What is Kinetic Art? - Characteristics
History and Development
Alexander Calder: Mobiles and Stabiles
Following the theoretical foresight of the Futurists, Gabo's vibrating wire, Rodchenko's suspended plywood and Duchamp's junk art, Alexander Calder (1898-1976) made motion the core of his aesthetics. Influenced by lateSurrealism, and 20th century painters such as the Dutchman Piet Mondrianand the Spaniard Joan Miro, the engineer-trained Calder created a world of weightless linear sculptures (mobiles and stabiles), moving, turning and dancing on air. Indeed, for almost two decades he was the leading exponent of moving sculpture.
1950s Growth
The 1950s witnessed a new interest in artistic motion, as evidenced by the Le Mouvement exhibition in 1955 at the Rene Gallery, Paris, which showcased works by established names like Calder and Duchamp plus newcomers like the Israeli artist Yaacov Agam (b.1928) (the pioneer of spectator participation art), the Belgian painter and designer Pol Bury (1922-2005), the Venezuelan experimental artist Jesus Rafael Soto (1923-2005), the Swiss sculptor Jean Tinguely (1925-91) and the Hungarian painter Victor Vasarely (1906-97). Other kinetic artists coming to the fore included the Greek sculptor Takis (Panayotis Vassilakis) (b.1925), and the Hungarian-born constructivist Nicolas Schoffer (1912-92).
Golden Age (1960-75)
Kinetic art flourished throughout the period (c.1960-1975). In 1960, Jean Tinguely produced his extraordinary self-destructing sculpture Homage to New York (1960, Museum of Modern Art, New York). In 1961, a major international art museum review of kinetic art entitled "Movement in Art" showed to huge audiences throughout Europe. In 1964, the Rene Gallery held Le Mouvement IIexhibition in Paris, while in 1965, "The Responsive Eye", a major Kinetic and Op Art show was held at the Museum of Modern Art in New York. Kinetic art also enjoyed significant success at the Venice Biennale, the Sao Paulo Biennale and the Paris Biennale during the 60s. To maintain its momentum, the movement borrowed from the early modernists and also from contemporary styles, materials and high-tech media. New variants were formed, including Lumino Kinetic art and Optical Art.
Kinetic Art: 1970-present
By about 1970, one might say there were four influential strands which made up most Kinetic art: first, junk art, begun by Duchamp and continued by Jean Tinguely; second, the mobile and its derivatives, pioneered by Calder and continued by George Rickey (1907-2002), Pol Bury and Jesus Rafael Soto; third, light-based constructions initiated by Laszlo Moholy-Nagy and others, and continued by experimentalists like Nicolas Schoffer, Luis Tomasello (b.1915), Nino Calos (b.1926), Martha Boto (b.1925), Francois Morellet (b.1926), Hugo Demarco (1932-95) and Gyorgy Kepes; fourth, illusionistic Op art, a form of trompe l'oeil painting pioneered by Vasarely and popularized byBridget Riley (b.1931).
In addition to those artists and groups already cited above, other groups included Gruppo N, founded in Padua in 1959, whose members included Alberto Biasi, Ennio Chiggio Toni Costa, Edouardo Landi, and Manfredo Massironi; GRAV, the French group founded in Paris in 1960, led by the Argentinian artist Julio Le Parc (b.1928); ZERO, led by German artists Otto Piene (b.1928) and Heinz Mack (b.1921); and the Dutch NUL group led by Jan Schoonhoven (1914-94).
Movement and motion continues to appeal to contemporary artists. See, for instance, the LED installation art by Tatsuo Miyajima (b.1957), the robots of Chico MacMurtrie (b.1960), and the varying light stacks of Angela Bullock (b.1964).
HYPER REALISM
Hyperrealism is a genre of painting and sculpture resembling a high-resolution photograph. Hyperrealism is considered an advancement of Photorealism by the methods used to create the resulting paintings or sculptures. The term is primarily applied to an independent art movement and art style in the United States and Europe that has developed since the early 2000s
The Hyperrealist style focuses much more of its emphasis on details and the subjects. Hyperreal paintings and sculptures are not strict interpretations of photographs, nor are they literal illustrations of a particular scene or subject. Instead, they utilize additional, often subtle, pictorial elements to create the illusion of a reality which in fact either does not exist or cannot be seen by the human eye.[15] Furthermore, they may incorporate emotional, social, cultural and political thematic elements as an extension of the painted visual illusion; a distinct departure from the older and considerably more literal school of Photorealism.[16]
Hyperrealist painters and sculptors make allowances for some mechanical means of transferring images to the canvas or mold, including preliminary drawings or grisaille underpaintings and molds. Photographic slide projections or multi media projectors are used to project images onto canvases and rudimentary techniques such as gridding may also be used to ensure accuracy.[17] Sculptures utilize polyesters applied directly onto the human body or mold. Hyperrealism requires a high level of technical prowess and virtuosity to simulate a false reality. As such, Hyperrealism incorporates and often capitalizes upon photographic limitations such as depth of field, perspective and range of focus. Anomalies found in digital images, such as fractalization, are also exploited to emphasize their digital origins by some Hyperrealist painters, such as Chuck Close, Denis Peterson, Bert Monroy and Robert Bechtle.[18]
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