Post Op: ‘The Responsive Eye’ Fifty Years After, David Richard Gallery, Santa Fe, New Mexico, Morgan, Robert. Invertigative reporter for "Whoever Has Seen, Whoever Knows", Polish Public TV program dedidated to search for missing people. Poles Apart: The Tragic Fate of Poles During World War II. Both were named faculty emeriti after they retired. Julian Stanczak, Retrospective: 1948-1998, Butler Institute of American Art, Rand, Harry (poetry) and Julian Stanczak (images). The Art Collection of the First National Bank of Chicago, Contemporary American Painting and Sculpture 1974, University of Illinois, Lancaster, John, Introducing Op Art, B T Batsford Limited, London, Barrett, Cyril, An Introduction to Optical Art, Dutton Press, England, Praeger Encyclopedia of Art, Praeger Publishers, New York, Washington, London, Bates, Kenneth. Arnheim, Rudolf, Harry Rand, and Robert Bertholf. Rickey, George. Biography. Opitz, Glenn B. In addition to being an artist, Stanczak was also a teacher, having worked at the Art Academy of Cincinnati from 1957–64 and as Professor of Painting, at the Cleveland Institute of Art, 1964-1995. 30 Years of American Printmaking/u>, In this Academy, Pennsylvania Academy of Fine Arts, Judd, Donald. Julian and Barbara Stanczak both were key CIA faculty members for decades, he in Painting and she teaching design in the college’s Foundation program. His work began to fetch premium prices — more than $300,000 in some venues, he reported. Stanczak continued to paint long after his retirement from teaching in 1995, and his work — ignored by critics after the initial Op Art fad faded — enjoyed new popularity in the 21st century. After earning his bachelor of fine arts degree, he entered graduate school at Yale, where he studied with esteemed abstractionist and teacher Josef Albers. Paintings and Sculpture Collection, San Francisco Museum of Modern Art, Wixom, Nancy Coe. The turning point arrived when New York gallery dealer Martha Jackson, who had seen a show of Stanczak’s work in Dayton, presented him in a solo exhibition called Julian Stanczak: Optical Paintings. He received his master’s from Yale in 1956. of Pennsylvania, Swirnoff, Lois. Television "Whoever Has Seen, Whoever Knows" ("Ktokolwiek widział, ktokolwiek wie"). Who’s Who in American Art, 1986 Jacques Cattell Press, Rand, Harry. Art in the Modern Era: A Guide to Styles, Schools & Movements, Thames & Hudson, Ltd., London, Harry N. Abrams, Inc., New York, Brown, Ann Caywood and Elizabeth McClelland. More recently, Stanczak created large-scale series, consisting of square panels upon which he examined variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels). Paintings and Sculpture/Acquisitions Since 1972, Albright-Knox Art Gallery. He married former student Barbara Meerpohl in 1963, and they had two children, Danusia and Christopher. He was named "Outstanding American Educator" by the Educators of America in 1970.[2]. At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. Donations can be made, Sexual Violence: Support, Reporting Policies + Procedures, 11610 Euclid Avenue, Cleveland, OH 44106 USA. The artist lived and worked in Seven Hills, Ohio with his wife, the sculptor Barbara Stanczak. “I’m interested in the good citizen, the companion in life that lives with me, around me,” he said. He and his family escaped, and traveled through Iran, Pakistan and Kenya before landing in a Polish refugee camp in Uganda. Stanczak deployed repeating forms to create compositions that are manifestations of his visual experiences. Over the decades, Stanczak delved deeply into studies of light waves and the effects that colors had on each other in juxtaposition. Pan American Modernism: Avant-Garde Art in Latin American and the United States, Lowe Art Museum, Miami, Florida, Lenz, Emily, New Materials, New Approaches, D. Wigmore Fine Art, New York, New York, Gioni, Massimiliano, Gary Carrion-Murayari and Megan Heuer, Ghosts in the Machine, Skira Rizzoli, New Museum, New York, New York, Houston, Joe, ed. Julian Stanczak: From Life, (Essay titled “Where Art Lies”) Mitchell-Innes & Nash, Smolińska, Marta. Constructivism: Origins and Evolution, George Braziller, Inc. Carraher, Ronald and Jacqueline Thurston. Kranz, Les. In Africa, Stanczak learned to write and paint left-handed. