op art – English Translation – Keybot Dictionary

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Ihre opulenten Kompositionen machten Beatriz Milhazes zu einer der international bekanntesten brasilianischen Malerinnen. Matisse, Op Art, die leuchtenden Farben des Karnevals – in ihren überwältigenden Bildern mischen sich die unterschiedlichsten Einflüsse.
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Her opulent compositions have made Beatriz Milhazes one of the best-known Brazilian painters in the world. Matisse, Op Art, the brilliant colors of the carnival-a wide range of influences merge in her stunning paintings. Achim Drucks introduces the artist, who lives in Rio de Janeiro and is represented in the Deutsche Bank Collection.
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Das unterscheidet ihre Gemälde ganz deutlich von Bridget Rileys makellosen, puristischen Op Art-Kompositionen. Die Riley-Werkschau 2001 in der Dia Art Foundation begeisterte Milhazes so sehr, dass sie erstmals begann, auch mit Rechtecken und geraden Linien zu experimentieren.
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This sets her paintings apart from Bridget Riley's flawless, purist Op Art compositions. The 2001 Riley show at the Dia Art Foundation left such an impression on Milhazes that she began experimenting with rectangles and straight lines for the first time. Since then, the range of her paintings has expanded further. She's gone back to her early collages, this time adding variously colored paper to her works instead of fabrics-shiny, metallic-blue candy-wrapper paper, marbled wrapping paper, chocolate wrappers. In this way, she further intensifies the overabundance of visual stimuli that characterizes all her work. She directs the viewer's gaze around the picture surface, without providing anywhere for it to rest. Milhazes's paintings hover between a stunning ornamental beauty and an overload of forms, colors, styles, and quotes. It is not the kind of beauty in which the eye can rest, however; instead, it absorbs the gaze and threatens to overpower the viewer.
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Op Art-Badeanzug von Sinz, Vouliagmeni/ Greece 1966 From F.C. Gundlach Das fotografische Werk, Steidl Verlag © F.C. Gundlach
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Catweazle: Elec-trickery, the telling bone and an eccentric, 11th century wizard © Koch Media
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Tobias Rehberger, der an der Frankfurter Städelschule Bildhauerei unterrichtet, gilt als einer der bedeutendsten deutschen Gegenwartskünstler. Sein Werk bewegt sich im Spannungsfeld zwischen Kunst, Design und Architektur. In Venedig hat er für den Palazzo delle Esposizioni eine futuristisch anmutende Cafeteria realisiert, deren Sitzlandschaft den Besucher mit einem Overload von geometrischen und reflektierenden Oberflächen konfrontiert. Das Was du liebst, bringt dich auch zum Weinen betitelte Environment changiert zwischen Abstraktion und psychedelischem Op-Art-Look. Die überraschende Entscheidung der Jury für eine Arbeit aus dem Bereich der angewandten Kunst reflektiert auch den Ansatz der diesjährigen Biennale-Ausstellung Fare Mondi/Making Worlds, auf der zahlreiche interdisziplinäre Projekte präsentiert werden. Tobias Rehbergers Arbeiten wurden seit 1992 kontinuierlich von der Sammlung Deutsche Bank erworben. Darüberhinaus hat er in jeweils unterschiedlichem Kontext hat zwei Editionen für das Unternehmen entwickelt.
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Tobias Rehberger, who teaches sculpture at the Städelschule in Frankfurt, is considered one of the most important contemporary German artists. His work is situated on the borderline between art, design, and architecture. For the Palazzo delle Esposizioni in Venice, he realized a cafeteria with a futurist atmosphere whose seating arrangements confront visitors with an overload of geometric and reflective surfaces. His environment, titled Was du liebst, bringt dich auch zum Weinen (The things you love also make you cry), oscillates between abstraction and psychedelic Op Art look. The jury's surprising decision in favor of a work of applied arts also reflects the agenda of this year's Biennial exhibition Fare Mondi/Making Worlds, which features numerous interdisciplinary projects. Since 1992, the Deutsche Bank Collection has acquired Tobias Rehberger's works on a continuous basis. In addition, he has created two editions for the bank on two separate occasions.
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Während Püntener das Leben auf der Alp dokumentiert, beziehen sich Martis flirrende Bilder auf die Formensprache von Moderne und Op Art. Ausgehend von den botanischen Studien Sybilla Merians eröffnet Pia Fries einen Dialog über die Repräsentation von Natur, während Zilla Leutenegger in ihren Aquarellen pointiert die Beiläufigkeit des Alltags festhält.
