanical Art Devices. Büsser considers his timepieces to be kinetic art and created his own art gallery to display his sculptured Horological Machines in the context of mechanical art by other artists from all over the world. The M.A.D. Gallery concept has proved successful and, in addition to Geneva, there are now M.A.D. Galleries in Dubai, Geneva, Taipei and Hong Kong.
|
|
Like Duchamp, he elaborated readymades—ordinary objects that are selected and modified. His Gift readymade (1921) is a flatiron with metal tacks attached to the bottom, and Enigma of Isidore Ducasse is an unseen object (a sewing machine) wrapped in cloth and tied with cord. Aerograph (1919), another work from this period, was done with airbrush on glass. In 1920, Man Ray helped Duchamp make the Rotary Glass Plates, one of the earliest examples of kinetic art.
|
|
In 1952, she was invited to publish the Zeiten einer Zeichnung series for Spirale, major concretist publishers of the time. And there lies the whole essence of her oeuvre, which unfolds from concretism to kinetic art, or, more precisely, to cinevisualism. As Italian critic and poet Carlo Belloli pointed out, Mary Vieira’s oeuvre summons the spectator to art. The coherence, the precision, and the comprehensiveness of the artist’s aesthetic view have never been totally displayed in her home country.
|
|
It was not until the mid-1960s that Gego departed from the basic concept of Kinetic Art in response to her developing ideas about lines. For Gego, a line inhabited its own space, and as such, it was not a component in a larger work but instead it was a work by itself. Therefore, in her artworks, she did not use line to represent an image; line is the image.Gego, Questioning the Line: Gego in Context, ed.
|
|
Moses Hakmon (; born October 29, 1977) is an Israeli artist best known for his commitment to the study and education about the subject of water. He developed a technique to capture forms in water that are invisible to the naked eye. He is committed to spreading his theory that water is the source of all consciousness. His art can be described as kinetic art, photography, BioArt, liquid photography, flow-tography, nature photography, scientific photography, and motion photography.
|
|
Object mobiles on supports come in a wide range of shapes and sizes and can move in any way. Suspended mobiles were first made with colored glass and small wooden objects that hung on long threads. Object mobiles were a part of Calder's emerging style of mobiles that were originally stationary sculptures. It can be argued, based on their similar shape and stance, that Calder's earliest object mobiles have very little to do with kinetic art or moving art.
|
|
The Glass Elephant (German: Glaselefant) is a landmark in Hamm, Germany. The former coal-washing building in the Maximilian colliery was reconstructed as a walk-in sculpture by the artist and architect Horst Rellecke for Hamm's horticultural show in 1984. The "head" of the Elephant houses a palm garden as well as Rellecke's kinetic art pieces. The lift to the palm garten can be found in the Elephant's glass trunk, while a staircase is located at its "rear".
|
|
131-140 It is now thought, however, that the illusion of movement in animation is due to the way in which the visual perception areas of our brain map movement in the real world. Our brain is thought to perceive movement by taking individual snapshots of the visual field and inducing that movement has occurred due to the changing position of things.Zeki, S. & Lamb, M, 'The Neurology of Kinetic Art' in Brain. Vol 117. 1994. pp.607-636.
|
|
The Museum Tinguely building. The Museum Tinguely is an art museum in Basel, Switzerland that contains a permanent exhibition of the works of Swiss painter and sculptor Jean Tinguely. Located in the Solitudepark by the Rhine, the museum was designed by the Ticinese architect Mario Botta and opened on 3 October 1996. A variety of Tinguely's kinetic art sculptures are on permanent display, complemented with illustrations, photographs and other documents related to the artist's life and work.
|
|
Later, artist Nino Calos worked with the term Lumino-kinetic paintings. Artist György Kepes was also experimenting with lumino-kinetic works.Oxford Art Online Ellis D Fogg is also associated with the term as a "lumino kinetic sculptor". In the 1960s various exhibits involved Lumino Kinetic art, inter alia Kunst-Licht- Kunst at the Stedelijk Van Abbemuseum in Eindhoven in 1966, and Lumière et mouvement at the Musée d'Art Moderne de la Ville de Paris in 1967.
|
|
Mechanical Woman Walking by Mark Galt. Robotic art is any artwork that employs some form of robotic or automated technology. There are many branches of robotic art, one of which is robotic installation art, a type of installation art that is programmed to respond to viewer interactions, by means of computers, sensors and actuators. The future behavior of such installations can therefore be altered by input from either the artist or the participant, which differentiates these artworks from other types of kinetic art.
|
|
Ellis D Fogg was the pseudonym of the Australian artist Roger Foley (born 24 January 1942). Now known as Roger Foley-Fogg, the National Film and Sound Archive have described him as Australia's "most innovative lighting designer and lumino kinetic sculptor." And Albie Thoms founder of friendly rival Lightshow group UBU said: ... "Fogg is later recognised as Sydney's leading lightshow artist" The term Lumino Kinetic Art was first used in 1966 by Frank Popper, Professor of Aesthetics at the University of Paris.
|
|
Kinetic art contains moving parts or depends on motion for its effect.[1] The moving parts are generally powered by wind, a motor or the observer. The term kinetic sculpture refers to a class of art made primarily from the late 1950s through 1960s. Zimmerman was aware of the various European modern art movements of the early 20th century, ranging from the abstract forms of the Russian Constructivists and the structuralist formulas of the Bauhaus, to the nonsensical universe of the Dadaists.