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. Julian Stanczak was born in Borownica, Poland in 1928.At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm.He had been right-handed. In 1950, Stanczak’s family immigrated to Cleveland and Julian enrolled at CIA. David Klamen: Paintings, Watercolors, and Drawings, University of Wisconsin Press, Dunbier, Lonnie Pierson (ed.). Research/Script writting/Translations. Color/Color. 50 Art Movements You Should Know: From Impressionism to Performance Art, Prestel, Lind, Maria, ed. With help from his father-in-law, he built a machine to cut rolls of tape to any width so he could mask off portions of his canvases to achieve edge precision. ), Preprints of Papers Presented at Sixteenth Annual Meeting, New Orleans, June 1-5, 1988, American Institute for Conservation, Washington, DC, 1988, pp.118–27. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda. Museo de Arte Contemporáneo de Buenos Aires, Buenos Aires, Argentina. Who’s Who in American Art 2003-04 (25th Edition), Follin, Francis. Henning, Ed. Embodied Visions: Bridget Riley, Op Art and the Sixties, Thames &s; Hudson Ltd., London, Davenport, Ray. Smoking Mirror, 2013, dir. In 2007, Stanczak was interviewed by Brian Sherwin for Myartspace. By the 1960s, Stanczak had begun to make the kind of work that would mark his career, creating fields of colors that bounced off one another, vibrated and glowed. Annual Exhibition Record, 1914-68, Pennsylvania Academy of the Fine Arts, The American Collections, Columbus Museum of Art. Julian Stanczak: Color and Form, Bonfoey Gallery, Westfall, Stephen. Harmonic Forms on the Edge: Geometric Abstraction in Cleveland, Cleveland Artists Foundation, Beck Center for the Arts, Davenport, Ray. A pioneer in the perceptual art movement, painter Julian Stanczak built his life around seeking answers to questions about color, light, form and the way the expression of those things affected the human eye and emotions. “A History of Synthetic Painting Media with Special Reference to Commercial Materials”, in S. Rosenberg (ed. Julian Stanczak, Danese Gallery, Houston, Joe, Ursula Korneitchouk and Frances Taft. Parallel Paths, Singular Quest: Barbara and Julian Stanczak, Cleveland Artists Foundation, Morgan, Robert C. Julian Stanczak, Construction and Color: Four Decades of Painting, Stefan Stux Gallery, Fyfe, Joe, Agnes Gund and Dave Hickey. The Martha Jackson Memorial Collection, Smithsonian Institute Press, DuPont, Diana and K. Holland. During the interview, Stanczak recalled his experiences with war and the loss of his right arm and how both influenced his art. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Anders' Army in Persia. Dimensional Color, Second Edition, W.W. Norton, New York, Dempsey, Ann. Arnheim, Rudolf, Harry Rand and Robert Bertholf. In the search for Art, you have to separate what is emotional and what is logical. 2020. Design Dimensions: An Introduction to the Visual Surface, Prentice Hall College Division, Fresella-Lee, Nancy. Julian Stanczak (November 5, 1928 – March 25, 2017) was a Polish-born American painter and printmaker. Abstraction (Whitechapel: Documents of Contemporary Art), MIT Press, Cambridge, Massachusetts, Timpano, Dr. Nathan. Provocative Parallels: Naïve Early Americans/International Sophisticates, Dutton, Smithsonian Archives of American Art: Checklist of the Collection, Smithsonian Museum of Art, Richardson, T. and N. Stangos. 