O Que Pop Art E Op Art?

Pop Art é a abreviatura em inglês de Popular Art ("Arte Popular", em português). Foi um movimento artístico que surgiu em meados dos anos 1950 visando "abraçar" e desconstruir imagens pertencentes às culturas de massa, a chamada "cultura pop", elaborada para as grandes multidões.

Origins of the Op Art movement

Bridget Riley (born April 24, 1931) is an English painter who was influenced by the op art movement. Riley primarily worked in black and white colors to achieve high contrast in her paintings. By 1967, she began to experiment with color and repetition. Movement in Squares is a black and white painting of squares that reduce in size as they approach a point on the painting. This optical illusion gives the viewer a sense of depth, like a book that is open. It was Riley’s big breakthrough into abstraction. The striped mural, Bold of Color (14.14), covers and wraps around the long walls of an English hospital.

As the decade progressed, artists shifted away from painting towards the use of industrial techniques. Warhol began making silkscreens, before removing himself further from the process by having others do the actual printing in his studio, aptly named “The Factory.”  Similarly, Oldenburg abandoned his early installations and performances, to produce the large-scale sculptures of cake slices, lipsticks, and clothespins that he is best known for today.

Artista argentino que trabalha com composições geométricas, explorando o campo da visão na pintura, escultura e instalação. Tem diversas obras em museus brasileiros. Conheça algumas delas:

Genesis of Pop

What most people find disturbing about Minimalism is its lack of any apparent meaning.  Like Pop Art, which emerged simultaneously, Minimalism presented ordinary subject matter in a literal way that lacked expressive features or metaphorical content; likewise, the use of commercial processes smacked of mass production and seemed to reject traditional expectations of skill and originality in art.  In these ways, both movements were, in part, a response to the dominance of Abstract Expressionism, which had held that painting conveys profound subjective meaning.  However, whereas Pop artists depicted recognizable images from kitsch sources, the Minimalists exhibited their plywood boxes, florescent lights and concrete blocks directly on gallery floors, which seemed even more difficult to distinguish as “Art.”  (One well-known story tells of an art dealer, who visited Carl Andre’s studio during the winter and unknowingly burned a sculpture for firewood while the artist was away.)  Moreover, when asked to explain his black-striped paintings of 1959, Frank Stella responded, “What you see is what you see.”  Stella’s comment implied that, not only was there no meaning, but that none was necessary to demonstrate the object’s artistic value.

Oldenburg had been designing large-scale, vinyl versions of household objects since his Green Gallery exhibition in 1962. He had created collages and drawings that played with the notion of massive domestic objects in public places, but Lipstick was his first large-scale public artwork. Oldenburg went on to make several other public sculptures that enlarged everyday domestic items to monumental dimensions. For example, he rendered a clothespin on the scale of an ancient Egyptian obelisk in a 1976 sculpture for Philadelphia, Pennsylvania (below).

Warhol once noted that through repeated exposure to an image, we become de-sensitized to it. In that case, by repeating Monroe’s mask-like face, he not only drains away her life, but also ours as well, by deadening our emotional response to her death. Then again, by making her face so strange and unfamiliar, he might also be trying to re-sensitize us to her image, so that we remember she isn’t just a symbol, but a person whom we might pity. From the perspective of psychoanalytic theory, he may even be forcing us to relive, and therefore work through, the traumatic shock of her death. The painting is more than a mere celebration of Monroe’s iconic status. It is an invitation to consider the consequences of the increasing role of mass media images in our everyday lives.

Legacy

Professor de Arte e Teatro. Graduado em Artes Cenicas pela Universidade Estadual de Maringá, habilitação em licenciatura. Mestre e doutorando em Teatro pelo PPG em Teatro da Universidade do Estado de Santa Catarina. Possui especialização em Voz Profissional pela Unyleya. Artista e produtor cultural em Maringá. Dedicado ao ensino fundamental e médio e ao ensino superior.

Considerado precursor do movimento, Victor Vasalery (1908-1997) explorou, através de princípios da óptica, a sensação de movimento na obra, trabalhando com formas geométricas influenciadas pelos movimentos pós-concretistas e abstratos.

