Lumino kinetic art

Lumino Kinetic art involves, as the name suggests, light and movement. It is a subset and an art historical term in the context of the more established kinetic art, which in turn is a subset of new media art. The historian of art Frank Popper views the evolution of this type of art as evidence of "aesthetic preoccupations linked with technological advancement" and a starting-point in the context of high-technology art.^[1] László Moholy-Nagy (1895-1946), a member of the Bauhaus, and influenced by constructivism can be regarded as one of the fathers of Lumino kinetic art. Light sculpture and moving sculpture are the components of his Light-Space Modulator (1922–30), One of the first Light art pieces which also combines kinetic art.^[2][3]

The origins of the term itself are multiple. There was an early cybernetic artist, Nicolas Schöffer, who developed walls of light, prisms, and video circuits under the term in the 50s.^[4] Artist/engineer Frank Malina came up with the Lumidyne system of lighting (CITE), and his work Tableaux mobiles (moving paintings) is an example of Lumino Kinetic art of that period.^[4] Later, artist Nino Calos worked with the term "Limino-kinetic paintings. (CITE). Artist György Kepes was also experimenting with lumino-kinetic works.^[5] Ellis D Fogg is also associated with the term as a "lumino kinetic sculptor". In the 1960s various exhibits involved Lumino Kinetic art, inter alia Kunst-Licht-Kunst at the Stedelijk Van Abbemuseum in Eindhoven in 1966, and Lumière et mouvement at the Musée d'Art Moderne de la Ville de Paris in 1967.^[4]

Lumino Kinetic art was also aligned with Op art in the late 60s because the moving lights were spectacular and psychedelic.^[6]

Frank Popper views it as an art historical term in the context of kinetic art; he states that "there is no lumino kinetic art after the early 70s; it stands as a precursor to other contemporary cybernetic, robotic, new media-based arts, and is limited to a very small number of (male) European avant-garde artists (part of the New Tendencies movement)".^[7]

See also

• Kinechromatic art

Notes

1. Popper (1993)
2. Tate bio Retrieved January 17, 2011
3. Retrieved January 17, 2011
4. "Glossary - Kinetic art". New Media Encyclopedia. Retrieved 13 August 2009.
5. Oxford Art Online
6. Grunenberg, Christoph; Jonathan Harris (2005). Summer of love: psychedelic art, social crisis and counterculture in the 1960s. Liverpool University Press, 2005. ISBN 0-85323-919-3. Retrieved 13 August 2009.
7. Djurić, Dubravka; Miško Šuvaković (2003). Impossible histories: historical avant-gardes, neo-avant-gardes, and post-avant-gardes in Yugoslavia, 1918-1991. MIT Press, 2003. ISBN 0-262-04216-9. Retrieved 13 August 2009.

Further reading

• Frank Popper; Stephen Bann (1968). Origins and development of kinetic art. New York Graphic Society. Quote: "Apart from machines of this type, various other methods of projection have been practised in the field of lumino-kinetic art." Artist mentioned on p199: Leonard, Don Snyder, Stern, Tambellini.

• Roukes, Nicholas (1974). Plastics for kinetic art. Watson-Guptill Publications. ISBN 978-0-8230-4029-2. Quote: "The interruption of "white light" created by overlapping red, green, and blue light serves as one basis for making lumino- kinetic art objects"

• Christoph Grunenberg; Jonathan Harris; Tate Gallery Liverpool (2005). Summer of love: psychedelic art, social crisis and counterculture in the 1960s. Liverpool University Press. ISBN 978-0-85323-919-2. p 291 Quote: "Moderne de la Ville de Paris on 23 May 1967, offered the public access to a large range of lumino-kinetic works by artists such as Agam, Calos, Cruz-Diez

• Frank Popper: "The Place of High-Technology Art in the Contemporary Art Scene." by Frank Popper. Leonardo, Vol. 26, No. 1 (1993), pp. 65–69. Published by: The MIT Press

External links

• Highlighting Borusan, example of a lumino kinetic art project by Waltraut Cooper, pioneer of digital art