Op Art (also known as Optical Art) is a form of non-objective, non-representational, abstract art. It is very precise and exact, highly thought out and meticulously executed, there is no element of chance. Op Art is often rooted in mathematics, using geometric forms as building blocks, including lines and frequently based on a grid organization. The movement was most active during the early 1960s to the early 1970s. The Op Art geometric shapes and compositions are characte

Geometric Abstraction is an area of abstract art where the nonobjective compositions are comprised of geometric shapes and forms, including squares, cubes, rectangles, lines, circles, spheres, etc. that can be floating and not grounded or in highly structured and rigorous compositions. The roots of using geometric shapes and forms in artwork date back to ancient times and virtually every culture. However, in regards to the influence on modern and contemporary art, the art for

Hard edge painting includes paintings in which individual colors have clear and distinct boundaries that separate the colors from one another. There is no physical blending of the colors, each color area is a single color. Hard edge painting can be observed in Geometric Abstraction, Op Art, Color Field painting and Post Painterly abstraction. Artists who practice hard edge painting: Richard Anuszkiewicz Ernst Benkert Mark Dagley Peter Demos Thomas Downing Gabriele Evertz Dean

A selection of paintings, drawings, sculptures, ceramics and photographs in the classic combination of black and white (maybe a touch of silver or red). Catherine Howe Carborundum and Silver (Mantis), 2016 Acrylic, encaustic, metal leaf, carborundum grit on canvas 48" x 36" Copyright © Catherine Howe Erik H Gellert Awaken, 2016 Ceramic and housepaint 21" x 13" x 16" Copyright © Erik H Gellert Click here to go to the artwork Peter Demos Untitled (Larg

The seminal 1965 exhibition at the Museum of Modern Art, The Responsive Eye, provided many viewers with their first exposure to what would become to be called ‘Op Art.’ The scale of the show brought to the fore an international gathering of artists who, individually and collectively, were exploring new theories of visual perception. Perhaps ‘new’ is not quite the word as many of these concepts were born in the 19th century by a diverse group of theorists ranging from Johan

Rakuko Naito, RN1468-64, 1964, Acrylic and metallic acrylic on linen, 68" x 68" Op Infinitum: ‘The Responsive Eye’ Fifty Years After May 29 - July 6, 2015 Opening reception with the curators: Friday, May 29, 5:00 - 7:00 PM David Richard Gallery, LLC Railyard Arts District 544 South Guadalupe Street, Santa Fe, NM 87501 p 505-983-9555 | f 505-983-1284 www.DavidRichardGallery.com David Richard Gallery Presents “Op Infinitum: ‘The Responsive Eye’ Fifty Years After”, Fe

Click here to view catalog THE RESPONSIVE OTHER EYE: OPTICAL ABSTRACTION IN AND OUT OF MOMA By Peter Frank “The Responsive Eye,” the New York Museum of Modern Art’s controversial 1965 survey of a new kind of “optical” abstraction, was not the instigator, or even definer, of this abstraction, but merely its critical and popular apotheosis. I say “merely” because the MOMA exhibition – a result of several years of research and travel by curator William C. Seitz – served neither

"Three Sheets to the Wind", 1964, Francis Hewitt "Sea Shapes (#1)", 1960, Beatrice Mandelman 26A, 1965, Paul Reed The cross-fertilization of ideas and inspiration between art and design continues apace. Exhibit A: “The Responding Eye: ’60s Now,” one of the most intriguing fine art exhibitions to hit Manhattan in recent months, which is currently on view at the Greenwich Village decorative arts gallery Maison Gerard. The show celebrates the 50th anniversary of the Museum of

Click here to view catalog FRAME FOLLOWS FORM: THE SHAPED PAINTING IN AMERICAN ABSTRACTION By Peter Frank After the Second World War, American artists fell into a frenzy of formal experimentation. At first dominated by the theater of metaphysical narrative that defined abstract expressionism, this trajectory of extravagant invention took a more formal turn around 1960 The production of imagery gave way to the production of unencoded, optically self-sufficient structures, man

Click here to view catalog OP SPRINGS ETERNAL: “THE RESPONSIVE EYE” FIFTY YEARS ON By Peter Frank Exactly half a century ago, the Museum of Modern Art in New York — the fount of authority for contemporary American art (and, it was supposed in America, for art around the world) — mounted a large survey of art designed to stimulate the eye of the beholder simply and directly, without reliance on extra-visual content. Here, the exhibition proclaimed, was a kind of art, practiced

Tadasky, C143, 1965, Acrylic on canvas, 47 x 47 " Post-Op: 'The Responsive Eye' Fifty Years After February 25 - April 12, 2015 Opening reception with the curators: Friday, February 27, 5:00 - 7:00 PM Gallery talk: Saturday, February 28, 2:00 - 3:00 PM with Peter Frank, David Eichholtz, and artist Tom Martinelli David Richard Gallery, LLC Railyard Arts District 544 South Guadalupe Street Santa Fe, NM 87501 p 505-983-9555 www.DavidRichardGallery.com David Richard G