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Principais obras e artistas

Warhol takes as the subject of his painting an impersonal image. Though he was an award-winning illustrator, instead of making his own drawing of Monroe, he appropriates an image that already exists. Furthermore, the image is not some other artist’s drawing, but a photograph made for mass reproduction. Even if we don’t recognize the source (a publicity photo for Monroe’s 1953 film Niagara), we know the image is a photo, not only because of its verisimilitude, but also because of the heightened contrast between the lit and shadowed areas of her face, which we associate with a photographer’s flash.

Na obras artísticas da pop art, o uso de elementos criados a partir das novas tecnologias do século XX substituem os tradicionais pincéis, tintas e quadros. Isopor, poliéster, goma, espuma e acrílico foram muito usados pelos artistas plásticos deste movimento.

Ghostlysymmetry

A Op Art (abreviação de Optical Art – Arte Ótica) é um movimento artístico fascinante que surgiu nas décadas de 1950 e 1960. Caracterizada por ilusões óticas, padrões geométricos e cores contrastantes, a Op Art era uma experiência imersiva que desafiava as perceções dos espectadores e criava uma sensação de movimento e profundidade. Embora o movimento tenha tido uma vida relativamente curta, durando apenas alguns anos, o seu impacto na cultura popular foi significativo. Neste artigo, vamos explorar a forma como a Op Art influenciou a moda, o design gráfico, a música, o cinema e a televisão, e como o seu legado continua a influenciar a cultura contemporânea atual.

Rauschenberg did know other artists who took a similar approach and challenged the narrow parameters of the formalists wing of the New York School and its rejection of popular culture and illusionism. His immediate circle included the painter Jasper Johns, the choreographer Merce Cunningham and the avant-garde composer John Cage.  On the West Coast Edward Keinholz and Wallace Berman were creating artworks that would come to be called “Assemblage”—think collage on a large scale. In Paris, Arman, Jean Tinguley and Jacques de la Villeglé incorporated the debris of the city; junk and cast off commodities incorporated into artworks that became know as Nouveau réalism (New realism).

Irony and Iron-Ons

A presença do olhar do espectador na obra se torna elemento crucial para a consolidação da Op Art. A obra se constitui na presença do movimento que é produzido a partir da criação do artista, que é recebida em forma de ilusão pelo espectador. A seguir, acompanhe mais informações e detalhes sobre essa manifestação artística:

Nesse vídeo, Marlon Medeiros vai contar para você a história do precursor do movimento, Victor Vasarely. Além de conhecer a biografia do artista, você pode acompanhar mais algumas de suas obras.

License

Although many works of art can be described as “minimal,” the name Minimalism refers specifically to a kind of reductive abstract art that emerged during the early 1960s.  At the time, some critics preferred names like “ABC,” “Boring,” or “Literal” Art, and even “No-Art Nihilism,” which they believed best summed up the literal presentation and lack of expressive content characterizing this new aesthetic.  While scholars have recently argued for a broader definition of Minimalism that would include artists in number of disciplines, the term remains closely linked to sculpture of the period.

Alguns artistas se destacam na produção do movimento no país, como Ivan Serpa, Lothar Charoux e Israel Pedrosa, além de Luiz Sacilotto – considerado o precursor do movimento no Brasil, pela influência do concretismo.

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A Op Art explora a sensação de movimento a partir da cor, forma, luz e sombra: ilusão e visão.

Esses cinco artistas são apenas uma parcela dos que se aventuraram na criação a partir dos preceitos da Op Art. Os artistas brasileiros citados realizaram trabalhos muito relevantes para a área e merecem uma atenção especial. Pesquise mais sobre seu trabalho!

Victor Vasarely (1906-1997) was a Hungarian-French artist and the leader of the op art movement. Leaving Budapest in 1930, and moving his family to Paris, he began to experiment with geometric forms, contrasting color, and minimal forms. Vasarely found his style in 1951 and began to develop works of art and is considered the grandfather of op art

Op art is short for optical art, a style of visual images to create movement on a flat two-dimensional space. The abstracted art was commonly painted with black and white to create a contrast for a vibrating image. Op art  is a perceptual experience and is based upon how a viewer’s vision functions. A discordant figure-ground relationship will put two planes together, one from the foreground and one from the background. It creates a tense and contradictory effect with pattern and line with black and white used together.