Marcel Duchamp was in the habit of anticipating future art movements. His 1936 Cahiers d’Art cover is a precursor to Op Art, and employs the vibration effect to create the impression of a fluttering movement at the boundary between the red and blue heart shapes.
The Marcia Hafif painting seen here was made when she was a young artist living in Rome, a few years before she started creating her distinctive body of monochromatic works using handmade paint. The (presumably commercial) orange and violet she used in 157 appear to be very close in value, and the “interlocking fingers” image increases the length of the boundary at which the vibration occurs.
The Op Art movement happened to coincide with the emergence of psychedelia in popular culture, and there was naturally quite a bit of crossover between these related visual tendencies. Victor Moscoso brought his own graphic sophistication and eye-searing colors to the to the Bay Area psychedelic poster scene and underground comix; perhaps unsurprisingly, he was a former Albers student.
Marcel Duchamp (France and U.S.A., 1887-1968). Cahiers d’Art Vol. XI — Coeurs Volants (Floating Hearts) 1936. 9 5/8 x 12 3/8 inches. Source.
Marcia Hafif (American 1929-2018). 157 October 1967. Acrylic on canvas, 23 5/8 x 23 5/8 inches. Source.
Victor Moscoso (American, born in Spain, 1936). June 29-30/July 1-2, 1967, at the Avalon Ballroom featuring Quicksilver Messenger Service, Mount Rushmore, Big Brother and the Holding Company, and Blue Cheer. Offset lithograph on paper, 20 1/4 x 14 inches. Source.
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