|
|
People watching George Rhoads' rolling ball sculpture 42nd Street Ballroom (1983) in the North Wing of the Port Authority Bus Terminal in midtown Manhattan, New York City A rolling ball sculpture (sometimes referred to as a marble run, ball run, gravitram, kugelbahn, or rolling ball machine) is a form of kinetic art - an art form that contains moving pieces - that specifically involves one or more rolling balls. A version where marbles compete in a race to win is a called a marble race.
|
|
The Museum of Neon Art (MONA) is an institution that exists to encourage learning and curiosity through the preservation, collection, and interpretation of neon art. The first museum devoted to art that incorporates neon lighting, it exclusively exhibits art in electric media, including kinetic art and outstanding examples of historic neon signs. Its location in downtown LA closed in 2011 and reopened in Glendale, California in 2016. The collection includes neon signs from the Brown Derby and Grauman's Chinese Theatre.
|
|
Schöffer's kinetic art sculpture "CYSP 1" from 1956, that made use of electronic computations developed by the Philips Company, is considered the first cybernetic sculpture in art history. The sculpture is set on a base mounted on four rollers, which contains the mechanism and the electronic brain. The plates are operated by small motors located under their axis. Photo-electric cells and a microphone built into the sculpture catch all the variations in the fields of color, light intensity and sound intensity.
|
|
Frank Popper (April 17, 1918Art, action and participation by Frank Popper. National Library of Australia collection – July 12, 2020) was a Czech-born French-British historian of art and technology and Professor Emeritus of Aesthetics and the Science of Art at the University of Paris VIII. He was decorated with the medal of the Légion d'honneur by the French Government. He is author of the books Origins and Development of Kinetic Art, Art, Action, and Participation, Art of the Electronic AgeLieser, Wolf.
|
|
They collaborated on multimedia installations of kinetic art, including the "Psychedelic Celebration Number One" for LSD advocate Timothy Leary, and installations at the Electric Circus nightclub. In 1972, he founded Let There Be Neon, a studio and gallery in New York. He designed and produced neon pieces for the Broadway show, Kiss of the Spider Woman, and other art and music performances, as well as commercial signs. Together with Katharine Kean, he directed the 1992 documentary Haití: Killing the Dream, starring Jean-Bertrand Aristide.
|
|
Lygia Clark, Gego, Mathias Goeritz, Helio Oiticica, Mira Schendel, The Experimental Exercise of Freedom, ed. Susan Martin (Germany: Cantz, 1999); She made her first sculpture in 1957. She was aware of the modern movement when she came to Caracas, but she did not want to simply co-opt the ideas of Kinetic Art, Constructivism or Geometric Abstraction. Instead, Gego wanted to create a style of her own because she was able to use so many aspects of her life in her art—for example, her German heritage.
|
|
Here he came under the influence of Braque, and improved the screen printing technique he used frequently in later years. In 1955, his work was noticed by art critics at the Denise Rene Gallery and in 1956 he showed two works at the Salon des Réalités Nouvelles in Paris. In this period he was greatly impressed by Vasarely’s theories of kinetic art. In Paris he also met Hans Arp and was friends with Nina Kandinsky, the painter's widow, and Roberta González, the daughter of sculptor Julio González.
|
|
Blockbuster summertime exhibitions began in 2003 with TREEmendous TREEhouses. Chihuly in the Garden opened in 2004, while in 2005 Locomotion in the Garden featured G-scale model trains. On April 29, 2006, an exhibition of the sculpture of Niki de Saint Phalle opened to the public. These huge mosaic sculptures came to the Garden from France, Germany, and California. In 2007, the exhibition was David Rogers' Big Bugs and Killer Plants, and 2008 is Sculpture in Motion, Art Choreographed by Nature, a display of moving, kinetic art.
|
|
In the early 1960s, Klüver began to collaborate with artists on works of art incorporating new technology, the first being kinetic art sculptor Jean Tinguely on his Homage to New York (1960), a machine that destroyed itself that was presented in the garden at MOMA. He was introduced to Jean Tinguely by Pontus Hulten, then director of the Moderna Museet, Stockholm. Robert Rauschenberg also assisted on Homage to New York. Klüver then worked on Robert Rauschenberg’s environmental sound sculpture called Oracle; and later with Yvonne Rainer on her dance in House of My Body.
|
|
In 1986 she exhibited the computer-controlled drama entitled Conjunction of Opposites at Arte e Scienza at the prestigious Venice Biennale XLII. During the nineties, Lijn turned her attention inward, using her own body often with video functioning as memory encapsulated in light. Guy Brett, the art critic and early curator of Kinetic art, states that much of Lijn’s work is an attempt to ‘integrate light (neon, video, fire) with bronze. To transmute a traditional material into a new and vibrant element by juxtaposing it with new technologies’.
|
|
This early performance evidenced the Pilobolus style that would last for decades that used the movements of the human body and interlinkings between members to create a form of kinetic art. Wolken ended his dance career several years after the troupe was formed but continued to choreograph performances including "Pseudopodia" (1973), "B'zyrk" (2007), and "Razor: Mirror" (2008). His final production, "Hitched", began performances in summer 2010 during the company's annual month-long series at the Joyce Theater in New York City and were dedicated to his memory.Macaulay, Alastair.
