Special Issue "Kinetic and Op Art"

Quicklinks

A special issue of Arts (ISSN 2076-0752). This special issue belongs to the section "Arts Today".

Deadline for manuscript submissions: 30 November 2014

Special Issue Editor

Guest Editor
Dr. Andres Pardey
Museum Tinguely, Paul Sacher-Anlage 2, P.O. Box 3255, CH-4002 Basel, Switzerland
Website: http://www.tinguely.ch/en.html
E-Mail: andres.pardey@roche.com

Special Issue Information

Dear Colleagues

In the Fifties and Sixties of the last century, art under the label „kinetic“ or “optical” kind of emerged and found a vast interest not only in artistic circles but also in a bigger public. Art came closer to the people, moving, motorized, electric driven sculptures, paintings, that would change their form, color and appearance, artworks, where people could interact with. Art had left its golden cage! Together with kinetic sculpture, forms like artistic action or happening were developed, and the use of everyday material became normal in the field of art.
It’s the idea of this special issue of ARTS dedicated to kinetic and optical art to bring together different views on this vast field of artistic development, to assemble a collection of scholarly articles that will look on the field from different perspectives, bringing up historical, aesthetical, philosophical and any other question about kinetic and optical art.

Andres Pardey
Guest Editor

Submission

Manuscripts should be submitted online at www.mdpi.com by registering and logging in to this website. Once you are registered, click here to go to the submission form. Manuscripts can be submitted until the deadline. Papers will be published continuously (as soon as accepted) and will be listed together on the special issue website. Research articles, review articles as well as communications are invited. For planned papers, a title and short abstract (about 100 words) can be sent to the Editorial Office for announcement on this website.

Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are refereed through a peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Arts is an international peer-reviewed Open Access quarterly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. For the first couple of issues the Article Processing Charge (APC) will be waived for well-prepared manuscripts. English correction and/or formatting fees of 250 CHF (Swiss Francs) will be charged in certain cases for those articles accepted for publication that require extensive additional formatting and/or English corrections.

Keywords

  • kinetic art
  • op art
  • movement
  • nouveau réalisme
  • zero
  • nul

Published Papers

No papers have been published in this special issue yet, see below for submitted and planned papers.

Submitted Papers

Type of Paper: Article
Title:
The Development of Public Art and Its Future. Passive, Active & Interactive. Past, Present & Future
Author: Ralfonso Gschwend
Affiliation: President of the KAO – Kinetic Art Organization, 301 Clematis Street, #3000, West Palm Beach, Florida, 33401, USA; E-Mail: president@kinetic-art.org; http://ralfonso.com/2015 International Kinetic Art Exhibit and Symposium, Boynton Beach, Florida / USA
Abstract: As a consequence of our much more hurried and superficial consideration for urban and public art, the art itself is required to become more engaging and interactive to capture the interest and limited attention of the new generation public art viewers. Sculptural Public Art is changing away from the long held static, form-focused style to the dynamically developing intersection of Technology, Art and and geography boundary free Communication, where the art changes, interacts, and even communicates with the viewers anywhere and at any time. This rapidly growing trend to dynamic and interactive public art transcends Cultures, Religions and Locality, as the Internet and associated communication channels are exponentially growing and connecting public art with viewers around the world in many unexpected ways yet to be explored.
Keywords: Ralfonso; Kinetic Art; Public Art; KAO; OP Art; Interactive Art, Art Education

Type of Paper:
Article
Title:
Participative Mindscapes
Author:
Roger Katan
Affilitation:
6 Rue des Bourgades, F-30610 Sauve, France; E-Mail: roger.katan@wanadoo.fr; Web: http://en.wikipedia.org/wiki/Roger_Katan and http://www.youtube.com/user/rogerkatan
Abstract:
In parallel with my social activism, I introduced architecture into my kinetic art and participatory activism into my architecture. As one of the initiators of advocacy planning in 1964 in East Harlem, NY, I helped people have their say in the shaping their environment. 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 1962-64 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. Participation underlay our project. As Lazslo Moholy-Nagy put it, “man . . . experiences a heightening of his own faculties, and becomes himself an active partner to the forces unfolding themselves.” 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. By prompting participation, a new relationship was established between a dynamic work of art and the viewer. 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.