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On the 33rd floor of the Prime Tower, the collection’s highlights join together to create a panorama that unites modern classics and newcomers: Pipilotti Rist’s psychedelic video stills and Thomas Hirschhorn’s Lighter sculptures are juxtaposed with Balthasar Burkhard’s sublime black and white photographs. Modern classics like Max Bill’s abstractions and Jean Tinguely’s playful kinetic sculptures encounter newly acquired works by the younger generation of Swiss artists. For Isabelle Krieg, Fabian Marti, and Vanessa Püntener, the medium of photography plays a key role. While Püntener documents life in the Alps, Marti’s vibrating images reference the formal language of modernism and Op Art. Working from Sybilla Merian’s botanical studies, Pia Fries creates a dialogue on the representation of nature, while Zilla Leutenegger’s watercolors poignantly capture the random everyday. On the other end of the spectrum, Franziska Furter’s dense, dynamic graphite drawings resemble pictures from an enigmatic science fiction world.
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"Schon damals galt die Art, wie ich male, nicht gerade als modern. Viele meiner Kommilitonen experimentierten mit Videos. Meine Lehrer kamen von der Op Art. Abstraktion war mir aber immer fremd. Ich brauche die Auseinandersetzung mit dem Modell und dem Raum."
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As a painter Artukovic continues determinedly along his own path. Even in his academy days, he was relatively alone with his figurative painting. "At that time, the way in which I painted was already considered not exactly modern. Many of my co-students were experimenting with videos. My teacher came from Op Art. But abstraction was always alien to me. I need interaction and debate with the model and with space." The time in Berlin has not always been easy for Artukovic. It is difficult to find one's feet here with such an attitude to painting. Once, he tells me with a laconic smile, he played host to a group of wealthy collectors from the USA in his studio. "One woman leafed rapidly through my portfolio. She didn't buy anything, sure, but she did say: 'Keep painting.' And that's what I have done."
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Dabei bedient sie sich der unterschiedlichsten Quellen: Neben der bedeutendsten Vertreterin des Modernismo, Tarsila de Amaral, die in ihren Gemälden europäische Einflüsse mit der Formensprache der Ureinwohner verschmolz, führt sie vor allem die Scherenschnitte und Farbkombinationen von Henri Matisse und die Dynamik von Piet Mondrians Spätwerk als Inspirationsquellen an – etwa sein berühmtes Gemälde Broadway Boogie Woogie (1942-43). Op Art-Einflüsse oder die wilden Stoffmuster von Emilio Pucci lässt sie auf Dekormotive der Kolonialarchitektur treffen.
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This strategy of transformation is crucial to Milhazes's work. She operates from a variety of sources: along with the most important protagonist of Modernismo, Tarsila de Amaral, whose paintings blend European influences with indigenous forms, she cites Henri Matisse's cut-outs and color combinations and the dynamism of Piet Mondrian's late work as sources of inspiration-such as his famous painting Broadway Boogie Woogie (1942-43). Op Art influences and the wild fabric patterns of Emilio Pucci collide with decorative motifs from colonial architecture. The floral and plant forms she uses in many of her works-including O Pato (1996/98) from the Deutsche Bank Collection-were not made from nature, but based on various different models including Frida Kahlo's self-portraits, tablecloths, and the "exotic" jewelry Miriam Haskell made for Carmen Miranda, the "Brazilian Bombshell" who conquered Hollywood in the 1940s and who embodied, in her bizarre costumes and fruit-bowl hats, the exaggerated cliché of the temperamental South American woman. Milhazes re-imports this phenomenon of exoticism, so to speak.
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Für ein Ausstellungsplakat ließ der gelernte Leuchtreklamen- und Schilderhersteller Girls im Op-Art-Look vor seinen Schwarzen Tafeln posieren – als ironische Hommage an das Schwarze Quadrat. Malewitschs Ikone wird hier weiter radikalisiert: Dem einen monochromen Gemälde setzt Roehr zehn Wandarbeiten entgegen, quadratische Blechkästen, in die er je 35 schwarze Kartonplatten montiert. Im Städel ist dieses Hauptwerk erstmals wieder in Frankfurt zu sehen. Daneben werden hier auch typografische Arbeiten und weitere Objektmontagen gezeigt. Im MMK liegt ein Schwerpunkt auf aus Werbeprospekten zusammengefügten Bildern sowie den Filmarbeiten. Ihr Ausgangsmaterial lieferten Spielfilme und Werbespots: Immer wieder bewegt sich der Frauenkopf hin und her, wird das Haar gekämmt, fährt das Auto durch Tunnel. Seitdem Roehr sein naher Tod bewusst war, arbeitete er noch intensiver und hinterließ mehr als 600 Arbeiten, die in nur sechs Jahren entstanden waren. "Ob das, was ich mache, Kunst ist, weiß ich nicht. Andererseits wüsste ich aber auch nicht, was es sonst sein könnte", erklärte Roehr. Nach einem Besuch der Doppelausstellung steht eines jedenfalls fest: Es ist Kunst – und zwar sehr, sehr gute.