|
|
From Kinetic Art, Gego incorporated the ideas of motion as well as the importance of experimentation and the spectator. One of her earliest works, Esfera (Sphere) (1959), consists of welded brass and painted steel of different widths that are placed at different angles to one another in order to create overlapping lines and fields. When the viewer walks around the sphere, the visual relationship between the lines changes, creating a sense of motion. Esfera echoes the work done by famous Kinetic artists like Carlos Cruz-Diez and Jesus Rafael Soto.
|
|
Between 1960 and 1967 he lived in Paris and dedicated himself to art, teaching and experimental cinema. At the end of the sixties, it prioritized the most theoretical and teaching research field. In 1968, again in Barcelona, he was appointed director of the Elisava design school (a position he would hold until 1980), where he began a long research on visual communication that culminated in a thesis dedicated to this specialty. In Barcelona he maintains an outstanding artistic and cultural activity, especially in the search for kinetic art.
|
|
In 1996, Rosemary Myers designed an ambitious creative project entitled AnthroPOPtrilogy, which consisted of three separate plays, Autopsy, Mass and Panacaea. She collaborated with Bruce Gladwin, Hugh Covill and Julienne O’Brien to create these works. This hybrid theatre focused on projection techniques, kinetic art, amplified music and fragmented narrative. In 1999, Arena received the Honorary President’s Award of the International Association of Theatre for Children and Young People (ASSITEJ). The judging panel for the award cited Arena’s multimedia approach as indicative of a new direction for theatre for young people.
|
|
He worked two years at the Center of Contemporary Engraving in Geneva and then in Zürich, where he collaborated with the painter Friederich Kuhn. Between 1968 and 1970, he studied at the School of Design and Crafts in Göteborg, where he researched textile kinetic objects. There, through his discussions with artists Jesús Rafael Soto, Carlos Cruz-Diez and Julio Le Parc, he became increasingly interested in by Op art and decided to devote all his research to Kinetic art. He started to increasingly integrate movement and geometric shapes in his textiles and oil paintings.
|
|
The Olympic Museum is surrounded by a park containing numerous works of art on the theme of sports. Among the most notable works of art in the museum's permanent collection are the French sculptors Auguste Rodin's The American Athlete and Niki de Saint Phalle's Les Footballeurs, the Luxembourgish sculptor Lucien Wercollier's tribute to the pole vault titled Altius, the Colombian sculptor Fernando Botero's Jeune Fille a la Balle, and a kinetic art sculpture by the Swiss sculptor Jean Tinguely which combines a hockey stick, a boar's head, and a motorbike wheel.
|
|
Ayoroa was at the forefront of the kinetic art movement in the mid-1950s. His paintings are filled with geometric elements and contrasts of warm and blue colors. His sculptures are made with Plexiglass bent into geometric shapes to look like perpetual motion. Ayoroa's art hangs in the Hirshhorn Museum and Sculpture Garden; the Library of Congress; National Museum of American Art; Smithsonian Institution; Museum of Modern Art of Latin America at the Organization of American States, Museum of Modern Art in Bogota, Colombia and National Museum of Fine Arts in La Paz, Bolivia.
|
|
Paul Friedlander (born 1951) is a light artist who first trained as a physicist. Friedlander obtained a bachelor's degree in Physics and Mathematics at the University of Sussex and was tutored by Sir Anthony Leggett who later was awarded a Nobel Prize for his work on superfluidity. In 1976 he graduated with a B.A. in Fine Art at Exeter College of Art, UK. Friedlander worked as a lighting and stage designer for theatrical productions and avant-garde music before devoting himself to kinetic art at the age of 36. He lives and works in London, United Kingdom (UK).
|
|
Kahlo's work commands the highest selling price of all Latin American paintings. The Venezuelan Armando Reverón, whose work begins to be recognized internationally, is one of the most important artists of the 20th century in South America; he is a precursor of Arte Povera and Happening. From the 60s the kinetic art emerges in Venezuela, its main representatives are Jesús Soto, Carlos Cruz-Diez, Alejandro Otero and Gego. Colombian sculptor and painter Fernando Botero is also widely known by his works which, on first examination, are noted for their exaggerated proportions and the corpulence of the human and animal figures.
|
|
Metal Waste and or scrap is produced at a very large quantity. Considering the fact and to spread the awareness on upcycling scrap, Kinetic Art Sculpture has been developed and installed at Swachhta Park, Nisarg Udyan, Kopar Khairane. Plastic Waste: Recycledelic FIFA Mural: Not limiting to one waste form the NMMC moved ahead and developed 'Recycledelic FIFA Mural' under Swachh Bharat Abhiyan (Swachh Navi Mumbai Mission) and presented another new life form for the plastic waste to ensure proper awareness on Waste Management and upcycling. With the vision to transform Navi Mumbai into Zero waste, Eco Friendly, Smart Art City.
|
|
Alexander Calder, Red Mobile, 1956, Painted sheet metal and metal rods, a signature work – Montreal Museum of Fine Arts Alexander Calder is an artist who many believe to have defined firmly and exactly the style of mobiles in kinetic art. Over years of studying his works, many critics allege that Calder was influenced by a wide variety of sources. Some claim that Chinese windbells were objects that closely resembled the shape and height of his earliest mobiles. Other art historians argue that the 1920s mobiles of Man Ray, including Shade (1920) had a direct influence on the growth of Calder's art.
