By Brian Milbrand

(Image above: Francis Michael Celentano (American, 1928–2016). Gradient Electra 5, 1992. Acrylic on canvas. 30 × 80 inches (76.2 × 203.2 cm). Collection Buffalo AKG Art Museum. Gift of Rebecca Celentano, widow of Francis Celentano, 2023 (2023-217)

The Buffalo AKG Art Museum has launched an electrifying new exhibition, “Electric Op,” that offers a fresh perspective on the intersection of classic op art and electronic art. 

The show pairs iconic works from the AKG’s op art collection with innovative electronic media from the past six decades, highlighting their shared artistic principles and visual dynamism.

Curator Tina Rivers Ryan successfully shows the relationship between these interrelated and contemporary art forms. One of the standout pairings is “Discs” by Steina and Woody Vasulka alongside “Kinetic Painting III” by Francis Michael Celentano. Celentano’s piece, a hypnotic black-and-white spiral mounted on a motorized platform, creates a mesmerizing sense of movement that echoes the energy in the Vasulkas’ video art. The Vasulkas’ piece uses shifting black-and-white video signals to create an interplay between rhythm and texture that feels both futuristic and timeless. Together, these works amplify each other’s impact, immersing the viewer in a symphony of optical and kinetic energy.

Another highlight is “Matrix III” by John Whitney, accompanied by music from minimalist composer Terry Riley. Whitney’s pioneering computer animation, with its evolving shapes and colors, challenges the viewer’s perception of depth and space. This dazzling piece is a testament to Whitney’s role as a trailblazer in the field of digital animation. Riley’s meditative score enhances the animated shapes, creating a transcendent fusion of sight and sound.

The exhibition doesn’t stop at video art; it also showcases interactive works that explore the possibilities of modern programming languages and internet-based art. Pieces by contemporary artists like Rafael Rozendaal (http://abstractbrowsing.net), Daniel Temkin (http://danieltemkin.com/DitherStudies), Rosa Menkman (http://beyondresolution.info/Impossible_Images) and Rhea Myers (http://rhea.art/Facecoin) demonstrate how HTML and digital programming are used to push the boundaries of electronic art. These works, accessible via standard internet browsers, invite viewers to engage with art in new and dynamic ways.

Preserving and presenting older computer-based art like these poses unique challenges. Several pieces in the exhibition, such as those by Leroy Lamis and Eduardo Kac, are displayed on the original computers they were created on, some of which date back over 40 years. The effort to maintain these vintage systems ensures that the historical context and technical ingenuity of these works aren’t lost, providing a bridge between early video and film experiments and today’s digital innovations.

These challenges are apparent in some of the exhibition’s shortcomings. One notable issue is that the show can feel overhung, with too many works crowding the walls. Op art, known for its visually intense and intricate designs, benefits from having negative space in between to provide viewers with moments of visual rest. This lack of spacing can make the experience feel overwhelming and unfocused.

While the show demonstrates the exceptional depth of the AKG’s op art collection, it sometimes feels as though every op art work in the collection was included. Some artists are represented by three or four pieces, when a single, carefully selected work would have sufficed to convey their contributions and given each piece the undivided attention it deserves.

Technical issues also detract from the overall experience. The interactive element of LoVid’s work was not functioning on the day of viewing. LoVid’s computer animations on a single working monitor placed among a pile of electronic waste, combined with a nonfunctional remote control, left the piece feeling unfinished.

The inclusion of a lackluster piece by Cory Arcangel further dampens the show. Arcangel’s work, which shares a wall with the vibrant creations of Ara Peterson and Antonio Roberts, pales in comparison. Lacking both conceptual depth and visual flair, it feels amateurish next to the other more complex media works in the exhibit.

Even with these glitches, “Electric Op” is a celebration of artistic evolution, tracing the threads of innovation from analog to digital media. By juxtaposing classic op art with seminal electronic media, the exhibition invites viewers to see these works in a new light, revealing their shared commitment to exploring perception, movement and the power of technology. “Electric Op” offers a captivating journey through the history of electronic and op art, hinting at their intertwining roots and unfolding future.

“Electric Op” is on view at the Buffalo AKG Art Museum through Jan. 27. Don’t miss this ambitious and thought-provoking exhibit.

Brian Milbrand is a multidisciplinary artist, working with video, film, performance, audio and painting to create diverse artworks. He also works as the Technical Director of the Buffalo State University Communication Department.