Scott Stack Rethinks the Rules of Op Art

Scott Stack, “Ice Three” (2016), oil on canvas, 94 x 69 inches (all images courtesy Chicago Cultural Center)

CHICAGO — The roots of modern art go back to the rise of Impressionism and the simultaneous study of the law of optics in the late19th century. The key figure in the merging of art and science, painting and optics, was Georges Seurat, who became the leader of a movement that Félix Féneon dubbed “Neo-Impressionism.” The use of pure, unblended color became a cornerstone of art devoted to optical effects; this is what is common to the work of Seurat, Josef Albers, Richard Anuszkiewicz, Sanford Wurmfeld, Gabriele Evertz, and Robert Swain.

Many consider that Op Art reached its apogee in the “swinging” 1960s, when the British painter Bridget Riley caught the attention of both the art world and fashion industry with graphically

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