|
|
In 1971 Zongolopoulos made an impact in Greek Art by becoming one of the first Greek artists who adopted and introduced kinetic art in Greece. A major factor during Zongolopoulos occupation with that genre was the usage of water power and light in his creations, which were mostly created with stainless steel. The same year he acquired an atelier in Paris which was used by Zongolopoulos as a base for his activities in France etc. (Zongolopoulos and his wife used to spend almost half of a year in Paris in order to attend or participate in various events for about a decade).
|
|
Katy Horna introduced Grobet to the world of photography, though the main influences in her early career were Mathias Goeritz, Gilberto Aceves Navarro, El Santo and others. Grobet studied as a painter in Mexico for some time and then took a trip to Paris in 1968, it changed her life and the way that she viewed the art world. While she was in Paris she visited a lot of art galleries and discovered Kinetic Art and because of this, she likes to work with Multi-Media. She spent some time working with a Jazz concert controlling lighting and kinetic projections.
|
|
In the 1970s the fortress was renovated and the interior redesigned by the artist César Manrique, who was born nearby, to house a museum of modern art. The museum opened to the public in 1976 as the International Museum of Contemporary Art (, abbreviated as MIAC). The exhibits are primarily from the period between 1950 and 1980, with a focus on various abstract art forms, such as modern sculpture, kinetic art, and geometric abstraction. The works are mainly by Spanish artists including Joan Miro, Antoni Tàpies, Eusebio Sempere and the El Paso group, one section is also dedicated to the Canarian artist Pancho Lasso.
|
|
A.TE.M. Langen Die Unabhängigkeitserklärung In the early 1980s, Marc van den Broek focused largely on spatial installations based on a symbiosis of art and technology: the flying objects known as mutants. In 1984, he began developing works of kinetic art, culminating in the Archaic-Technological- Metamorphosis (A.TE.M.) in 1987–1989. A.TE.M. is the manifest expression of Marc van den Broek's overall intellectual and spiritual concept: The archaic is represented by the basic forms (sphere, cube and pyramid); the technological aspect is the principle underlying the construction of the objects, and metamorphosis is realized in the movements of the objects.
|
|
Robots are used by contemporary artists to create works that include mechanical automation. There are many branches of robotic art, one of which is robotic installation art, a type of installation art that is programmed to respond to viewer interactions, by means of computers, sensors and actuators. The future behavior of such installations can therefore be altered by input from either the artist or the participant, which differentiates these artworks from other types of kinetic art. Le Grand Palais in Paris organized an exhibition "Artists & Robots", featuring artworks created by more than forty artists with the help of robots in 2018.
|
|
The Nouvelle Tendance was more accurately a reflection of common approaches used by artists in a variety of simultaneous movements worldwide, such as Concrete art, Kinetic art, and Op Art. The main consideration of the movement has been described as the "problem of movement as conveyed through repetition". The "sensation of displeasure" is provoked in some Nouvelle Tendance works, to "stimulate a more active field of vision" and interest the spectator in an "auto-creative process". Distinct self-identified groups of artists who became associated with Nouvelle Tendance included GRAV, Gruppo T, Gruppo N, and Zero.
|
|
EAI was founded by Howard Wise, an art dealer and supporter of video as art. From 1960 to 1970, the Howard Wise Gallery on 57th Street in New York was a locus for kinetic art and multimedia works that explored the nexus of art and technology. The gallery featured several groundbreaking exhibitions, including On the Move (1964), Lights in Orbit (1967), and TV as a Creative Medium (1969). Seeking to create new paradigms to support artists working in the nascent video underground, Wise closed the gallery in 1970 to found the nonprofit organization Electronic Arts Intermix.
|
|
KC Adams (born 1971) is a Cree, Ojibway, and British artist and educator based in Winnipeg, Manitoba. She is a multi-media artist who works in sculpture, installation, drawing, painting, photography, ceramics, printmaking and kinetic art."Bio" KC Adams Website (retrieved 23 July 2012) She is well known for creating artwork that draws inspiration from popular culture and science fiction to deal with contemporary social issues."Foundation Mentorship Program 2007-2008" Mentoring Artists for Women's Art (retrieved 27 July 2012) Her work addresses racism, colonization, human impact on land and the challenges and perceptions of Indigenous people.
|
|
In the early 1960s he became involved In the Op art and Kinetic art movements, exhibiting with Bridget Riley, Jeffrey Steele, Michael Kidner and Peter Sedgely. A fascination with interferometry influenced his work at this time and enabled him to develop the linear element in the collage works into a form of optical painting. This work was done using fast acid dye on canvas and an acrylic resist line for the structure of the paintings. During this period Allen was also working on a series of black and white OP paintings in PVA and oil on board and graphic Op art works.
|
|
Larrain's first one-man painting show was held in New York City at the Southampton East Gallery on 72nd Street in 1966. In addition to photography, Larrain began to add additional visual art forms. His paintings explored the space of shapes, colours, and materials; his kinetic art explored the space of light and volumes through neons and inflatable structure, which he showcased at the fifth Biennale de Paris “Espaces dynamiques en constant mouvement” and won the Les Levine prize with Francois Dallegret for their common work, Tubalair, at the sixth Biennale in 1969. In 1968, The New York Post Daily Magazine featured an article about Larrain written by Nora Ephron.
