THE
RESPONSIVE EYE - THE RESPONSIVE BRAIN
Charles & Ray Eames, "Blacktop," 11', b/w, 1952
Peter Kubelka, "Schwechater", 1958, color, 1'
Edgar Varèse, Le Corbusier, Iannis Xennakis, "Poème
électronique," color, 1958
Peter Kubelka, "Arnulf Rainer", 1958-1960, b/w, 6'30''
Brion Gysin, "Dreamachine", 1960
“Had a transcendental storm of color visions today in the bus going
to Marseilles. We ran through a long avenue of trees and I closed my eyes
against the setting sun. An overwhelming flood of intensely bright patterns
in supernatural colors exploded behind my eyelids: a multi-dimensional
kaleidoscope whirling out through space. I was out in a world of infinite
number. The vision stopped abruptly as we left the trees. Was that a vision?
What happened to me?" Brion Gysin’s JOURNAL. 21st December
1958
"The DREAMACHINE is a dream-machine. These dreams can be immediately
interrupted and brought to an end simply by opening your eyes. However
you look into a DREAMACHINE, in a short time you will have acquired greater
self-knowledge, extended the limits of your vision, brightened your perception
of a treasure you may not have known you own." --Brion Gysin
"Psychpathology and Pictorial Expression", 1963-1977, 26 publications,
edited by Sandoz, Basel, Switzerland
Andy Warhol, "Sleep", b/w, 6 hours, 1963
USCO "Contact Is the Only Love", kinetic octagon containing
sixteen interlocked sound and light systems, Riverside Museum New York,
New York 1963
USCO="The Us Company", a group of painters, poets, filmmakers,
technicians and weavers who live and work communally in a abandoned church
in New York City. Robert E.L. Masters and Jean Huston, "Psychedelic
Art", New York 1968.
Marian Zazeela, “Ornamental Lightyears Tracery", slideshow
in collaboration with La Monte Young, 1964, 1965 - c. 1977; revived 1992.
“In site-specific installations, light and scale are manipulated
in such a way that the colored shadows, in their apparent corporeality,
become indistinguishable from the sculptural forms, enveloping the viewer
in a continual interplay of reality and illusion…. Ornamental Lightyears
Tracery was presented throughout the U.S. and Europe, including performances
at the Museum of Modern Art, New York; Albright-Knox Art Gallery, Buffalo;
Maeght Foundation, St. Paul de Vence; Moderna Museet, Stockholm; The Metropolitan
Museum of Art, New York; Documenta 5, Kassel; Haus der Kunst, Munich;
Dia Art Foundation, New York.” (www.melafoundation.org/mz.htm)
Andy Warhol, "Empire", b/w, 8 hours, 1964
Carolee Schneemann, "Fuses", 1965, color, 21'35''
William C. Seitz, “The Responsive Eye”, exhibition catalog,
The Museum of Modern Art, New York 1965, 56 pages
“Although an appropriate title had not yet been determined, The
Responsive Eye was announced in November, 1962. … Albers and Vasarely
are the best-known masters of perceptual abstraction, and they are represented
with a few more works than other exhibitors. … Many artists, from
Balla, Malevich, and Mondrian to several of those here exhibited must
also be seen as originators of some aspect of perceptualism. … “
page 3 of the catalog
“The Responsive Eye”, travelling exhibition, The Museum of
Modern Art, New York, February 23-April 25, 1965; City Art Museum of St.
Louis, May 20-June 20, 1965; Seattle Art Museum, July 15-August 23, 1965;
The Pasadena Art Museum: September 25-November 7, 1965; The Baltimore
Museum of Art, December 14 1965-January 23, 1966. The show included 122
works by 102 artists from 17 countries.
With one work represented: Adrian Marc (Austria, *1930), Getulio Alviani
(Italy, 1939), Edward Avedisian (USA, *1936), Walter Darby Bannard (USA,
*1934), Hannes Beckmann (USA, *1909), Larry Bell (USA, *1939), Karl Stanley
Benjamin (USA, *1925), Ernest Benker (USA, *1928), Henryk Berlewi (Poland,
“1894), Alberto Biasi (Italy, *1937), Max Bill (Switzerland, *1908),
Paul Brach (USA, *1924), Enrico Castellani (Italy, *1930), Francis Celentano
(USA, *1928), Toni Costa (Italy, *1935), Carlos Cruz-Diez (Venezuela,
lives in Paris, *1923), Benjamin Frazier Cunningham (USA, *1904), Tony
De Lap (USA, *1927), Hugo Rudolfo Demarco (Argentina, lives in Pairs,
*1932), Thomas Downing (USA, *1928), Wojciech Fangor (Poland, lives in
Paris, *1922), Paul Feeley (USA, *1913), Lorser Feitelson (USA, *1898),
Jerry Foyster (USA, *1932), Günter Fruhtrunk (Germany, *1923), Sue
Fuller (USA, *1914), Horacio Garcia Rossi (Argentina, lives in France,
*1929), Gego (Gertrude Goldschmidt, Germany, lives in Venezuela, *1912),
John Goodyear (USA, *1930), Gerhard von Graevenitz (Germany, *1934), Lily
Greenham (Austria, lives in Paris, *1928), Gruppo N (Italy, a group exhibiting
anonymously, comprising Alberto Biasi, Ennio Chiggio, Toni Costa, Edorado
Landi, Manfredo Massironi), Frederick Hammersley (USA, *1919), Francis
