3. Bookish and Arty
The genesis of a cover concept in the cut-up culture of the 1960s.While Vasarely's rearrangeable Op Art was beguiling the art world, a parallel development was taking place in the world of words. The cut-up method involved slicing random snippets from newspapers and other printed media and rearranging them to form fractured new texts. The English beatnik Brion Gysin attributed his discovery of the method to serendipity and showed it to his friend William Burroughs, who popularized it in his trilogy of novels The Soft Machine,
The Ticket That Exploded and Nova Express in 1961-64.
As he walked past the Sargasso Café black insect flak of MinraudThe endless possibilities of Op Art and cut-ups captured the Zeitgeist and many young artists became Vasarelians, including Oliver Bevan, a graduate from the Royal College of Art in 1964, whose hard-edged geometric paintings were exhibited at the Grabowski Gallery, London, in 1965-69.
stabbed at his vitality centers. Two Lesbian Agents with glazed faces of
grafted penis flesh sat sipping spinal fluid through alabaster straws.
The paintings were based on isometric projections of a cube and played on the viewer's visual perception through tonal flicker, figure-ground reversals and other optical ambiguities which Bevan described as 'a conflict between the certainty of the geometry and the uncertainty of the perceptual mechanism in dealing with it'.
It was around this time that John Constable, art director at Fontana Books, was looking for a cover concept for a series of brief biographies on the vanguard thinkers and theorists whose ideas were shaping the twentieth century. According
to Bevan, Constable had been experimenting with cut-ups of The Mud Bath, a key work of British geometric abstraction by the painter David Bomberg, but after seeing Bevan's work at the Grabowski in 1969, Constable put aside his scissors
and commissioned Bevan to produce the paintings for the books' front covers.
What Constable had seen at the Grabowski was a tabletop piece similar to Vasarely's Planetary Folklore kits but reduced to sixteen square tiles which were each divided diagonally into two of four colours – red, yellow, violet or emerald green. The tiles could be arranged to create different combinations of figure and ground, as visitors to the gallery were soon discovering. The normally passive viewer thus became an active participant in creating the artwork on display, which became, in effect, a temporary collaboration between the artist and viewer.
Bevan then developed the idea further, using magnetic tiles on a square steel sheet covered with black canvas. Connections used six such tiles of three different sizes and shapes which were painted with yellow triangles, emerald green stripes, and orange and dark blue parallelograms. Like his earlier tabletop piece, the tiles could be arranged to create larger tesselating patterns and shapes, only now it could be hung on the wall like a painting. Connections was shown at the Institute of Contemporary Arts in 1969-70 as part of Play Orbit, an exhibition of artworks
that visitors could interact or 'play' with in the manner of toys and games.
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