|
|
Oliver Bevan (born 28 March 1941) is an English artist, who was born in Peterborough and educated at Eton College. After leaving school he spent a year in 1959–60 working for Voluntary Service Overseas in British North Borneo before returning to London to study painting at the Royal College of Art, where he became strongly influenced by Op Art and in particular the work of Victor Vasarely. Bevan graduated from the RCA in 1964 and had his first exhibition of Op Art-inspired paintings the following year. Optical, geometric and kinetic art then served him well until the late 1970sJames Pardey, 'Oliver Bevan: In Search of Utopia'.
|
|
Architainment is a portmanteau of the two words Architecture and Entertainment. Architainment is generally associated with the word lighting or LED, and describes a process in which an inanimate material object as distinct from a living sentient being is apposed an entertaining element via light, media, kinetic or other medium; thus giving it a dual purpose. Recent technologies and art field such as colour changing LED lighting or motion detection or kinetic art have increased the visibility and versatility potential and brought this new discipline into life. Some examples of architainment: The fully automated Sky Symphony installation of 1001 Kinetic LED Winches in Genting Highlands.
|
|
Bruce Gray (born November 14, 1956 Orange, New Jersey, died June 8, 2019 Los Angeles, California) was an artist residing in Los Angeles. His work includes kinetic art such as rolling ball machines, mobiles, stabiles, and suspended magnetic sculptures. He also creates found objects sculptures such as a lifesize motorcycle sculpture constructed from train parts, and giant objects such as a large aluminum wedge of Swiss cheese and giant high heel shoes.Footwear News Magazine article on High Heel Shoe sculptures by Bruce Gray Gray's work has been displayed at many museums, art galleries, and is part of over 1200 corporate and private art collections.
|
|
Light sculpture and moving sculpture are the components of his Light-Space Modulator (1922–30), One of the first Light art pieces which also combines kinetic art.Tate bio Retrieved January 17, 2011 Retrieved January 17, 2011 The multiple origins of the term itself involve, as the name suggests, light and movement. There was an early cybernetic artist, Nicolas Schöffer, who developed walls of light, prisms, and video circuits under the term in the 50s. Artist/engineer Frank Malina came up with the Lumidyne system of lighting (CITE), and his work Tableaux mobiles (moving paintings) is an example of Lumino Kinetic art of that period.
|
|
While at Harry Winston, Inc. Rare Timepieces Büsser realized that he derived his greatest pleasure and satisfaction when developing concept- style watches for the Opus series, which motivated him to create his own brand and focus on creating three-dimensional kinetic art that he calls "Horological Machines". Büsser's goal for MB&F; (for Maximilian Büsser and Friends) is for the company to remain small enough not to require a middle layer of management, which Büsser feels is detrimental to creativity. To that end he has capped the head count at 20 people and sells his timepieces in the hundreds rather than the thousands, although the majority of the brand's watches sell for upwards of $50,000.
|
|
The high quality of the exhibitions taking place several times a year attracts visitors from the lower Rhine area as well as the Netherlands. The first exhibition in 1981 showed works by the realist painter Dieter Asmus, followed by ones showing diverse styles up to kinetic art by Günter Haese (2007). The most outstanding artists whose exhibitions where often accompanied by special publications, were for example Christoph Meckel (1987), Hermann SchmitzAngelika Pack: Hermann Schmitz. Ein rheinischer Maler. Viersen 1987 (1987), Henry Moore (1989), Erwin Heerich (1990), Tony Cragg (1996), Lothar-Günther Buchheim (1997), Anatol (2002), Roberto Matta (2002), Georg Ettl (2003), Ewald Mataré (2004), ZEBRA (2005), Martin Lersch (2006), Günter Haese (2007)Joachim Peter Kastner: Günter Haese.
|
|
391, July 1920 (N13), Museum of Modern Art, New York Duchamp's interest in kinetic art works can be discerned as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art", he retained interest in visual phenomena. In 1920, with help from Man Ray, Duchamp built a motorized sculpture, Rotative plaques verre, optique de précision ("Rotary Glass Plates, Precision Optics"). The piece, which he did not consider to be art, involved a motor to spin pieces of rectangular glass on which were painted segments of a circle. When the apparatus spins, an optical illusion occurs, where the segments appear to be closed concentric circles.
|
|
Shortly after he received a French Baccalaureate at Lycée Français, he spent brief periods of time at M.I.T. and New York University, and eventually at Ecole Nationale des Beaux- Arts in Paris where he studied architecture and worked in city planning (1960-1965). He also continued drawing and painting. Throughout the 1960s, Larrain was a pioneer in kinetic art, using air, smoke, light, inflatable structures, water and neon tubes as means of artistic expression. In 1963, Larrain traveled to Oaxaca to study in Monte Alban and Mitla, where he realized drawing was insufficient to capture everything needed for information — photography became the essential medium to ask the right questions and get the right answers.
