#bridget-riley

#bridget-riley

'In this paper a novel optical illusion is described in which purple structures (dots) are perceived as purple at the point of fixation, while the surrounding structures (dots) of the same purple colour are perceived toward a blue hue.'

John Yau once remarked to Jasper Johns that the materials he uses - newsprint, hot wax, bedsheets - must be a conservator's nightmare. 'Yes,' Johns responded. 'It's falling apart, just like me.'

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

The illusion contains nine purple dots against a blue background. When those of us with full color vision focus on one dot, it appears more purple while the rest seem to shift to blue.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

The visual and chemical properties of the pigment Prussian Blue function as a metaphorical anchor, tying together a cast of watchful female figures within Huitema's hazy, dreamlike worlds.

One day during his first term, Donald Trump summoned a top aide to discuss a new idea. Trump called me down to the Oval Office,' John Bolton, national security adviser in 2018, told the Guardian. He said a prominent businessman had just suggested the US buy Greenland ' The US president's friend Ronald Lauder, heir to the Estee Lauder cosmetics fortune, is now making deals in the island. Guardian investigations correspondent Tom Burgis explored the reasons behind Trump and Lauder's fixation with Greenland. Read more

Tate Modern museum in London announced its slate of 2027 exhibitions, including an opera-inspired installation by David Hockney in the revered Turbine Hall marking the artist's 90th birthday, Algerian artist Baya's debut U.K. solo show, and the first-ever exhibition devoted entirely to French impressionist Claude Monet since the Tate Modern opened 26 years ago.

The exhibition gathers several grid installations first developed in 1976, presented here through careful re-creations of historic works. Installed directly into corners, the luminous sculptures become a fixed part of the gallery as walls, ceilings, and floors receive light as an active condition. The atmosphere of each room shifts, all while remaining unified by the straightforward presence of the simple fluorescent fixtures.

Originally from Dallas and now based in New York City, I approach photography as an exercise in atmosphere, trust, and control. Trained in the discipline of film and later in fashion photography, I work with both natural and artificial light to construct images that feel cinematic and psychologically charged. Moving fluidly between studio and location, I transform spaces into environments that heighten mood and presence.

Presented by the Luma Foundation in Engadin, Switzerland, as part of Elevation 1049, STRIP TOWER (962) brings Gerhard Richter's long-running investigations into the Alpine landscape, extending his practice beyond the canvas and into three-dimensional space. On view until the spring of 2029, the work draws from the methodology of his Strip Paintings, where a single painted gesture is subjected to successive acts of photographing, scanning, digital slicing, and stretching.

It's not that advertising campaigns are never announced, but when they are, it's usually in advertising trade magazines, and generally by the agency that did the work. The client doesn't normally issue a press release that essentially says, "We are putting up some posters." Yet that is exactly what the Tate has done, issuing a general announcement that it will run an advertising campaign for its upcoming Tracey Emin exhibition.

CONDO WEEKEND BEGAN in the same way that all good British rom-coms, or Martin Amis novels, do: walking against the wind, en route to an oversize redbrick Victorian house in Earls Court, a spot that my press invitation had unabashedly advertised as being located in Notting Hill, but is an easy two tube stops away. This was the "standing" dinner to celebrate Arash Nassiri's "A Bug's Life," newly open at Chisenhale Gallery, in a renowned collector's home.

For those who are in desperate need of stimulation, this zine delivers - its visual language is razor-sharp and packed with colour, each page feels like a porno magazine that has vomited everywhere. Hattie calls it a "frenetic deluge", a collection of themes that circle the drain of "online fatigue", a way to process an excessive amount of information in order to create meaning and seek comfort.

Suddenly, on walks around London, I noticed that these poisonous plants were growing everywhere. Near my studio, I saw thorn apple, which is one of the most poisonous plants that grows wild in the U.K. Its sap is really poisonous. The plant was taller than me with these amazing, architectural, spiky seed pods. It looked so monstrous and intriguing, but I'd never noticed it until having done this reading.

In 2024, art collector Christian Levett opened Europe's first museum dedicated to women artists in a little town in the south of France. But for those of us who can't make the trip to the Femmes Artistes du Musée de Mougins (Female Artists of the Mougins Museum, or FAMM), the American Federation of the Arts (AFA) has arranged the next best thing: a blockbuster touring exhibition about women artists of the Abstract Expressionist movement, featuring some of the highlights of the FAMM collection.