ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968…
ented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David ThompsonVenice Biennale, June 1968…
ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968
…
ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968
…
reatest artists and innovators from
Van Gogh to Steve Jobs. Viewing the world creatively is supposed
to be an asset, even a virtue. Online job boards burst with ads
recruiting “idea people” and “out of the box” thinkers. We are
taught that our own creativity will be celebrated as well, and that
[IF] WE HAVE GOOD IDEAS, we will succeed.
IT's ALL a LIE. This is the thing about creativity that is rarely
acknowledged: Most people don’t actually like it. Studies confirm
what many creative people have suspected all along ...
People are biased against creative thinking, despite all of their
insistence otherwise.
…
intention of that rescue project by creating a public gallery in the building, exhibiting the story of the Britain’s first modernist block of flats and how members of the Bauhaus, Soviet spies, artists, architects and authors including Agatha Christie came to live there.
The Lawn Road Flats – also know as the Isokon Building – were the creation of Jack & Molly Pritchard and architect Wells Coates. Opening on 9th July 1934, it was not only the first modernist block of flats in Britain, but also the home of notable émigrés, including Walter Gropius, founder of the Bauhaus, Marcel Breuer, designer of modernist furniture, and László Maholy-Nagy, head teacher of art at the Bauhaus school. It also attracted tenants like Arnold Deutsch, the NKVD (KGB) spy and recruiter of the Cambridge Five (a group which included Kim Philby), an episode that inspired John le Carré when he wrote Tinker Tailor Solider Spy. Between 1941 and 1947 the building was the home of Agatha Christie, so it seems fitting that she wrote her only spy novel, N or M, when she lived there.
…
f
understanding of [THE] workings of the whole and
our participation in those workings, has encouraged
the shamans, artists and scientists of our species
to establish the reasons for our spiritual connection
to those workings.
…
Added by Michael Grove at 10:54 on November 23, 2019
ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson
Venice Biennale, June 1968
…
ion is presented in the simplest possible terms
John Russell - Sunday Times - September 1963
One of the most distinctive characteristics of Bridget Riley's art is that it "insists" with such concentration that it changes sensory response into something else. The experience which Riley offers is closely related to the expression of emotion or, more exactly, to the creation of visual analogues for sharply particularized states of mind. The very intensity of the assault which her painting makes on the eye drives it, as it were, past the point at which it is merely a matter of optical effect. It becomes acute physical sensation, apprehended kinesthetically as mental tension or mental release, anxiety or exhileration, heightened self-awareness or heightened awareness of unfamiliar or even alien states of being. Bridget Riley Catalogue introduction - David Thompson Venice Biennale, June 1968
…