|
|
MB&F;, the world’s first-ever horological concept laboratory made its mark on history in 2019 by completing its 14th year of hyper- creativity. With 17 remarkable calibers constituting the basis of the critically acclaimed watchmaking and heritage machines, MB&F; is sticking with its Founder and Creative Director Maximilan Büsser’s vision of creating 3-D kinetic art by unpacking traditional watchmaking. The work of MB&F; is intrinsically linked to the recognition of the individuals involved in each project as a key branding element. As a high-end watch brand, MB&F; made its open transparency regarding their partners and collaborators a trademark. The Friends’ skills, - product design, case and movement manufacture, finishing, logistics, photography and communication, etc.
|
|
The books were published in 1970–73, by which time Bevan had also collaborated with the composers Brian Dennis and Grahame Dudley on a production at the Cockpit Theatre of Dennis's Z'Noc, a thirty-minute experimental piece in which the musicians take their cues from a constantly changing display of abstract colours, shapes and shadows that Bevan created by projecting light onto three mobiles.Brian Dennis, 'Experimental School Music'. The Musical Times, August 1972. This led Bevan to experiment with Polaroid as a medium for other types of kinetic art, and in 1973 he produced the first of his lightboxes using polarising filters and fluorescent tubes, with more complex versions employing electric motors and sets of slowly rotating discs.
|
|
Speaking box The artist at work on the painting "The mongol crosses the street", 1974 Women's libber, 1990. Speaking object Irma Hünerfauth, also known as "IRMAnipulations" (31 December 1907 – 11 December 1998) was a German painter, sculptor and object artist who turned junkyard scrap into sculptures, machines and kinetic art objects that mocked consumer society. She opposed traditional academic art, rebelled against academism and followed radical contemporary art trends in post-war Germany. Through her work she is related with the concept of artists from the post-war modernity (Abstract expressionism, Fluxus, Informalism, Tachisme) as well as the Nouveau Réalisme group of artists, such as Niki de Saint-Phalle, Jean Tinguely, Arman as well as Daniel Spoerri.cf.
|
|
Franz Führer worked as a construction manager for the public utilities of Munich. As an artist, Führer-Wolkenstein worked closely with Hünerfauth and assisted her with detailed electrotechnical work for her multimedia art projects. After his retirement he created kinetic art objects, so-called recycling machines. In 1954 Hünerfauth received private training from Conrad Westpfahl, an important artist of Informal Art, which led her to abstract painting. In 1958 she attended courses on etching and lithography. In 1959, she was awarded the Prix d'Unions des Femmes Peintres in Paris for her painting titled Düsternis (Gloom). Two female artists (Lentz and Strauss) expressed their disapproval and one of them cut her painting with a knife.
|
|
At his first solo exhibition (Bjelovar, 1940) he exhibited drawings and sculptures where the predominating subjects were female nudes in stone, characterized by reduced curves and closed volumes. From 1940 he participated at many national and international exhibitions: the Venice Biennial (1950, 1956, 1964), the Mediterranean Biennial in Alexandria (1956, 1969), the Milan Triennial XI (1957), Documenta in Kassel (1959), the Rijeka Salon (1959, 1961). He also exhibited with Ivan Picelj and Aleksandar Srnec in Paris (Gallery Denis René, 1959) and London (1960). He participated at the New Tendencies exhibitions (Zagreb, 1963, 1969, Gelsenkirchen, 1969 and Mainz, 1971), the São Paulo Biennial (1969), and at the exhibition Constructivism and Kinetic Art (Zagreb, 1995).
|
|
In his Desplazamiento de un cuadro transparente (1953–54) he created a spatial effect on a plane surface that latter was developed in a tridimensional way, superimposing two or more Plexiglas sheets, transparent but painted with straight or curved drawings that changed the way they were seen as the spectator moved, inviting the participation of the public. This work was the response to a discovery: the ambiguity of spatial perception In 1955 Soto participated in the exhibition Le Mouvement, in the Denise René gallery, in Paris. Other artists being shown were Yaacov Agam, Marcel Duchamp and Victor Vasarely. The exhibition prompted the publication of the ‘Yellow Manifest’ about kinetic art and the visual researches involving spectators and stimulus.
|
|
The exhibitions were held in a number of museums and galleries across Zagreb presenting the latest work from internationally known artists. At the first exhibition in 1961, a common theme was the investigation of the relationship between structure and surface, and the beginnings of programmed and kinetic art, a topic that was to be developed further in the following exhibition of 1963. Experiments in visual perception gave a scientific dimension, and by the third exhibition in 1965, artists were examining the relations between cybernetics and art, and events included a symposium on the topic. The 1968/69 exhibition and colloquium dealt further with ideas of information theory and aesthetics, called "Computers & Visual Research".
|
|
The Navi Mumbai Municipal Corporation in collaboration with Green Society Forum has created various murals by Upcycling different types of waste. It has been done to create an awareness amongst the residents, working people and visitors on 4 R's Reduce, Reuse, Recycle and Retain E-Waste: Mother India Board: Waste Management by giving new life to e-waste ie. upcycling, it has Developed two Mother India Boards by using non functional mother boards of Laptops. The first one is installed is Navi Mumbai Municipal Corporation Headquarter, Palm Beach Road, Belapur in the NMMC's Solid Waste Management Directors cabin and second one in Swachhta Park, Nisarg Udyan, Kopar Khairane Metal Waste: Kinetic Art Sculpture: As NMMC has a biggest Industrial Zone.
