Characterized by mathematically complex compositions of color, shape and dizzying pattern, the term “Op Art,” was first used by artist Donald Judd in his review of Julian Stanczak’s “Optical Paintings,” and was later popularized by a 1964 Time magazine article, catapulted the term into main-stream use. Utilizing carefully composed geometric abstractions to create optical illusion, Op artists were drawn to the behavior of the eye, particular the ways in which it could be manipulated through simple changes in perception. The art historical roots of the movement can be found in 19th century art and color theory, in Johann Wolfgang von …
Characterized by mathematically complex compositions of color, shape and dizzying pattern, the term “Op Art,” was first used by artist Donald Judd in his review of Julian Stanczak’s “Optical Paintings,” and was later popularized by a 1964 Time magazine article, catapulted the term into main-stream use. Utilizing carefully composed geometric abstractions to create optical illusion, Op artists were drawn to the behavior of the eye, particular the ways in which it could be manipulated through simple changes in perception. The art historical roots of the movement can be found in 19th century art and color theory, in Johann Wolfgang von Goethe's writings on color, and the Neo-impressionist paintings of Georges Seurat. While many associate the trippy, repetitive style with the “swinging sixties,” Op Art was pioneered in the 1930s by Hungarian artist Victor Vasarely, whose influential work focused on what he considered the two greatest tenants of artistic creation, “pure color” and “pure form.” Deeply influenced by the work of Joseph Albers, Vasarely’s work would go on to inspire Op Art artist such as Bridget Riley, Frank Stella, Carlos Cruz-Diez, and Jesus-Rafael Soto. Riley in particular went on to create highly significant Op Art work including the 1964 screen-print Blaze, which presented an alternating black-and-white zigzag pattern that created a rhythmic illusory curve in the two-dimensional work.
The height of the movement came in 1965 when the Museum of Modern Art showcased over one hundred and twenty Op Artists in their exhibition The Responsive Eye. After the exhibition many critics, including Clement Greenberg, dismissed the Op Art label as a fleeting gimmick, however the impact of the visual systems pioneered by Vasarely, Riley and Stella cannot be denied. Combining artistic technique with scientific curiosity, the work attributed to the Op Art movement has gone on to influence abstract and geometric art for decades.