1966 CHEVELLE STEERING WHEEL

The Art Lesson (Paperstar Book)

Having learned to be creative in drawing pictures at home, young Tommy is dismayed when he goes to school and finds the art lesson there much more regimented.

This is a charming exercise in autobiography (one of several) by the great author-illustrator Tomie dePaola. "Tommy" is consumed with a passion for drawing. Although encouraged by his family, who treat his pictures with respect and decorate their houses and workplaces with them, he encounters misunderstanding and frustration at school. Finally, an art teacher gives him a chance to do his own thing. The Art Lesson is filled with many full-page illustrations in dePaola's inimitably warm, soothing style. It's also packed with the right lessons on individuality and perseverance, especially for children who are already showing a single-minded interest or special talents that put them ahead of their peers. (Ages 4 to 8) --Richard Farr

Jeff Homar Art Box 1968 Jazz Op Art, 19 inches in length by 7.5 inches in width by 8.5 inches in hight. Signed by Homar on reverse and titled Jazz Op art
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Look up op art in Wiktionary, the free dictionary.


Movement in Squares, by Bridget Riley 1961.Not to be confused with pop art or plop art.
Op art, also known as optical art, is a style[1] of visual art that makes use of optical illusions.

"Optical art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing."[2] Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.

Contents [hide]
1 Historical context
2 Origin of "op"
2.1 The Responsive Eye
3 How op art works
3.1 Black & white and the figure-ground relationship
3.2 Color
3.2.1 Color interaction
4 Exhibitions
5 Photographic op art
6 Artists known for their op art
7 Trivia
8 See also
9 References
10 Bibliography
11 External links

[edit] Historical context

Jesus Soto, CaracasOp art is derived from the constructivist practices of the Bauhaus. This German school, founded by Walter Gropius, stressed the relationship of form and function within a framework of analysis and rationality. Students were taught to focus on the overall design, or entire composition, in order to present unified works. When the Bauhaus was forced to close in 1933, many of its instructors fled to the United States where the movement took root in Chicago and eventually at the Black Mountain College in Asheville, North Carolina, where Anni and Josef Albers would come to teach.[citation needed]

[edit] Origin of "op"
The term first appeared in print in Time magazine in October 1964,[3] though works which might now be described as "op art" had been produced for several years previously. For instance, Victor Vasarely's painting, Zebras (1938), is made up entirely of curvilinear black and white stripes that are not contained by contour lines. Consequently, the stripes appear to both meld into and burst forth from the surrounding background of the composition. Also the early black and white Dazzle panels of John McHale installed at the This Is Tomorrow exhibit in 1956 and his Pandora series at the Institute of Contemporary Arts in 1962 demonstrate proto-op tendencies.


An optical illusion by Hungarian-born artist Victor Vasarely[edit] The Responsive Eye
In 1965, an exhibition called The Responsive Eye, created by William C. Seitz was held at the Museum of Modern Art in New York City.[4] The works shown were wide ranging, encompassing the minimalism of Frank Stella and Ellsworth Kelly, the smooth plasticity of Alexander Liberman, the collaborative efforts of the Anonima group, alongside the well-known Victor Vasarely, Richard Anuszkiewicz, and Bridget Riley. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. The exhibition was enormously popular with the general public, though less so with the critics.[5]Critics dismissed op art as portraying nothing more than trompe l'oeil, or tricks that fool the eye. Regardless, op art's popularity with the public increased, and op art images were used in a number of commercial contexts. Bridget Riley tried to sue an American company, without success, for using one of her paintings as the basis of a fabric design.[citation needed]

[edit] How op art works
[edit] Black & white and the figure-ground relationship
Op art is a perceptual experience related to how vision functions. It is a dynamic visual art, stemming from a discordant figure-ground relationship that causes the two planes to be in a tense and contradictory juxtaposition. Op art is created in two primary ways. The first, and best known method, is the creation of effects through the use of pattern and line. Often these paintings are black and white, or otherwise grisaille. Such as in Bridget Riley's famous painting, Current (1964), on the cover of The Responsive Eye catalogue, black and white wavy lines are placed close to one another on the canvas surface, creating such a volatile figure-ground relationship that one's eyes begin to hurt. Getulio Alviani chose alumnium surfaces, treated in order to create patterns of light which change as the watcher moves (vibrating texture surfaces). Another reaction that occurs is that the lines create after- images of certain colors due to how the retina receives and processes light. As Goethe demonstrates in his treatise Theory of Colours, at the edge where light and dark meet, color arises because lightness and darkness are the two central properties in the creation of color.[citation needed]