Type of Paper:
Article
Title:
Swing Low, Sweet Chariot: Kinetic Sculpture and the Crisis of Western Technocentrism
Author: G.W. Smith
Affiliation: Space Machines Corporation; E-Mail: gsmith@space-machines.com; http://www.space-machines.com/
Abstract: Beginning with the chariot as an ancient and pan-cultural example of the way in which art has humanized technology, this paper explores the role of modern art in dealing with a putative crisis of technocentrism, and this by bringing to bear on the subject a newly-promulgated theory of the development of modern art which focuses on the absence therein of an evolved kinetic sculpture.
Keywords: kinetic sculpture; kinetic art; technocentrism

Type of Paper: Article
Title: Expanding Spectres of Time with Study for an End of the World
Author: Christina Chau
Affiliation: The University of Western Australia; E-Mail: christina.chau@uwa.edu.au
Abstract: This paper focuses on the relationship between kinesis and expressions of time during a period of technological turbulence. I also draw upon the auto-destructive artworks by Tinguely, Homage to New York (1960) and Study for an End of the World No. 2 (1962), as a signification of a turbulent consciousness of time in art. I argued that kinetic artists such as Tinguely contributed to a turbulent consciousness of time by orchestrating new perceptions of time with mechanical and tele-communicational media. While both works are auto-destructive in nature, I focus on the differences between these two works to argue that Tinguely’s kineticism is sensitive to the ways that different technologies can be used to rationalize time in different ways, and that, at times, can also be incompatible with one another.
Keywords: kinesis; kineticism; Jean Tinguely; temporality

Type of Paper:
Article
Title:
“The Sun Is ZERO” Light and Color as Principles of Structural Order
Author: Dirk Pörschmann
Affiliation: ZERO Foundation, Zollhof 11, D-40221 Düsseldorf, Germany; E-Mail: dirk.poerschmann@gmx.de; Tel. +49 211-59 80 59 77; Fax: +49 211-59 80 59 76
Abstract: In the late 1950s and early 1960s, ZERO was one of the most active and best networked art movements among the neo-avant-gardes. Distinguishing itself from Tachism, ZERO started in the cities Düsseldorf, Milan, Antwerp, Paris, and Arnheim and developed into a European movement that was able to build on the foundation of the achievements of Art Informel (dynamics in execution and the elimination of the painting’s boundaries) and establish new aspects of media and technique such as monochromatism, serial structures, light, and fire as direct artistic and elementary media for the production of images and virtual and real kinetics as artistic methods. Reading the numerous manifestos, art theory texts, and reviews from the period, one is struck by the frequent use of the adjective “pure” and the noun “purity.” In essence, it is the striving for pure art without “impurities” of material, object, subject, or content that can be found in many works by ZERO and that is treated in the manifestos in various ways. For Heinz Mack, Otto Piene, and Günther Uecker—as for most of the protagonists of ZERO—the medium of light became a key to knowledge on the basis of artistic experiments with color, fire, smoke, artificial light, nails, metal surfaces, plastics, mirrors, and lenses. In the work of the ZERO artists, light became a metamedium used to create order in colors and structures and with the natural elements fire, water, and air to exhibit in empty spaces untouched by civilization where it can reveal itself.
Keywords: ZERO, light, structure, pure art, order, neo-avant-garde

Planned Papers

The below list represents only planned manuscripts. Some of these manuscripts have not been received by the Editorial Office yet. Papers submitted to MDPI journals are subject to peer-review.

1. Arthur Clay; http://www.xmedialab.com/vip/arthur-clay
2. Reinhard Bek; http://bekandfrohnert.com/
3. Noémi Joly
4. Robert C. Morgan; http://www.robertcmorgan.com/
5. Paolo Martore
6. John Durant and Laura Knott; http://web.mit.edu/museum/
7. Danièle Perrier; http://www.perrier.at/index2.html
8. Sophie Kromholz; https://glasgow.academia.edu/SophieKromholz
9. Susanne Jaschko; http://www.sujaschko.de/en/index.html
10. Inge Hinterwaldner; http://www.leuphana.de/inge-hinterwaldner.html
11. Henry Adams; http://www.henryadams-cleveland.com/index.html
12. Laura Woodward; http://laurawoodward.com.au/
13. Petra Gemeinboeck; http://www.crl.niea.unsw.edu.au/people/petra-gemeinboeck/

Abstracts will be uploaded soon.

Last update: 14 July 2014

Arts EISSN 2076-0752 Published by MDPI AG, Basel, Switzerland RSS E-Mail Table of Contents Alert