Richard Anuszkiewicz was a central figure, along with Briget Riley and Victor Vasarely, in the Op Art movement. He was also a student of Josef Albers, and that's a useful thing to remember when looking at this small show of five paintings. In 1970, the artist was working with nested geometric forms, crisply ruled and measured, which in 1983 change to columns of spiky lines suggesting EKG graphs. The drama -- and that feels like the right word -- is in the subtle chemistry of complementary colors, which makes the geometry glow as if light were leaking out from behind it. There's nothing here of Ms. Riley's trippy, engineered disorientation. Instead, there's something like the wry, meditative alertness one finds in Albers's most close-valued color studies and in the work of the archangel of artificial illumination, Dan Flavin. -Holland Cotter @nytimes 2000 [Richard Anuszkiewicz “Entrance to Orange” 1972-1988 acrylic and mixed media on board 31 x 23 inches] #richardanuszkiewicz #anuszkiewicz #opart #geometricabstraction #abstractart #acrylicpainting #yale #josephalbers #clevelandinstituteofart #artreview #hollandcotter #entrancetoorange #newinventory #chelseagalleries #nycart #berrycampbell (at Berry Campbell) https://www.instagram.com/p/Bv9USNtlvKu/?utm_source=ig_tumblr_share&igshid=1st58vhyhghb7