[edit] Color
Be

Many Names
01-09-03

It was called ‘Wind’ by his Father and by
The people of his Mother’s Tribe,
for they knew not the Sacred Language of the Land,
and were deafened by Fear for that which they could not Control.
It was ‘El Viento’ to those who First quested Fruitlessly for the yellow metal that makes White Man Crazy.
‘El’ with direct respect to Man and his Nature, and
a prescribed Image of himself as God.
‘El’ Viento,
Fearful ? Wind.
Two meanings assigned by two Strangers who knew not How
to simply ask the Mystery Its name
and knew not how to interpret
nor understand
nor Abide by It’s noisy cries,
screams,
shrieks,
whistles,
roars,
squeals
nor the moans,
nor even the Laughter in His Song that never ceases.
Strangers who knew not how to Listen to the Voices of the Land, Strangers
Who had not Ears for the Voices of the Grandfathers,
who Were the Land,
Los Abuelos de
La Tierra.
Strangers who Listened only in the Language of Educated Assimilation
Delivered from Distant Authority whose Purpose was undoubtedly Questionable
And Certainly,
Self Serving.

Two Trails would learn to know Him as ‘Grandfather of the Four Directions’
Though not in words because his name was not a word,
It was a sound, the sound of God in Harmony with Himself.
Friend of Bees loved Him for He had unto him Delivered Life in Breath to the
Rhythm of the Laughing Song
And he knew His Whispering Warnings of Peril.
He delivered the Cooling Shadow of the lonely Thunder Being
in the Season of the Thirsty Sage,
He would Summon the Thunder Beings
and they would Danced in Excited and Mischievous Folly
And their Passion would Ignite Lethal Streamers of
Blinding Bolts of Sporadic and Colorful Power
to share With Friend of Bees, their Glory.
Yes!
And at the arrival of Friend of Bees at life’s Opening Gate,
He delivered
curious Scents from the far Horizon,
Sands of a distant Plain,
Ice from another Continent,
Songs from another Land,
And his First Breath of Life,
Which Friend of Bees shared with
Spirit of Coyote,
El Hijo del Llano Estacado.
(Son of the Staked Plains)
Then,

he Gasped twice and returned the Sacred Gift
Upon a Cry Whose Intensity Awakened the Sleeping Thunder Beings
Who Grumbled until Grandfather of the Four Directions apprised
Them of the Blessed event and Joined them as they all Clapped,
Thunderously.
Then,
Danced and Swirled in Celebration
until Ornry old ‘Twister Most Ferocious’,
(What? With all the Excitement and all)
accidentally touched down
Laying Waist to every farmhouse, Barn and mailbox in a swath a mile wide and twenty five miles long,
Then,
as the Last Straw,
Almost wiped out the old Barracks that Housed the entire Family Of, and,
the newborn, Friend of Bees himself.
Well!
That’s when Grandfather of the Four Directions got Really Pissed,
Stepped in
And sent the Thunder Beings back to Sleep it off,
While He returned to Greet the morning Star of the East
And to visit the morning Rainbow in the West
And to cool in the North
And to Warm in the South, And,
to deliver the sound of Breath upon the first word of life of
‘Friend of Bees’
who,
in Time,
Would become known by Many Names,
Grandson of the Four Directions,
Successor to their Restless-ness,
Traveler of many Trails,
Master of Two,
Chacer of One,
Follower of the Other.

----,,,,...._____

12-23-02


I pulled out of Chinati Hot Springs as the morning sun tried fruitlessly to absorb the desert’s December chill that the steady northwest wind refused to release,
rested I was.
Put my rolling tee pee on the rack at Presidio and tightened the pan gasket bolts and
bought an extra u-joint to carry along,
think I hear a tiny Click in that area,
(Better $18.76 in the safe than hundreds in the Sorry).

Crossed the border into Ojinaga and spent a couple of hours trying to get a 6 month visa.
When I said ‘Soy escritor’
(I’m a writer),
WRONG!!!!!
interrogation began, finally,
I showed them my book, “el Gringo Mojado’,
all changed and I was treated warmly and made to feel welcome. Got My six month visa.

Arrived at Hidalgo del Parral,
a city I really like and sort of know,
after dark and
found my way to the city’s center where I rented a $12.50 room at a familiar downtown hotel and
walked the busy streets looking in at the local stores,
had an awesome $4.oo supper and
took in some norten-o music in the bars,
and played with some local Corrido Crooners,
a three piece, Bajo Sesto, Accordian and Bass,
Took a four hour nap,
got up and headed south.

As for driving the length of Mexico,
the trip was uneventful, but
compared to driving in the states,
surviving such a trek in Mexico is an event in its self,
but I suppose that’s a story,
or a book really, to be told later.

