Danese/Corey Gallery, "Abstraction: Hot and Cold", New York, New York.

Smoking Mirror, 2013, dir. Julian Stanczak, Danese Gallery, Houston, Joe, Ursula Korneitchouk and Frances Taft. His studio was a festival of colors mixed with great care, allowing him as much control as possible over the experience of light and feeling on the part of the viewer. Mendelowitz, Daniel M. A History of American Art, New York: Holt, Rinehart & Winston, Inc. Weinhardt, Carl J. Jr. Stanczak explained, "The transition from using my left hand as my right, main hand, was very difficult. Nonprofit Organization At the beginning of World War II, Stanczak was forced into a Siberian labor camp, where he permanently lost the use of his right arm. Artist Donald Judd reviewed the show and referred to the work as “Op Art,” playing off Pop Art. In the early 1960s he began to make the surface plane of the painting vibrate through his use of wavy lines and contrasting colors in works such as Provocative Current (1965). The American Paintings in the Pennsylvania Academy of Fine Art, Falk, Peter Hastings. David Klamen: Paintings, Watercolors, and Drawings, University of Wisconsin Press, Dunbier, Lonnie Pierson (ed.).

He died March 25, 2017 at his home in Seven Hills. Visual Logic: David Davis, Ed Mieczkowski, John Pearson, Julian Stanczak, The Cleveland Institute of Art.

Cummings, Paul. A teacher at CIA from 1964 until his retirement in 1995, Stanczak said in an interview that his best hope in the classroom was not to turn students into great artists. Donations can be made, Sexual Violence: Support, Reporting Policies + Procedures, 11610 Euclid Avenue, Cleveland, OH 44106 USA. In the search for Art, you have to separate what is emotional and what is logical.

Color Function Painting: The Art of Josef Albers, Julian Stanczak and Richard Anuszkiewicz, in conjunction with exhibition at Wake Forest University, Winston-Salem, NC, Griffith, Dennison. Arnheim, Rudolf, Harry Rand, and Robert Bertholf.

Weisberg, Gabriel P. Materials and Techniques of 20th-Century Artists, Cleveland Museum of Art, Baro, Gene. Kranz, Les. Utter, Douglas Max. (ed.) Toledo … The Art Collection of the First National Bank of Chicago, Contemporary American Painting and Sculpture 1974, University of Illinois, Lancaster, John, Introducing Op Art, B T Batsford Limited, London, Barrett, Cyril, An Introduction to Optical Art, Dutton Press, England, Praeger Encyclopedia of Art, Praeger Publishers, New York, Washington, London, Bates, Kenneth. Who’s Who in American Art 2003-04 (25th Edition), Follin, Francis. David, Steven (editor).

To me I look and say ‘What kind of person can I help him to become?’”. In 1942, aged thirteen, Stanczak escaped from Siberia to join the Anders' Army in Persia. Julian Stanczak: Op Art Painting, McNay Museum of Art, Nill, Annegreth T. Julian Stanczak, Columbus Museum of Art, McClelland, Elizabeth. Julian Stanczak: Color ∙ Grid, Danese Gallery, Hickey, Dave.

T.Magierski. In 1966 he was named a "New Talent" by Art in America magazine. “I’m interested in the good citizen, the companion in life that lives with me, around me,” he said. In Africa, Stanczak learned to write and paint left-handed. The Martha Jackson Memorial Collection, Smithsonian Institute Press, DuPont, Diana and K. Holland.

The New York Art Review, Macmillan Publishing Co. Josef Albers: His Art and His Influence, Montclair Art Museum, Montclair New Jersey. Julian Stanczak (November 5, 1928 – March 25, 2017) was a Polish-born American painter and printmaker. He had been right-handed. The Spirit of Cleveland: Visual Arts Recipients of the Cleveland Arts Prize 1961-1995, Cleveland Institute of Art, American Paintings: An Illustrated Catalogue, National Gallery of Art, Hope, Augustine and Margaret Walch.