Hewitt (USA, *1936), Robert Irwin (USA, *1928), Ellsworth Kelley (USA,
1923), Michael James Kidner (GB, *1917), William Komodore (USA, *1932),
Leroy Lamis (USA, *1925), Edorado Landi (Italy, *1937), Walter Leblanc
(Belgium, *1932), Lynn G. Leland (USA, *1937), Julio Le Parc (Argentina,
lives in Paris, *1928), Mon Levinson (USA, *1926), Richard Lippold (USA,
*1915), Morris Louis (USA, 1912-1962), Wolfgang Ludwig (USA, *1923), Sheldon
Machlin (USA, *1918), Heinz Mack (Germany, *1931), Agnes Martin (USA,
*1921), Almir Mavignier (Brazil, lives in Germany, *1925), John McLaughlin
(USA, *1898), Edwin Mieczkowski (USA, *1929), Guido Molinari (USA, *1933),
François Morellet (France, *1926), Reginald Neal (USA(GB, *1909),
Kenneth Noland (USA, *1924), Eric Olson (Sweden, *1909), Gerald Oster
(USA, *1918) Pearson C. Henry (USA, *1914), Ivan Picelj, (Yugoslavia,
*1924), Uli Pohl (Germany, *1935), Larry Poons (USA, 1937), Ad Reinhardt
(USA, *1913), Karl Reinhartz (Germany, *1932), Ludwig Sander (USA, *1906),
Arnold Schmidt (USA, *1930), Peter Sedgley (GB, *1930), Eusebio Sempere
(Spain, *1924), Oli Sihvonen (USA, *1931), Clara Skinner (USA, *1915),
Leon Polk Smith (USA, *1906), Francisco Sobrino (Spain, lives in Paris,
*1932), Julian Stanczak (USA, *1928), Jeffrey Seele (GB, *1931), Joël
Stein (France, 1926), Frank Stella (USA, *1936), Robert Stevenson (USA,
*1924), Peter Anthony Stroud (GB, lives in Vermont, *1921), Miroslav Sutej
(Yugoslavia, *1936), Tadasky (Japan, lives in New York, *1935), Luis Tomasello
(Argentina, lives in Paris, *1915), Claude Tousignant (Canada, *1932),
Wen-Ying Tsai (USA, *1928), Günther Uecker (German, *1930), Ludwig
Wilding (Germany, *1927), Walter Zehringer (Germany, *1940)
With two works represented: Agam (Israel, lives in Paris, *1928), Richard
Anuszkiewicz (USA, *1930), Davis Gene (USA, *1920), Piero Dorazio (Italy,
*1927), Equipo 57 (Spain, a group exhibiting anonymously, comprising Juan
Cuenca, Angel Duart, José Duarte, Agustin Ibarrola, Juan Serrano),
Karl Gerstner (Switzerland, *1930), Alexander Liberman (USA/Russia, *1912),
Enzo Mari (Italy, 1932), Bridget Riley (GB, *1931), Yvaral (France, 1934)
With more than two works represented: Josef Albers (USA, *1888), Victor
de Vasarely (Hungary, lives in France, *1908)
Tony Conrads, "The Flicker", 1966, film, b/w, 30'
Tony Conrads, "Ray Gun Virus", 1966
Paul Sharits, "Piece Mandala / End War", 1966, 5 min, 16mm
Paul Sharits, "Word Movie" (Fluxfilm 29), 1966, 4 min, 16mm
Paul Sharits, "Sears Catalogue" (Fluxfilm), 1966, 30 sec, silent
Paul Sharits, "Dots 1 & 2" (Fluxfilm), 1966, 30 sec, silent
Paul Sharits, "Wrist Trick" (Fluxfilm), 1966, 30 sec, silent
Don Snyder, "Quasar", psychedlic performance using music, dancers,
and lumia, St. Marks-in-the-Bouwerie Episcopal Church, New York, December
1966.
USCO, Riverside Museum New York, New York 1966
USCO="The Us Company", a group of painters, poets, filmmakers,
technicians and weavers who live and work communally in a abandoned church
in New York City. Robert E.L. Masters and Jean Huston, "Psychedelic
Art", New York 1968.
Jackie Cassen & Rudi Stern, Motion picture interpreting aspects of
a psychedelic experience created for the television show "Mind-Benders",
produced by Vision Associates, New York 1967
Jackie Cassen & Rudi Stern, kinetic lumia visuals for Igor Stravinsky's
"The Rake's Progress" performed by the Opera Company of Boston,
1967.
First use of psychedelic art in an opera. Robert E.L. Masters and Jean
Huston, "Psychedelic Art", New York 1968.
Yayoi Kusama, "Peep-Show", environment of mirrors and lights,
1967(?)
Anthony Martin, "Ultramedia", visual environment with film prepared
slides, and special projectors for discothèque The Electric Circus,
New York 1967
Ronald Nameth, "Andy Warhol's Exploding Plastic Inevitable,"
color, 12' / 19', 1967 (1966)
Stanley Kubrick, "2001: A Space Odyssey", 1968
Pat O'Neill, "7362," color, 10', 1965-1967
Michael Snow, "Wavelength," color, 1967, 45'
Paul Sharits, "T.O.U.C.H.I.N.G.", 1968, color, sound, 12 min
Paul Sharits, " N.O.T.H.I.N.G., 1968, color, sound
"I´d like to give up Imitation and Illusion and I´d like
to enter the higher drama of Celluloid, 2dimensional film stripes, individual
images, nature of perforation and emulsion, projector operations, 3dimensional
lamps, environment, illumination, the 2dimensional reflecting screen,
optic nerves and individual psychophysical conditions. In this cinematographic
drama light is energy and not a tool for the representation of non-film
objects. Light as energy creates its own objects, shadows and textures.
If you take the facts of the retina, the flicker mechanism of film projection
than you can make films without logic of language.“
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