IDEO, the widely admired, award-winning design and development firm that brought the world the Apple mouse, Polaroid's I-Zone instant camera, the Palm V, and hundreds of other cutting-edge products and services, reveals its secrets for fostering a culture and process of continuous innovation.

There isn't a business in America that doesn't want to be more creative in its thinking, products, and processes. At many companies, being first with a concept and first to market are critical just to survive. In The Art of Innovation, Tom Kelley, general manager of the Silicon Valley based design firm IDEO, takes readers behind the scenes of this wildly imaginative and energized company to reveal the strategies and secrets it uses to turn out hit after hit.

IDEO doesn't buy into the myth of the lone genius working away in isolation, waiting for great ideas to strike. Kelley believes everyone can be creative, and the goal at his firm is to tap into that wellspring of creativity in order to make innovation a way of life. How does it do that? IDEO fosters an atmosphere conducive to freely expressing ideas, breaking the rules, and freeing people to design their own work environments. IDEO's focus on teamwork generates countless breakthroughs, fueled by the constant give-and-take among people ready to share ideas and reap the benefits of the group process. IDEO has created an intense, quick-turnaround, brainstorm-and-build process dubbed "the Deep Dive."

In entertaining anecdotes, Kelley illustrates some of his firm's own successes (and joyful failures), as well as pioneering efforts at other leading companies. The book reveals how teams research and immerse themselves in every possible aspect of a new product or service, examining it from the perspective of clients, consumers, and other critical audiences.

Kelley takes the reader through the IDEO problem-solving method:

> Carefully observing the behavior or "anthropology" of the people who will be using a product or service

> Brainstorming with high-energy sessions focused on tangible results

> Quickly prototyping ideas and designs at every step of the way

> Cross-pollinating to find solutions from other fields

> Taking risks, and failing your way to success

> Building a "Greenhouse" for innovation

IDEO has won more awards in the last ten years than any other firm of its kind, and a full half-hour Nightline presentation of its creative process received one of the show's highest ratings. The Art of Innovation will provide business leaders with the insights and tools they need to make their companies the leading-edge, top-rated stars of their industries.

IDEO, the world's leading design firm, is the brain trust that's behind some of the more brilliant innovations of the past 20 years--from the Apple mouse, the Polaroid i-Zone instant camera, and the Palm V to the "fat" toothbrush for kids and a self-sealing water bottle for dirt bikers. Not surprisingly, companies all over the world have long wondered what they could learn from IDEO, to come up with better ideas for their own products, services, and operations. In this terrific book from IDEO general manager Tom Kelley (brother of founder David Kelley), IDEO finally delivers--but thankfully not in the step-by-step, flow-chart-filled "process speak" of most how-you-can-do-what-we-do business books. Sure, there are some good bulleted lists to be found here--such as the secrets of successful brainstorming, the qualities of "hot teams," and, toward the end, 10 key ingredients for "How to Create Great Products and Services," including "One Click Is Better Than Two" (the simpler, the better) and "Goof Proof" (no bugs).
But The Art of Innovation really teaches indirectly (not to mention enlightens and entertains) by telling great stories--mainly, of how the best ideas for creating or improving products or processes come not from laboriously organized focus groups, but from keen observations of how regular people work and play on a daily basis. On nearly every page, we learn the backstories of some now-well-established consumer goods, from recent inventions like the Palm Pilot and the in-car beverage holder to things we nearly take for granted--like Ivory soap (created when a P&G worker went to lunch without turning off his soap mixer, and returned to discover his batch overwhipped into 99.44 percent buoyancy) and Kleenex, which transcended its original purpose as a cosmetics remover when people started using the soft paper to wipe and blow their noses. Best of all, Kelley opens wide the doors to IDEO's vibrant, sometimes wacky office environment, and takes us on a vivid tour of how staffers tackle a design challenge: they start not with their ideas of what a new product should offer, but with the existing gaps of need, convenience, and pleasure with which people live on a daily basis, and that IDEO should fill. (Hence, a one-piece children's fishing rod that spares fathers the embarrassment of not knowing how to teach their kids to fish, or Crest toothpaste tubes that don't "gunk up" at the mouth.)
Granted, some of their ideas--like the crucial process of "prototyping," or incorporating dummy drafts of the actual product into the planning, to work out bugs as you go--lend themselves more easily to the making of actual things than to the more common organizational challenge of streamlining services or operations. But, if this big book of bright ideas doesn't get you thinking of how to build a better mousetrap for everything from your whole business process to your personal filing system, you probably deserve to be stuck with the mousetrap you already have. --Timothy Murphy