Julian Stańczak: Op art i dynamika percepcji (Op Art and the Dynamics of Perception), Muza, Poland, Stanczak, Julian. After earning his bachelor of fine arts degree, he entered graduate school at Yale, where he studied with esteemed abstractionist and teacher Josef Albers. Basic Design, New World Publishing. He settled in Cleveland, Ohio. He experimented with black and white forms that mimicked the rhythms and movement of nature. The turning point arrived when New York gallery dealer Martha Jackson, who had seen a show of Stanczak’s work in Dayton, presented him in a solo exhibition called Julian Stanczak: Optical Paintings. Art/Search & Self-Discovery, International Textbook Company, Weller, Allen S. The Joys and Sorrows of Recent American Art. Invertigative reporter for "Whoever Has Seen, Whoever Knows", Polish Public TV program dedidated to search for missing people. Harmonic Forms on the Edge: Geometric Abstraction in Cleveland, Cleveland Artists Foundation, Beck Center for the Arts, Davenport, Ray. Enda Andrade: Optical Paintings, 1963-1986, Institute of Contemporary Art, Univ. Annual Exhibition Record, 1914-68, Pennsylvania Academy of the Fine Arts, The American Collections, Columbus Museum of Art.

The Cleveland Institute of Art bestowed both its Award of Excellence and its Viktor Schreckengost Teaching Award on him. Seeing Red: On Nonobjective Painting and Color Theory, Salon Verlag, Cologne, Pagel, David. Embodied Visions: Bridget Riley, Op Art and the Sixties, Thames &s; Hudson Ltd., London, Davenport, Ray. Stanczak taught at colleges in Cincinnati. Pan American Modernism: Avant-Garde Art in Latin American and the United States, Lowe Art Museum, Miami, Florida, Lenz, Emily, New Materials, New Approaches, D. Wigmore Fine Art, New York, New York, Gioni, Massimiliano, Gary Carrion-Murayari and Megan Heuer, Ghosts in the Machine, Skira Rizzoli, New Museum, New York, New York, Houston, Joe, ed. Stanczak's work is an art of experience, and is based upon structures of color. Edna Andrade, University of Pennsylvania Press, McNay Art Museum: 15 Years in Review: 1998-2012, Ormiston, Rosalind. Julian Stanczak: Color and Form, Bonfoey Gallery, Westfall, Stephen. More recently, Stanczak created large-scale series, consisting of square panels upon which he examined variations of hue and chroma in illusionistic color modulations, an example of which is Windows to the Past (2000; 50 panels).

In a 2011 essay, CIA Reinberger Gallery Director Bruce Checefsky wrote that Stanczak’s “synthesis of art, science, and technology is humanistic and passionate, balancing a repertoire of color and poetry like a maestro who has yet to discover that his feet actually do touch the floor.”. Stanczak deployed repeating forms to create compositions that are manifestations of his visual experiences.

Rickey, George. Admission for all exhibits is $7 ($5 for students and seniors). Julian and Barbara Stanczak both were key CIA faculty members for decades, he in Painting and she teaching design in the college’s Foundation program. Davenport’s Art Reference (The Gold Edition), Fehr, Michael and Sanford Wurmfeld (ed.).

Maciuszko, Jerzy J. ©2020, Cleveland Institute of Art  | 

Stanczak was born in Poland and lived there until World War II, when, at age 12, he and his family were sent to a Siberian labor camp. Over the decades, Stanczak delved deeply into studies of light waves and the effects that colors had on each other in juxtaposition. Mantle Fielding’s Dictionary: American Painters, Sculptors et al. After deserting from the army, he spent his teenage years in a hut in a Polish refugee camp in Uganda.

Julian Stanczak: Lineal Pathways, David Richard Contemporary, Costello, Eileen. Julian Stanczak-Foundation. Opitz, Glenn B. Both were named faculty emeriti after they retired. Color/Color. He became a United States citizen in 1957, taught at the Cincinnati Academy of Art for 7 years. Julian Stanczak: From Life, (Essay titled “Where Art Lies”) Mitchell-Innes & Nash, Smolińska, Marta.

CIA Faculty Emeritus Frances Taft wrote this essay to accompany a 2008 exhibition of works by Julian and Barbara Stanczak. Josef Albers: The Pursuit of Excellence, Yale University Press, Baro, Gene.



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