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Lights - Li Shurui - Google Arts & Culture

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Lights, Li Shurui, 2009, óleo sobre canvas  em 210 × 210 cm

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Miroslav Šutej. Bombardment of the Optic Nerve, II. - Google Arts & Culture

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Bombardment of the Optic Nerve II, Miroslav Šutej, 1963,

Têmpera e lápis sobre tela, 6' 7" (200.5 cm) diâmetro.

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Miroslav Šutej. Bombardment of the Optic Nerve, II. 1963 | MoMA

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If you would like to reproduce an image of a work of art in MoMA's collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations).

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Sem título, Rogelio Polsello, 1974. Óleo sobre tela, 81x81cm

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SBST 2838, Ludwig Wilding, 2000, silkscreen, 28 × 28 cm

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Structure Progressive, Jean Pierre Yvaral, 1973, Acrílica sobre tela, 120 cm x 120 cm.

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Fluorescent Complement - Richard Anusziewicz - Google Arts & Culture

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Fluorescent Complement, Richard Anusziewicz, 1960, óleo sobre canvas, 91,1 cm x 82cm

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Blaze 1, Bridget Riley, 1962,  Emulsão em chapa, 600 x 550 mm

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This drawing includes several indications of Riley's decision-making process. Her inscription at upper right states that 'all angles [must be] as acute as possible', which contrasts with another study for Blaze (1962, Private Collection), where Riley instead considered radiating lines of varying distributions. The collaged piece of paper indicates another change, covering up a previous attempt at the central passage. In the series of 'Blaze' paintings which grew out of this study, the centre is eventually manifested as a void.

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Bridget Riley, Study for 'Blaze' - Google Arts & Culture

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This drawing includes several indications of Riley's decision-making process. Her inscription at upper right states that 'all angles [must be] as acute as possible', which contrasts with another study for Blaze (1962, Private Collection), where Riley instead considered radiating lines of varying distributions.

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Alejandro Otero - Ortogonal 1951 - Google Arts & Culture

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Ortogonal, Alejandro Otero, 1951. Collage, 32.1 x 32.1 cm.

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Synchrony, Kazys Varnelis, 1969, acrílico sobre tela, 198,1cm x 149,2cm.

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Synchrony - Kazys Varnelis - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Uran, Victor Vasarely, 1992, litografia, 19 1/2 in. x 19 1/2 in.

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"Uran" is a classic example of the Vega patterns that Victor Vasarely began to paint in the mid-1960s. Borrowing from macrophysics and atomic structures, this pattern was characterized by the use of circles that optically expand towards the center of a composition and contract towards its sides, suggesting an undulating, concave-convex surface. This pattern recalls Vasarely's drawings of Martians from the 1930s, in which the illusion of a swollen belly in the body of a human figure is created through the combination of linear and color patterns. In "Uran", the distribution of different tones of blue creates multiple levels of spatial depth, evoking a telescopic effect that amplifies the visual tension between receding and expanding forces. These tensions are emphasized by the contrasting effects of light and dark blue pigment, which produce dazzling optical effects. Vasarely's interest in the astronomical implications of physics and geometry is suggested by titles such as Vega and Uran. Seen from a telescope, the planet Uranus has a blue-green color that resembles those in this lithograph.

This text was created in collaboration with the University of Maryland Department of Art History & Archaeology and written by Patricia Ortega-Miranda.

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Uran - Victor Vasarely - Google Arts & Culture

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"Uran" is a classic example of the Vega patterns that Victor Vasarely began to paint in the mid-1960s. Borrowing from macrophysics and atomic structures, this pattern was characterized by the use of circles that optically expand towards the center of a composition and contract towards its sides, suggesting an undulating, concave-convex surface.

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The Poet, Douglas Coupland, 2013, acrílico sobre linho, 152.7 x 137.5 cm.

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At first glance these graphic black and white paintings formed from simple dot formations appear to be examples of Op Art, creating the illusion of movement across a static picture plane. When viewed through the lens of a smartphone, however, the images reveal the facades of the World Trade Center, the backdrop against which people trapped in the towers plummeted to their deaths on September 11, 2001. For years after 9/11, Coupland collected images of jumping and falling bodies and through this series he addresses the deep-seated visual memories we carry with us from that tragic day. Simultaneously, the works comment on the contemporary way in which many of us now view the world through the lens of our ever-present phones.

The twenty-first century has been shaped by many events but in Coupland's view perhaps most profoundly by the terrorist attacks of September 11, 2001, environmental degradation and the ubiquitous presence of new technologies. Coupland comments on the darker side of today's world through installations and paintings that are often enhanced by viewing through smartphone technology.

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The Poet - Douglas Coupland - Google Arts & Culture

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At first glance these graphic black and white paintings formed from simple dot formations appear to be examples of Op Art, creating the illusion of movement across a static picture plane. When viewed through the lens of a smartphone, however, the images reveal the facades of the World Trade Center, the backdrop against which people trapped in the towers plummeted to their deaths on September 11, 2001.

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Concreção 7959, Luiz Sacilotto, 1979. Óleo sobre tela, 1000 x 1000 cm.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Catío, Omar Rayo, 1970. Acrílico sobre lienzo, 1,02 x 1,02 cm.

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Fue autodidacta, comenzó su carrera como caricaturista e ilustrador para prensa. En su obra madura pretendía generar juegos ópticos mediante la correlación de bandas de colores contrastantes y de contornos precisos.

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Catío - Omar Rayo - Google Arts & Culture

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Fue autodidacta, comenzó su carrera como caricaturista e ilustrador para prensa. En su obra madura pretendía generar juegos ópticos mediante la correlación de bandas de colores contrastantes y de contornos precisos. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more Recommended