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Article
The anxiety of Op: towards a theory of art and the non-visual senses
09/2023 | 1446 | 165
Pages: 988-95
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Author:
Díaz, Eva (Díaz, Eva)
Subjects
artists:
Riley, Bridget, London , Great Britain / Stanczak, Julian
styles:
Optical art
subjects:
Aesthetics / Perception / Optics
subjects:
Art theory
Illustrations
Attributed works:
1. Current, by Bridget Riley. 1964. Synthetic polymer paint on board, 48.1 by 149.3 cm. (Museum of Modern Art, New York; Scala, Florence).
Attributed works:
2. Installation view of The Responsive Eye at the Museum of Modern Art, New York, 1965, showing in the far corner Instability through movement of the spectator, by Julio Le Parc. 1962–64. (Museum of Modern Art Archives, New York; Scala, Florence; photograph George Cserna).
Attributed works:
3. The duel, by Julian Stanczak. 1963. Synthetic polymer paint on canvas, 137.2 by 198.1 cm. (Museum of Modern Art, New York; Scala, Florence).
Attributed works:
4. Cover of the exhibition catalogue for The Responsive Eye at the Museum of Modern Art, New York (1965), designed by Joseph Bourke Del Valle.
Attributed works:
5. Bridget Riley standing amongst her 3D painted artwork ‘Continuum, 1963’, in an exhibition at Gallery One, 16 North Audley Street, London, by Tom Picton. 1963. (© Estate of Tom Picton; artwork © Bridget Riley 2023; Tate Images).