In the 1960s, the edges of the bands of color in Tadasky’s paintings were crisp and precise. However, later in the 60s and throughout the next five-decades of his career, he pushed the edges of the outer bands of pigment by diffusing and extending the colors. He also softened all of the borders of the rings of pigment to obscure all boundaries and allow the colors to meld one into the other. Tadasky’s current exhibition, Pushing Boundaries, at David Richard Gallery examines t

MARGE RECTOR Abstract and Captured Forms, 1967 to 1975 Opening Reception: Friday, March 23, 2018, 5:00 - 7:00 PM On view through April 28, 2018 The current exhibition explores 2 series of paintings by Marge Rector, Captured Forms and Abstractions, both initiated in 1967. Captured Forms was one of several black and white series initiated in 1967 that consisted of bold structures with slight optical effects that evoked the sensation of vibration and movement. The Abstract

JULIAN STANCZAK Dynamic Fields Opening Reception: Saturday, February 10 from 5:00 – 7:00 PM On view through March 17, 2018 This exhibition explores Stanczak’s interest in creating dynamic paintings that convey energy and motion by using a variety of methods, including angled and diagonal lines and gradients of color. Selections of “bound boxes”, “diagonal constructs” as well as more lyrical and rhythmic compositions from his “grass” paintings will be presented. David Ri

New York Times April 11, 2017 Roberta Smith Julian Stanczak at his home in Ohio in 2013. Credit Jeff Downie Julian Stanczak, a Polish-born American abstract painter who rose to fame as a leading figure of the popular Op Art movement but slipped into obscurity when its reputation flagged, died on March 25 at his home in Seven Hills, Ohio, a Cleveland suburb. He was 88. His death was confirmed by his New York gallery, Mitchell-Innes & Nash. His family said that he had died afte

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

David Richard Gallery 2015 October 10 “Re-Op: ‘The Responsive Eye’ Fifty Years After”, currently on view at David Richard Gallery is the third in a series of presentations co-curated by Peter Frank, critic, curator and historian and David Eichholtz, gallerist, curator and historian that critically examines and reconsiders “The Responsive Eye”, the seminal exhibition organized by William C. Seitz at New York’s Museum of Modern Art in 1965. This particular installation explores

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

Julian Stanczak, Tactile See-Through, 1974, Acrylic on canvas, 36" x 36" In 1965, the Museum of Modern Art open The Responsive Eye, an exhibition of what most people refer to as op art. The works abandoned all association with nature, such as a horizontal line that could suggest a landscape, as well as the gestural painterly-ness of the abstract expressionists. The new work brought scientific and psychological studies of perception into the world of art. Rather than "telling"

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