Opus 951465 (2021): Painted Steel, Knotted Polylinear Cubic Lattice Path (All Photos By Gail)
The National Museum of Mathematics (aka MoMath) might not be a venue where one would expect to also find an art gallery, but they have one: and in the case of sculptor Anton Bakker, the venue is ideally suited.
Opus 951465 Digital Rendering
Bakker is a contemporary artist specializing in sculpture and its digital possibilities. He has been influenced by his life experiences in the Netherlands, France and now the US, where his artist practice has been based for more than ten years. Mo Math’s Composite Gallery is currently hosting Alternative Perspectives, an exciting exhibit of Bakker’s work — including several monumental pieces — that is complemented by the inclusion of nine rare works by the artist’s biggest influence, the legendary MC Escher.
We were very sad to learn of the passing of groundbreaking painter and Op Art pioneer, Julian Stanczak on March 25th of this year. He had good, long life! As a last hurrah, Mitchell-Innes & Nash is currently hosting The Life of the Surface, Paintings, 1970 – 1975, an exhibition of Stanczak’s paintings exclusively from the years 1970 to 1975. This long-planned exhibition is Mitchell-Innes & Nash’s second solo exhibition with the artist, and the first since his recent passing.
Red + Red
Red + Red, Detail
Stanczak’s reverence for color comes from a desire to translate the drama and power of nature into a universal impression. His canvases are created through a complex process of tape masks upon which colors are systematically added and unveiled in layers. Despite the intricate and painstaking process, Stanczak does not use any preparatory drawings for his paintings, relying solely on his own vision of a finished work.
Detail from Above Painting
The artist’s work transcends traditional nods to analytical painting methods often associated with this period by drawing upon personal experiences, particularly the diverse places he has lived. Utilizing tromp l’oeil characteristics, Stanczak’s paintings engender the vibration of a distinct visual experience from within the surface of the canvas.
In works like Filtration- Opposing to Red (1974-77) the color radiates from the center, vibrating across the surface of the canvas. The light oscillates and encompasses the viewer, creating an engaging and thoughtful experience with color. While the intensity is similar, the cool tones of Soft Light (1972-73) resonate at a gradual pace and generate a calmer energy. The artist described his titles as “provocative of the experience that parallels [his] initial response,” rather than direct descriptions.
Julian Stanczak’s body of work is awe-inspiring and unique. Whether you’re already a fan, or if you’ve never seen his work in person, now is the time to check him out.
Julian Stanczak’s The Life of The Surface, Paintings 1970 – 1975 will be on Exhibit Through June 24th, 2017 at Mitchell-Innes & Nash, Located at 534 West 26th Street in the Chelsea Gallery District.
David Bowie from theAladdin Sane tour, 1973. Photographed by Masatoshi Sukita. Zelouf+Bell’s Stones in a Pond Cocktail Cabinet Optical illusion. Photo by Roland Paschhoff. (All Post Photos By Gail)
ZELOUF+BELL’s new season Stones in a Pond Cocktail Cabinet is the third in their cocktail cabinet series with a signature motif; its doors inlaid with patinated solid brass in an optical pattern inspired by the ripple-effect of stones dropped into a pond.
Patinated hinges allow the glistening doors to completely fold back to reveal an ivory ripple sycamore interior, shagreen work surface and leather-lined drawers with handmade ivory figured sycamore pulls.
The top of the cabinet’s oil-filled rotary damper allows it to fall slowly, closed. The cabinet sits on a patinated brass base. Created in a limited edition of 6, plus 1 AP. Visit This Link for more information.
Photographed at the Architectural Digest Design Show at Pier 94, NYC, March 2016.
I don’t think I could count the number of times I overheard someone mention how much the paintings of Julian Stanczak reminded them of Op Art pioneer Bridget Riley while we cruised around the opening reception for From Life, Stanczak’s new exhibit over at Mitchell-Innes & Nash. Trust me: it was a lot – and I was thinking the same thing.
But a little research on my part revealed that the term Op Art actually first appeared in print in Time Magazine in October 1964 in response to Stanczak’s Optical Paintings exhibit at the Martha Jackson gallery. Crazy!
Now at age 86, Julian Stanczak – a former student of Joseph Albers, whose early life was marked by enormous personal struggle – serves as a true artistic and personal inspiration with his first solo exhibition at M-I & N, which includes a dozen large-scale paintings spanning the artist’s career from the 1960s to the present and includes works not seen publically in decades.
Stanczak’s canvases are created through a complex process of tape masks in which colors are systematically added and unveiled in layers. While incredibly methodical, Stanczak works alone on his canvases without the aid of preliminary sketches, relying solely on his own vision of a finished work.
A Detail from the Above Painting is Below.
This is even more impressive when you know that Stanczak lost the complete use his of right arm after confinement in a Siberian hard labor camp during World War II.
Julian Stanczak, Photographed in front of Additional, at the Show’s Opening Reception on October 30th.
The artist makes the surface plane of the painting vibrate through his use of lines and contrasting colors, but what I want to really emphasize is how these paintings look completely different to the naked eye than they do when seen through the lens of a camera. The observable transformation is really quite remarkable.
In fact, it would not be an exaggeration to say that these paintings are mind-blowing.
Very highly recommended!
Julian Stanczak’s From Life will be on Exhibit Through December 6th, 2014 at Mitchell-Innes & Nash, Located at 534 West 26th Street, in the Chelsea Gallery District.
Created in 1925, Marcel Duchamp’s Rotary Demisphere (Precision Optics) is a kinetic sculpture that turns itself on at random intervals. Back in Paris after World War I, Duchamp experimented with machines that produced optical effects — work he had begun in New York. When this machine is set in motion, the circles appear to pulsate toward the viewer. The copper ring around the dome’s circumference is engraved with French words chosen for the way their sounds echo one another: Rrose Selavy et moi esquivons les ecchymoses des esquimaux aux mots exquis (Rrose Selavy and I dodge the Eskimos’s bruises with exquisite words).
Rotary Demisphere is part of the Permanent Collection at the Museum of Modern Art in NYC. Find it in the Painting and Sculpture Galleries.
While at Goldsmith’s College in London, Bridget Riley (born 1931) became interested in the optical vibrations initiated by Georges Seurat’s Pointillist technique of the 1880s. By 1961, Riley was painting solely in Black and White, and her paintings of the early 1960s are pioneering examples of what came to be known as Op Art.
With Blaze 1 (1962), Riley applied black zigzag stripes of emulsion to a white ground to create a pattern that assaults the eye: the bands of paint create a corkscrew–like optical effect wherein the two-dimensional painting appears to both recede into the wall and to project itself into space in front of the picture plane.
Bridget Riley’s Blaze 1 is part of the permanent collection in the Modern Art wing at the Metropolitan Museum of Art in New York City.