{"title":"Op Art","description":"\u003cp\u003eOp Art, short for Optical Art, emerged in the early 1960s as a movement focused on optical illusion, perceptual instability, and the visual energy generated by precisely calibrated geometric pattern. The label was coined by \u003cem\u003eTime\u003c\/em\u003e magazine in October 1964 in response to Julian Stanczak's exhibition at the Martha Jackson Gallery in New York. \u003cem\u003eThe Responsive Eye\u003c\/em\u003e, curated by William C. Seitz at the Museum of Modern Art from February to April 1965, drew more than 180,000 visitors and consolidated the public reception of the movement. The visual programme drew on Constructivist, Bauhaus, and Neo-Impressionist precedents.\u003c\/p\u003e\n\n\u003cp\u003eThe Hungarian-French painter Victor Vasarely (1906–1997) had developed the system through the late 1940s and 1950s and remained its central figure, with the canonical \u003cem\u003eVega\u003c\/em\u003e series of the 1960s. Bridget Riley (born 1931) anchored the British wing, with the early black and white paintings \u003cem\u003eMovement in Squares\u003c\/em\u003e (1961), \u003cem\u003eCurrent\u003c\/em\u003e (1964), and \u003cem\u003eCataract 3\u003c\/em\u003e (1967) fixing the canonical examples of perceptually unstable composition. Richard Anuszkiewicz (1930–2020) developed the American chromatic variant under the influence of Josef Albers. The Venezuelan painters Jesús Rafael Soto (1923–2005) and Carlos Cruz-Diez (1923–2019) extended the programme into kinetic and chromographic registers, alongside the Israeli Yaacov Agam, the French Julio Le Parc and François Morellet, and the Polish Wojciech Fangor. Editioned silkscreens carried the work to its widest audience.\u003c\/p\u003e\n","products":[],"url":"https:\/\/symbolartgallery.com\/collections\/op-art.oembed","provider":"Symbol Art Gallery","version":"1.0","type":"link"}