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For an exhibition poster, Roehr, who had trained as a maker of signs and neon advertisements, had girls pose in an Op Art look in front of his Black Panels, his own ironic homage to the Black Square that makes Malevich’s icon even more radical. Roehr’s answer to the monochromatic painting consists of ten wall works, square tin boxes each of which contains 35 black cardboard panels. This major work is now on public view for the first time again in Frankfurt. Alongside it are typographic works and additional montages with objects. At the MMK, the focus is on images deriving from advertising brochures and on his works on film based on movies and commercials: a woman’s head moves back and forth, her hair is being combed, a car is driving through a tunnel. When he became aware of his impending death, Roehr worked even more frenetically, eventually leaving behind more than 600 works of art. "I don’t know if what I do is art. On the other hand, I have no idea what else it could be," he explained. At any rate, a visit to the dual exhibition makes it quite clear that this is art—and of a very high quality indeed.
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So ist Beatriz Milhazes mit einer ihrer typischen opulenten Kompositionen vertreten, in denen die brasilianische Malerin die unterschiedlichsten Einflüsse vermischt: Matisse, Op Art und der Sixties-Glamour wild gemusterter Pucci-Kleider treffen auf die leuchtenden Farben des Karnevals von Rio.
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The show also includes numerous works that illustrate the Deutsche Bank's global orientation. Beatriz Milhazes is represented with one of her typical opulent compositions in which the Brazilian painter mixes all kinds of influences: Matisse, Op Art and Pucci dresses with wild patterns reflecting 1960s glamour meet the radiant colors of carnival in Rio. While in his aquarelles the Nigerian-born Young British Artist Chris Ofili picks up on exotic myths of the Expressionist artist group Der Blaue Reiter, Takashi Murakami is inspired by the naïve aesthetics of manga comics.
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"Lange galten Geometrische Abstraktion, Op Art oder Kinetische Kunst als wenig aufregend und inhaltlich eher unverbindlich. Deren Vertreter arbeiteten zwar mit einer der radikalsten Formensprachen des 20. Jahrhundert, wurden aber trotzdem von Sammlern, Kuratoren und Kritikern kaum beachtet", erklärt Espinel.
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Carmen Herrera is one of 30 artists whom the guest curator Mónica Espinel selected for her exhibition at Deutsche Bank's 60 Wall Gallery in New York. The show, entitled Then & Now: Abstraction in Latin American Art from 1950 to Present, illustrates how different nonfigurative tendencies have influenced Latin American art up to the present day. "For a long time Geometric Abstraction, Op and Kinetic art were disregarded as lame, detached and noncommittal. So despite the fact that these artists were working with one of the most radical forms of 20th-century art, abstraction, they were set aside by collectors, curators and critics", says Espinel. "In the 90s the focus on identity based art further submerged the legacy of these artists and their offspring. Now though, many young artists see identity-defined art as limiting. Thus, a return to the story of earlier artists who struggled and effectively coped with that same view has happened. Abstraction as these artists envisioned it, was about freedom and possibility, and to this day those tenets hold true to the younger artists in the show."
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Alles, was man von den 3.000 qm großen Gartenhallen sieht, ist ein sanfter Hügel, gesprenkelt mit kreisrunden Oberlichtern, die an Bullaugen erinnern. Die ornamentale Verbindung von Gras, Glas und Stahl erinnert an Op Art und strahlt gleichzeitig etwas Irreales aus.
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At first glance, there’s nothing to see. No so-called signature architecture, no flamboyant trademark. The new Städel annex is hidden discreetly away beneath the lawn in the museum’s inner courtyard. All you can see of the 30,000-square-foot Garden Halls is a low hill with round skylights resembling bull’s eyes scattered about. The decorative connection between grass, glass, and steel brings Op Art to mind, yet it also has something unreal about it. Indeed, visitors to the new presentation of the Frankfurt museum’s contemporary art collection might feel a bit like Alice curiously following the White Rabbit down his hole: suddenly, you find yourself in a magical world that operates according to astonishingly different rules—because it’s not a simple exhibition space you enter upon descending the main building’s wide staircase, but a brightly lit arena of contemporary art, a universe all its own with main roads and side streets where you can easily lose your way.
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Jeder Mensch sollte zumindest eine weiße Vase besitzen – am besten aus mattem Bisquitporzellan. Die tollsten Exemplare entstanden in den Sechzigen und Siebzigern, als Firmen wie Hutschenreuther oder Kaiser ihre Vasen die erstaunlichsten Formen verpassten und ihre Oberflächen mit Op-Art-Motiven, Muschel- oder Ammonitenstrukturen und stilisierten Schachtelhalmen aufpeppten. Totschick auch ohne Blumen.
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A journey through three decades of German fashion and mentality history. In his fashion photographs, F. C. Gundlach combines reduced forms and cool elegance with original image creations. At the same time, the photographer transports the zeitgeist of the era of the German economic miracle as well as that of the societal upheavals of the 1960s and 70s. The opulent volume contains his best photos of chic ladies, mod girls, as well as a gorgeous young Romy Schneider.