The Nature of Op Art: Bridget Riley and the Art of Nonrepresentation

摘要: The monochrome paintings of the British Op artist Bridget Riley produced between 1960 and 1965, in common with a number experimental arts media practices 1960s, were characterised by drift away from traditional representational techniques towards what are now described as nonrepresentational practices. dynamics Art aesthetic critical writings that surround it bear striking similarities to much recent work on thought. Based upon an engagement s early specifically perception understanding nature engendered, argument can be made suggests despite claims contrary, was engaged form practice rendered new fashionable cosmic nature. multi-dimensional evoked her designed experienced viewer precognitive, embodied fashion. In this there strong echoes call theorists who operationalise same kind cosmology develop evocative, creative account world. Both thought seem build shift register occurred during immediate post-war period, one which prompted attempted subjectify rather than objectify, evoke instability multi-dimensionality, exercise not only visual, oral cognitive ways knowing, but also precognitive haptic. complex co-relations representation nonrepresentation apparent here, suggesting is problematic emphasise side duality over other.