A Tribute to the Responsive Eye - Wolfgang Ludwig & Walter Leblanc
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Galerie Dierking is presenting a tribute to the legendary exhibition The Responsive Eye which took place at the New York Museum of Modern Art in 1965, at the gallery space at Paradeplatz in Zurich. By including works from more than fifteen countries and by different artists and artistic movements, the curator William Seitz focussed on new art that concentrated mainly on visual aspects and later shaped, among others, the term Optical Art. Seitz showed how in the 1960s the painterly-artistic study developed into an independent abstract art with autonomous forms, colours and lines. Among the artists discovered and exhibited at that time were contemporary protagonists such as Bridget Riley, Frank Stella, Josef Albers and also Ad Reinhardt with his invisible paintings.
The artist’s express intention
was to “overtax the eye”
through the apparently
rotating movement of his works.
Galerie Dierking will now focus on two European positions in that legendary New York exhibition: Wolfgang Ludwig (1923-2009) and Walter Leblanc (1932-1986).
With his Relief Sable, Twisted Strings and Torsions Belgian ZERO-artist Walter Leblanc was working in the border area between two- and three-dimensionality as early as the 1950s. Using winding threads, paper or cardboard strips, he succeeded in making viewers feel that the static artwork was moving – his particular handling of materials overcame the original panel picture by means of the illusion of space this engendered.
Wolfgang Ludwig, who lived in Berlin, concentrated as of 1963 on his work group Cinematic Disks – precise equiradial and mostly circular systems in black and white. The artist’s express intention was to “overtax the eye” through the apparently rotating movement of his works. Unfortunately due to an early hand ailment his very small oeuvre came to an abrupt end in the 1970s.
The works by Walter Leblanc and Wolfgang Ludwig pay tribute not only to the trailblazing New York exhibition, but also to an art which, influenced by that event, confronts the viewer in its own particular way to this very day.
A Tribute to the Responsive Eye - Wolfgang Ludwig & Walter Leblanc
-
The artist’s express intention
was to “overtax the eye”
through the apparently
rotating movement of his works.
Galerie Dierking is presenting a tribute to the legendary exhibition The Responsive Eye which took place at the New York Museum of Modern Art in 1965, at the gallery space at Paradeplatz in Zurich. By including works from more than fifteen countries and by different artists and artistic movements, the curator William Seitz focussed on new art that concentrated mainly on visual aspects and later shaped, among others, the term Optical Art. Seitz showed how in the 1960s the painterly-artistic study developed into an independent abstract art with autonomous forms, colours and lines. Among the artists discovered and exhibited at that time were contemporary protagonists such as Bridget Riley, Frank Stella, Josef Albers and also Ad Reinhardt with his invisible paintings.
Galerie Dierking will now focus on two European positions in that legendary New York exhibition: Wolfgang Ludwig (1923-2009) and Walter Leblanc (1932-1986).
With his Relief Sable, Twisted Strings and Torsions Belgian ZERO-artist Walter Leblanc was working in the border area between two- and three-dimensionality as early as the 1950s. Using winding threads, paper or cardboard strips, he succeeded in making viewers feel that the static artwork was moving – his particular handling of materials overcame the original panel picture by means of the illusion of space this engendered.
Wolfgang Ludwig, who lived in Berlin, concentrated as of 1963 on his work group Cinematic Disks – precise equiradial and mostly circular systems in black and white. The artist’s express intention was to “overtax the eye” through the apparently rotating movement of his works. Unfortunately due to an early hand ailment his very small oeuvre came to an abrupt end in the 1970s.
The works by Walter Leblanc and Wolfgang Ludwig pay tribute not only to the trailblazing New York exhibition, but also to an art which, influenced by that event, confronts the viewer in its own particular way to this very day.
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