50). These paintings gave way to more complex compositions constructed with geometric rigidity yet softened with varying degrees of color transparency such as Netted Green (1972). Julian and Barbara Stanczak both were key CIA faculty members for decades, he in Painting and she teaching design in the college’s Foundation program. Stanczak was born in Poland and lived there until World War II, when, at age 12, he and his family were sent to a Siberian labor camp. Rockford Art Museum, "Bold Abstraction: Paintings from the Thoma Collection", Rockford, Illinois. Julian Stanczak-Foundation. Admission for all exhibits is $7 ($5 for students and seniors). Art/Search & Self-Discovery, International Textbook Company, Weller, Allen S. The Joys and Sorrows of Recent American Art. David, Steven (editor). The Artist’s Bluebook, Gould, Claudia, Debra Bricker Balken, and Ingrid Schaffner. Artist Donald Judd reviewed the show and referred to the work as “Op Art,” playing off Pop Art. His monumental work “Additional,” a series of more than 500 colored aluminum bars, stretches along a block of parking garage outside Fifth Third Bank in Cincinnati. Weisberg, Gabriel P. Materials and Techniques of 20th-Century Artists, Cleveland Museum of Art, Baro, Gene. Complete Writings 1959-1975, The Press of the Nova Scotia College of Art and Design, Halifax; New York University Press, Mason, Lauris and J. Ludman. His work was included in the Museum of Modern Art's 1965 exhibition The Responsive Eye. Optical Illusions and the Visual Arts, Reinhold Publishing Co. Harold, Margaret. Donations can be made online. Art Space Talk: Julian Stanczak, http://myartspace-blog.blogspot.com/2007/07/art-space-talk-julian-stanczak.html, Rector, Neil K. Communicating in a Different Way: The Julian Stanczak Interviews, June 22-24, 2000, Barrie, Dennis. The Cleveland Institute of Art: The First 100 Years, 1882-1982, Cleveland Institute of Art, Cleveland, Ohio. Prize-Winning Paintings, Book 6, Allied Publications, Inc. Jackson, Martha. CIA Faculty Emeritus Frances Taft wrote this essay to accompany a 2008 exhibition of works by Julian and Barbara Stanczak. Cummings, Paul. 2019. Davenport’s Art Reference, Ascherman, Herbert, Jr. Start your application now for Fall 2021! In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). Julian Stanczak: Decades of Light, Poetry and Rare Book Collection, The University of Buffalo, N.Y. Baro, Gene. His studio was a festival of colors mixed with great care, allowing him as much control as possible over the experience of light and feeling on the part of the viewer. Seeing Red: On Nonobjective Painting and Color Theory, Salon Verlag, Cologne, Pagel, David. Who Was Who in American Art, 1564-1975 (3 volumes), Rector, Neil K., Floyd Ratliff, and Sanford Wurmfeld. Houston, Joe, Op Out of Ohio: The Anomima Group, Richard Anuszkiewicz, and Julian Stanczak in the 1960s, D. Wigmore Fine Art, New York, New York Rubin, David S., Robert C. Morgan and Daniel Pinchbeck, Psychedelic: Optical and Visionary Art since the 1960s, MIT Press Barrett, Terry, Making Art: Form and Meaning, McGraw-Hill, New York McNay Art Museum—An Introduction, Scala Publishers Stanczak never embraced the name, but it stuck as a way to categorize abstract works that used line, patterns and color to play with illusions of movement. “Line Color Illusion: 40 Years of Julian Stanczak” will be on display 11 a.m.-5 p.m. Wednesday-Sunday with extended hours until 9 p.m. on Thursday through November 3 at the Akron Art Museum, 1 S. High St., Akron; 330-374-9186; www.akronartmuseum.org. I did not want to be bombarded daily by the past,- I looked for anonymity of actions through non-referential, abstract art."[1]. Stanczak taught at colleges in Cincinnati. Maciuszko, Jerzy J.