|
|
At this point, "mobile" was synonymous with the term "kinetic art", describing sculptural works in which motion is a defining property. While motor or crank-driven moving sculptures may have initially prompted it, the word "mobile" later came to refer more specifically to Calder's free-moving creations. Influenced by the abstract work of Piet Mondrian, Joan Miró and Sophie Taeuber-Arp, Calder in many respects invented an art form where objects (typically brightly coloured, abstract shapes fashioned from sheet metal) are connected by wire much like a balance scale. By the sequential attachment of additional objects, the final creation consists of many balanced parts joined by lengths of wire whose individual elements are capable of moving independently or as a whole when prompted by air movement or direct contact.
|
|
The Centre of Attention is a London-based contemporary art organisation set up in 1999. Projects are shown internationally and constitute an ongoing enquiry into the phenomenon of art production, presentation and consumption. The Centre's participatory or Gonzo curating approach include controversial exhibitions such as "Viva la republique" set during the Golden Jubilee with Banksy, Jamie Reid and Genesis P-Orridge; "The curators" which entirely eliminated the artists from the exhibition by putting the curators on display, as well as in-depth solo projects with artists such as a Fluxus concert with Ken Friedman or a kinetic art retrospective of Nicolas Schöffer. The Centre of Attention was selected for the 51st Venice Biennale by curator Rosa Martinez and presented Swansong/Schwanengesang an installation with works from Benedict Carpenter, House of O'Dwyer, Damien Roach and Wolfgang Tillmans.
|
|
Much of the importance of this art collection is in its specialization on works that proved instrumental in the launching, particularly in the United States, of the careers of many who are now regarded as masters of mid-century Latin American and Caribbean art. The collection represents numerous significant artistic trends that have developed in Latin America, including new figuration, geometric abstraction and lyrical, conceptual art, optical and kinetic art, among other movements. AMA continues to organize exhibitions and programs for young and emerging artists, providing a space for cultural expression, creativity, and dialogue while highlighting issues central to its parent organization (democracy, equitable development, human rights, justice and innovation) through the arts. This mission is strengthened through cutting-edge programming emphasizing art of a high technical caliber that simultaneously furthers dialogue on current relevant social and political matters.
|
|
Major works have been included with artists Rebecca Horn, Robert Rauschenberg and Alexander Calder in an extensive traveling museum exhibition; "Drehen, Kreisen, Rotieren", and in "Genesis—The Art of Creation" with Joseph Beuys, Antony Gormley, Bruce Nauman at the Zentrum Paul Klee, Switzerland. His works are in international collections including a commissioned interactive installation on permanent view in Germany’s comprehensive kinetic art collection at the Kunstmuseum Gelsenkirchen. Fried first became known to the New York established art world in the early 1980s through his activities as a painter in the street art group AVANT, AVANT on Wikipedia who alongside the then emerging artists Richard Hambleton, Keith Haring and Jean-Michel Basquait began the post-graffiti street art movement in NYC.Robinson, David (1990) Soho Walls – Beyond Graffiti, Thames & Hudson, NY, His efforts are mainly concentrated in Europe since relocating his studio from NYC to Düsseldorf in 1989.
|
|
Among the latest trends in Argentine painting are new figurativism, pop art, new surrealism, hyperrealism, systems art, new abstract art, kinetic art, and ephemeral art. New Figurativism, formed in the 1960s, La Nueva Figuración, reunió en la década del 60, varios artistas que adoptaron el nombre de "Otra Figuración", que recuperan la figura humana, pero con el fin de darle formas libres, muchas veces monstruosas y cadavéricas. The New Figuration, met in the decade of 60, several artists who adopted the name "Another Figuration," recovering the human figure, but in order to give free-form, often monstrous and corpses. Los artistas más destacados de esta corriente son Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. The most prominent artists of this current is Jorge de la Vega, Rómulo Macció, Luis Felipe Noé, Antonio Seguí, Miguel Á. Dávila, Juan Carlos Distéfano .
|
|
In 1969, after researching its concepts, the members of the ISB had joined the Church of Scientology, and expressed some of their changing views on their subsequent studio album, Changing Horses, later in the year. In November 1969, at the Hotel Chelsea in New York City, the ISB met two ex-members of David Medalla's kinetic art group the Exploding Galaxy, after the troupe unsuccessfully tried to negotiate a recording contract with MGM Records. Former members Malcolm Le Maistre and Rakis, as well as their newly formed dance ensemble the Stone Monkey, took residency at the ISB's commune in Glen Row to help the band, especially Robin Williamson, realise their vision for a multi-media stage act. Described as a "surreal parable in song and dance" by Williamson, U was "neither a pageant, a play, dance, theater, nor pantomime, though there were elements of all of those" in the show.
|
|
Video a: Uli Aschenborn with his changing painting Girl-Elephant (Kinetic art) Video b: Sculpture-Morph, Male Life Cycle, 2003, 40 x 40 x 40 cm Video c: The eyes of the Ovahimba Woman follow the onlooker, 2009, 29 x 21 cm Video d: This etching can be turned upside down, note many overlapping details, 2005, 12 x 12 cm Video e: Mountain or Crater, this drawing can be turned upside down, 21 x 29 cm Hans Ulrich "Uli" Aschenborn (born 6 September 1947 in Johannesburg, South Africa) is an Southern African animal painter.Kloppers, Sas (2012), Directory of Namibian Artists Dream Africa Productions and Publishing, page 140 (in print), Republikein in Windhoek The musea in Windhoek and Swakopmund (Namibia) have artwork of Uli as well as the National Art Gallery of Namibia.100 years of African animal painting - The Aschenborn Family is dedicated to art, Allgemeine Zeitung (Windhoek), 20.10.2017Peinhardt-Franke, Ingrid (24.12.
