All Photos By Gail
I don’t think I could count the number of times I overheard someone mention how much the paintings of Julian Stanczak reminded them of Op Art pioneer Bridget Riley while we cruised around the opening reception for From Life, Stanczak’s new exhibit over at Mitchell-Innes & Nash. Trust me: it was a lot – and I was thinking the same thing.
Continue reading Must See Art: Julian Stanczak’s From Life at Mitchell-Innes & Nash
Photo By Gail
Created in 1925, Marcel Duchamp’s Rotary Demisphere (Precision Optics) is a kinetic sculpture that turns itself on at random intervals. Back in Paris after World War I, Duchamp experimented with machines that produced optical effects — work he had begun in New York. When this machine is set in motion, the circles appear to pulsate toward the viewer. The copper ring around the dome’s circumference is engraved with French words chosen for the way their sounds echo one another: Rrose Selavy et moi esquivons les ecchymoses des esquimaux aux mots exquis (Rrose Selavy and I dodge the Eskimos’s bruises with exquisite words).
Rotary Demisphere is part of the Permanent Collection at the Museum of Modern Art in NYC. Find it in the Painting and Sculpture Galleries.
Bridget Riley, Blaze 1, 1962 (Photo By Gail)
While at Goldsmith’s College in London, Bridget Riley (born 1931) became interested in the optical vibrations initiated by Georges Seurat’s Pointillist technique of the 1880s. By 1961, Riley was painting solely in Black and White, and her paintings of the early 1960s are pioneering examples of what came to be known as Op Art.
Continue reading Modern Art Monday Presents: Bridget Riley Blaze I
Artist Patrick Hughes and Art Blogger Geoffrey Dicker Pose in front of Hughes’ Work, A Study of the Studiolo (All Photos By Gail)
The Wow Factor is off-the-charts at British Surrealist Patrick Hughes‘ new exhibit, Studiolospective up now at Flowers Gallery.
“My pictures seem to move as you move,” Hughes explains in his artist’s statement. “They come to life when we bring them to life. This is because they are made in perspective the wrong way round, in reverspective. If you bob down in front of them, it is as if you have gone up, and as you walk past to the right it is as if you have gone to the left. I am delighted to bring together paintings for this exhibition, which move between the centuries.” Continue reading Patrick Hughes Presents Studiolospective at Flowers Gallery
Look at this crazy thing. Just look at it. Keep Looking.
