Word: visualizing
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Dates: during 1970-1979
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...short-lived "movements" that agitated the surface of art in the 1960s, Op art had the briefest life. What became of all those eye-teasing patterns, those blips and dazzles and other paraphernalia of quick-shot visual illusion? Gone, mostly: either degenerating into unctuously chic decor-as with European artists like Yaacov Agam or, in his late work, Victor Vasarely-or vanishing into that limbo of taste where obsolete experiments go. Today's supergraphics wrap tomorrow's garbage...
...decade ago, when she first showed her work in the U.S., Riley's paintings were almost synonymous with visual assault. Black elliptical dots on a white ground, arranged in a grid but turning fractionally to set up an irritating instability of focus; parallel stripes whose wavy motion produced something akin to seasickness. Ever since her art-student days in London, Riley had been fascinated with patterns based on repeated units: the dots in Seurat's paintings, the balance of delicate strains between Mondrian's squares...
Like Purcell, Alex Webb '74 makes photographs that reflect private fantasies triggered by the external world. Webb is an alumnus of the Carpenter Center for the Visual Arts who now freelances in New York. His pictures have the raw, spontaneous look of snapshots, yet his images are carefully selected. He focuses on the unguarded reactions of people to their environment more than Russell or Purcell, and many of his best shots are of visitors to a carnival. Children wander aimlessly over an asphalt globe littered with popsicle wrappers and half-eaten ice cream cones; a young girl's dark, wild...
...discrete entity that will move on, and be seen alone. One has the feeling here that the surrounding women's groups are coming out of the woodwork and that, while legitimately interesting on their own, their country fair-like atmosphere is in jarring contrast to the verbal and visual qualities of the exhibit, which must be read and absorbed-theoretically, in tranquility-to be fully appreciated...
Accompanying the text are a variety of photographs (reproductions and slides by Tod Stuart from The Carpenter Center for The Visual Arts), some enlarged to fill one or more whole panels, as a picture of Anna Howard Shaw, lace-collared feminist; some in old-fashioned oval cameo frames. Other graphics include illustrations of old sewing machines culled from early catalogues, some alarming anatomical diagrams captioned "effects of corsets on the rib cage and organs," a high-stepping Flapper, scenes of factory work--a whole range of women in their changing images...