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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Ellen Altfest Ocula Conversation Ellen Altfest

The paintings of Ellen Altfest are ethereal in their detail. Fields of minutiae come together as pulsating images; small brushstrokes of oil paint accumulate over a series of months to single out seemingly innocuous subjects, such as a hand resting atop patterned fabric (The Hand, 2011) or a deep green cactus reaching upwards from beneath a bed of...

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Colomboscope 2019: Cross Currents and Dissonance Ocula Report Colomboscope 2019: Cross Currents and Dissonance 8 Feb 2019 : Nada Raza for Ocula

On the rooftop of the former Rio Hotel complex in Colombo, it was hard to ignore the high-rise buildings, still under construction, blocking all but a sliver of what used to be an open view over Slave Island, once an island on Beira Lake that housed slaves in the 19th century, and now a downtown suburb. The hotel was set alight during the...

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Related Press

Vanishing Point: Bridget Riley’s Elusive Art

Editors Elephat First published on 23 January 2018

Portrait of Bridget Riley, 2018 Photography: Johnnie Shand Kydd.

The work of Bridget Riley (b. 1931) has always created something barely there, disappearing even as you glimpse it. At the preview for her new show Recent Paintings 2014–2017 at David Zwirner in Mayfair, the 86-year-old artist appeared unannounced to speak for a few minutes and vanish again. She rarely does publicity for her work. The gallery only knew she'd be coming thirty minutes prior to her arrival. This sums up not only Riley's career and her process, but her art. It is a vanishing point for both the viewer and the artist. Whenever she feared she was becoming too visible, she retreated. If ever critics classified her work as one thing, she did something else. Just when she was about to reach a new level of success in the '60s, she rebelled against the public desire for her and disappeared into another style.

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