Cruz-Diez 2016

Cruz-Diez 2016

Galería Cayón

“One of the questions I would ask myself early in my career was why a work of art had to be an object of reverence, something displayed on a wall so that the faithful could come and pay homage. I then asked: why not draw the public into the work, so that I would fulfill one part of it and the viewer the other? In this sense, Chromosaturation is no longer a contemplation but a vital experience”

Galería Cayón, Carlos Cruz-Diez 2016, 2016

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To Art its Freedom

UBS Art Collection: To Art its Freedom

Dieter Buchhart, Mary Rozell

The first major publication on the UBS Art Collection in nearly a decade presents a visual essay that captures the essence of the collection as well as the various impulses that have shaped it across decades and continents. In addition to over 200 color illustrations, the publication features a text on the history of the collection written by Mary Rozell, Global Head UBS Art Collection, and an essay by noted scholar and curator Dieter Buchhart which positions the collection within an art historical framework.

Dieter Buchhart, Mary Rozell, UBS Art Collection: To Art its Freedom, Hatje Cantz Verlag GmbH & Company KG, 2017

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Mes Années 50

Mes Années 50

Galerie Denise René, with texts by by Jean-Yves Mock, Catherine Millet and Serge Fauchereau

The Denise René Gallery is known as responsible for the international recognition of geometric and kinetic art artists of the post-Second World War era. Avant-garde gallerist Denise René herself launched leader of the op-art movement Victor Vasarely’s career, who she exhibited in 1944 for the inauguration of her gallery. This catalogue documents Galerie Denise René’s exhibitions from the 1950s.

Galerie Denise René, Mes Années 50, catalogue, 1988

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Origins of Virtualism: An Interview with Frank Popper

Origins of Virtualism: An Interview with Frank Popper

Joseph Nechvatal 

“I certainly was aware of the possibilities of an enlarged perception and cognition in the public which was solicited by the members of the Nouvelle Tendance and other Op artists, including those specifically concerned with programmed and permutational art. Their activities formed not only a basis for the development of spectator participation into a still more global interactivity in the virtual era, but included also such plastic phenomena as virtual movement, virtual vibration, virtual light and virtual colors, both “musical” and environmental. This is clearly discernible already in the work of Victor Vasarely, Yaacov Agam, Carlos Cruz-Diez, Jesus-Rafael Soto and the GRAV group.” (…)

Joseph Nechvatal, Origins of Virtualism: An Interview with Frank Popper, University of Paris 8 – Paris 2003

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Life Imitates Op Art

Life Imitates Op Art

Spencer L Smith & Ikuko T Smith

“Moiré interference occurs when two periodic structures are superimposed such that a new spatial structure emerges, an effect that is exploited in the works of op artists such as Carlos Cruz-Diez and Ludwig Wilding. In this issue, Paik and Ringach1 demonstrate how moiré interference can account for the architecture of orientation maps . The underlying periodic structures are the evenly spaced mosaics of ON and OFF retinal ganglion cells, and the orientation map is a result of the relative positions of these two superimposed mosaics.”

Spencer L Smith & Ikuko T Smith, Life Imitates Op Art, Nature Neuroscience, volume 14, 2011

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Geometry Beyond Limits

Geometry Beyond Limits

Jean Cherqui, ed. Laura Maggioni and texts by Serge Lemoine and Matthieu Poirier

A catalogue of Latin American contemporary art from the Jean and Colette Cherqui collection, Published in conjunction with the exhibition Geometory Beyond Limitsat the Maison de l’Amérique latine, Paris, 2010. Within the collection are works by artists, Carlos Cruz-Diez, Miguel Chevalier, Luis Tomasello and Antonio Asis

“Modern and contemporary painting has been our world for the last forty years by way of exhibitions, galleries, auction rooms, workshops and endless books on art and art history, and it is now clear that our deepest interest lies in “constructed abstract art”. We started by collecting the work of classical and impressionist artists, the Paris school and so on. In the 1970s, Nathalie Seroussi opened a young, dynamic space known as Galerie Quincampoix. That is where we first saw Arden Quin’s work.
At last, the essential could be said with a relatively reduced alphabet, which resulted in sparing, delicate yet playful geometric works. It was art without effects, but the effect on us was mind-blasting.
From then on, we rather frenetically accumulated a lot of works of “geometric abstraction” rom all the continents, particularly Latin America and Europe, between which Arden Quin spanned the gap exactly. Lines, circles and squares were the simple tools shared by the artists we chose. Our interest in optical and kinetic art came later.
Geometrical forms were animated by optical illusions, physical movements or even just slight shifts in light.
Our adventure took on a new dimension. ” – Colette and Jean Cherqui

Jean Cherqui, Geometry Beyond Limits, 5 Continents Editions srl, 2010

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Art in Guri

Art in Guri

Alfredo Boulton

An exhibition catalogue. This book was written not only to highlight the beauty that lies within the horizon of the Guri Dam, but also to honor the work of Carlos Cruz-Diez.

“Cruz-Diez used his imagination to fill with color and festive designs the tall walls and spaces of Powerhouse No.1 and No. 2 of the most powerful hydroelectric center of the world: The Guri Dam. […]

The work of Carlos Cruz-Diez attempts precisely to keep the viewer interested at all times in the infinite evolution process that gives form to the shades and additions owned by chromatic matter. Giving vitality and organic force to that which appears not to have it and making a work of art from that fleetingness of time and colored matter is an achievement that will never be repeated. That artist determined to capture the instant of a moment that is in constant, active mutation, in the same way our glance may capture the different chromatic shades that shape up through our eye’s behavior as the result of the electromagnetic emission of all objects. When the visual phenomenon happens in us, all forms acquire a specific chromatic formulation, one we are already used to recognizing, and it is then we accept as blue that photocellular clash that takes place when we look at the sky.”

Alfredo Boulton, Art in Guri , C.V.G. Electrificación del Caroní, 1988

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Twentieth-Century Art of Latin America

Twentieth-Century Art of Latin America

Jacqueline Barnitz

“The Twentieth-Century Art of Latin America is art in the western tradition, and its leading figures- Wifredo Lam, Roberto Matta, Diego Rivera, Joaquín Torres-García, to name only a few – have achieved international status. Yet much of the writing about this art has offered either a victimized view of an art tradition dominated by foreign models or a romanticized view of what Latin American art should be. This pathfinding book, by contrast, seeks not to “invent” Latin American art but to look at it from the points of view of its artists and critics.” – Blurb

Jacqueline Barnitz, Twentieth-Century Art of Latin America, The University of Texas Press, Hong Kong, 2001

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