Seeing in Color and Black-and-White

Developed as a companion to Monet’s Waterloo Bridge: Vision and Process, this exhibition features artists such as Josef Albers, Victor Vasarely, and Jesús Rafael Soto, who chose abstraction over representation to reveal the mechanics of human vision and make viewers aware of how they see.

Coming to artistic maturity in the early and mid-20th century, a period of increasing scientific understanding, the artists in this exhibition chose abstraction over representation to reveal the mechanics of human vision and make viewers aware of how they see. Like Claude Monet, these artists used color to create form, suggest space, and imply movement in their works of art, developing their own rigorous theories about human perception and creating art to demonstrate these principles.

This exhibition was developed in consultation with Woon Ju Park, a former postdoctoral associate at Center for Visual Science at the University of Rochester. All interpretive materials were researched and prepared by students enrolled in the Spring 2018 University of Rochester course, “The 21st Century Art Museum,” taught by Andrew Cappetta, Assistant Curator of Academic Programs at MAG.

Roy Lichtenstein

Roy Lichtenstein
American, 1923–1997
Cathedral #2, (detail) 1969
Color lithograph
Gift of Robert and Anne-Marie Logan, 2000.14