|
|
Since 1999 he specializes in the design and execution of large to monumental kinetic sculptures for public places from his studios in West Palm Beach, Florida, USA and Geneva, Switzerland. Sculpture designs range in size from 2 ft to 180 ft. Sculptures have been exhibited or installed in Switzerland, Russia, Styl Zhizni (LifeStyle) - Magazine Article in Russian about Ralfonso Solo Exhibition in St. Petersburg, Russia Elle Magazine Russia - Magazine Article in Russian about Ralfonso Solo Exhibition in St. Petersburg, Russia - Cosmo Magazine Russia - Magazine Article in Russian about Ralfonso Solo Exhibition in St. Petersburg, Russia - Netherlands,Sprezzatura (Netherlands) Article in Dutch about Ralf Gschwend and KAO at the ART IN MOTION Biennale - China,Art that moves -Official Contest of Landscape Sculpture Designs for Beijing 2008 Olympic Games International Tour Exhibition - 6-25-06 China Stardaily Article with Ralfonso Olympiad PictureRalfonso Olympic Committee Speech - Kinetic Art and to Olympic Union of All People - China Sculpture Mag. Edition 3 2006 - , , Germany and the USA.
|
|
Animated example of what a glitched video can look like by Michael Betancourt. (Mae Murray in a screen test) Betancourt has written about glitch art as both an artist and a critic and employs glitches in his videos. José Manuel García Perera, a Universidad de Sevilla painting professor, criticized Betancourt's work with glitch, stating: > Michael Betancourt's video work, part of the so-called glitch art, which > focuses on the failure that can occur within the digital realm, has been > here the basis for a comparative study between different concepts of > movement in art, as well as between a current and a past art, a comparison > that allows us to see clearly how technological advances have produced > radical changes in the physical, spatial and mobile nature of the artwork. > Betancourt's investigation proposes a new kinetic art that becomes critical > through error, mimics the real-time movement that contemporary culture > demands, and uncovers the artificiality of images that mimic reality as if > they wanted to replace it.
|
|
Ian Chilvers & John Glaves-Smith, A Dictionary of Modern and Contemporary Art. Oxford University Press, p. 291 that consisted of eleven opto-kinetic artists, like François Morellet, Julio Le Parc, Francisco Sobrino, , Yvaral, and Vera Molnár, who picked up on Victor Vasarely's concept that the sole artist was outdated and which, according to its 1963 manifesto, appealed to the direct participation of the public with an influence on its behavior, notably through the use of interactive labyrinths. GRAV was active in Paris from 1960 to 1968.Ian Chilvers & John Glaves-Smith, A Dictionary of Modern and Contemporary Art. Oxford University Press, p. 291 Their main aim was to merge the individual identities of the members into a collective and individually anonymous activity linked to the scientific and technological disciplines based around collective events called Labyrinths. Their ideals enticed them to investigate a wide spectrum of kinetic art and op art optical effects by using various types of artificial light and mechanical movement.
|
|
Designers also created a miniature lamp Dandelight, following the same concept. Fragile Future turned out to be the most successful project of Studio Drift so far. In 2008 it won Light of the Future award from the German Design Council () and later different versions of this art work were included into permanent collections of Stedelijk Museum and Victoria and Albert museum. It was displayed in many cities globally including New York (2010), Jeruzalem (2011), Abu Dhabi (2013), São Paulo, (2014) London (2015). and in Venice during the Art Biennale (2019) Studio Drift’s first commercial project was a series of outdoor benches made in 2007 for the Amsterdam Botanical Gardens named the Water Web Bench. In 2008, artists presented their Ghost Chair at the Milan Furniture Fair. In 2010, the duo was invited to New York to make Fragile Future installation for the Dead or Alive exhibition at the Museum of Arts and Design. In 2011, studio showed their kinetic art project Flylight during the Salone del Mobile and later in 2012 at the Venice Biennale of Architecture.
|
|
These latter works, dynamic collages that featured a tight weave of horizontal and vertical bands of multihued paper, show the artist experimenting with the spatial and optical effects of line and color. The idea of the module in Otero's practice first emerged in these works, in which he exhaustively explored a dynamic conception of space and pictorial structure typical of Op Art and Kinetic Art. Drawn back to Caracas, he was invited to participate in the integration of the visual arts into the architectural program of the Ciudad Universitaria de Caracas, a project directed and promoted by the architect Carlos Raúl Villanueva, and considered the most advanced effort in architecture and urbanism in the country. As part of a large group of Venezuelan and foreign artists (including Hans Arp, Alexander Calder, Fernand Léger, Victor Vasarely, Mateo Manaure, Francisco Narváez, and Jesús Rafael Soto) contributing to the project, Otero realized a series of large-scale public works, including murals, stained glass windows, and Policromías (Polychromies), facades in glass mosaic.
|
|