Summary
Barbara Rose and Cyril Barrett have opposing views on Op art, an art style that emerged in the 1960s and was characterized by optical illusions and visual effects. Rose was a renowned art critic and historian who supported the Op art movement, while Barrett, a British artist, was critical of it. In this article, I will argue that Barbara Rose’s view of Op art is more persuasive than Cyril Barrett’s.
Rose emphasized that Op art can alter the viewer’s perspective of time, space, and color. She perceived it as a movement that widened the scope of art and dismantled conventional aesthetic limitations. In contrast, Barrett viewed Op art as a form lacking in profundity and meaning and relying excessively on visual effects.
On the other hand, Barrett’s criticism of Op art ignored its potential to be a movement that questioned established art genres. His rejection of Op art as flimsy and absurd aligns with how artists like Riley exploited optical tricks to develop fresh perspectives on and experiences of the world. My points in this essay have been supported by publications from the bibliography, such as Barbara Rose’s essay Beyond Vertigo: Optical Art at the Modern and Cyril Barrett’s Reflections on Op art.
Annotated Bibliography
Kienberger, Anna. “The Gendered Optics of Bridget Riley’s ‘Op Art’: Her Artistic Dismissal and Influence on the 1960s Mod Era.” Portland State University, vol. 1, no. 1, 2022. Web.
The study investigates the gendered optics of Bridget Riley’s Op art, a form of artwork distinguished by optical deceptions and other striking visual effects. The author contends that Riley’s femininity frequently caused her work to be disregarded or downplayed, which affected her influence on the 1960s Mod movement. The author gives an overview of the Op art movement’s history and cultural setting, particularly its connection to the Mod subculture of the 1960s.
Rose, Barbara. “Beyond Vertigo: Optical Art at the Modern.” Artforum, vol. 3, no. 7, 1965, pp. 30–33. Web.
The article “Beyond Vertigo: Optical Art at the Modern“ discusses the 1965 exhibition of optical art held at the Museum of Modern Art in New York. The show included the works of a group of artists who aimed to develop a brand-new genre of art that would more actively involve the audience. By combining optical illusions and other visual gimmicks into their work, the painters were able to create a sense of movement and depth that was lacking in conventional painting.
Barrett, C. (1970). Op art. Penguin Putnam. Web.
The relationship between OP (Optical Art) and other types of art, in particular minimalism and abstract art, is discussed in the article. It contends that OP has its own unique qualities that distinguish it apart and that it is not simply a subclass of these artistic trends. While the illusions and effects produced by OP works depend on the viewer’s location and movement, the author also emphasizes the significance of the viewer’s perception of and interaction with the artwork. The history of OP, its leading figures, and their impact on other artists and movements are all covered on the page.
Smith, William S. “More Is Less.” ARTnews.com, 2020. Web.
In the article, an interview with art historian and critic Barbara Rose, who in 1965 invented the name “ABC Art“ to describe a new school of minimalism emerging in the art world. The conversation focuses on Rose’s viewpoint on this movement and its applicability in the present. The relationship between ABC Art and other modern movements like Pop Art and Conceptual Art is also covered in the interview. Rose contends that these movements all had the desire to question established artistic genres and interact with popular culture.
Artforum. “Barbara Rose.” Artforum, vol. 47, no. 1, 2008. Web.
A discussion of Barbara Rose’s career and opinions on contemporary art is presented in the article. Barbara Rose is an American art historian and critic. Rose talks about her early encounters with the art world, such as her time as an editor at Artforum and her participation in the 1960s New York art scene. Later in the conversation, Rose is asked about her opinions on modern art. She states that celebrity culture has become overly commercialized and dominated the field. Rose’s observations on the function of criticism in the art world close the conversation.