- freely available
Arts 2016, 5(1), 1; doi:10.3390/arts5010001
Abstract: In parallel with my social activism, I introduced architecture into my kinetic art and participatory activism into my architecture. Flexibility and participation in architectural design has been a permanent feature of my practice, bringing new opportunities for self-expression in urban living. To form follows function I opposed form follows movement because it is man oriented while function is object oriented. After my 1962–1964 Mecanographs, machine-made images based on an interaction between the movement, the artist and the machine, I joined forces with Len Lye to determine what kind of positive attributes a Museum of Kinetic Art should have, defining three aspects of kinetic movement: illumination, sound, and physical movement. Vasarely and other kinetic artists put their mark on their time by promoting a form of social art, accessible to all, suggesting movement without actual movement. Walking through my medieval village can be a kinetic experience. The sense of wonder you feel at every corner compares with that of optical art. In the past decade, I moved toward a new form of participatory kinetic expression using state-of-the-art technology (plastics, LED, wireless devices). I view my kinetic work as an architectural experience and architecture as a stimulating kinetic experience.
2. Movement without Movement
3. Low Cost Housing Projects Demolition: A Great Kinetic Happening
4. A Kinetic Project: Self-Help on Macro-Scale
4.1. The Boston Waterfront Project
4.2. The Settlement House and Housing for the Elderly on East 116th Street: The Reason of How I Landed in East Harlem
5. Motion Determines Form
The Vital Sense of Mystery in the Environment
6. First Kinetic Period: Mecanographs as Action Art, 1962–1964
7. Second Kinetic Period, 1965–1975
7.1. The Art Scene in New York in the Mid-Sixties
7.2. Len Lye and the Kinetic Museum
7.3. Movement and Form in the City: Gateway Proposals for Manhattan
7.3.1. Brooklyn Bridge Gateway
7.3.2. Triboro Bridge Gateways on 125th Street
7.4. Times Square in East Harlem: A Kinetic Multi-Service Center
7.5. A Period of Reflection Before the Transition
8. Away from the New York Art Scene, 1976–1998
8.1. Work in West Africa with the United Nations Development Program
8.2. After Africa and South America
9. Third Kinetic Period: Art that Offers the Viewer’s Active Participation, 2004–2014
Conflicts of Interest
References and Notes
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