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"Optical art Exhibitions."
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Bridget Riley : recent paintings, 2014-2017
This publication unfolds along the lines of Bridget Riley's (born 1931) 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface - wall or canvas - can affect a seemingly simple form: the triangle. While demonstrating these subtle changes, she manipulates this form by bending its sides. Riley is revisiting and developing works which she initiated over 50 years ago, as is shown here by the inclusion of Black to White Discs (1962/1965). This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.
Book
Proof-of-concept study on Bruch’s membrane opening minimum rim width (BMO-MRW) and optic nerve head morphology in people living with HIV
Background
HIV and antiretroviral therapy (ART) are known to affect ocular health, yet the impact on optic nerve head parameters remains underexplored. This study investigates ONH structural parameters in HIV-positive adults using a novel Bruch’s Membrane Opening-Minimum Rim Width (BMO-MRW) method, which offers a precise assessment of ONH integrity.
Methods
There were 62 eyes of HIV on ART (HIV-ART), 20 eyes of HIV not on ART (HIV-N-ART), and 82 HIV negative healthy controls (HIV controls). Participants underwent Optical Coherence Tomography to measure optic nerve head morphology using Bruch’s Membrane Opening Minimum Rim Width protocol. Generalized estimating equations and effect size calculations compared thickness differences between groups. Multivariable regression and odds ratio models examined associations between ONH markers and clinical variables (CD4 count, CD4%, ART duration, viral load).
Results
Compared to controls, the HIV-N-ART group demonstrated significantly thicker ONH parameters, particularly APS-ppRNFL thickness in the inferior sector (Cohen’s d = 1.02). No significant differences were observed between HIV-ART and controls. In the HIV-ART group, higher CD4 counts were negatively associated with global BMO-MRW and APS-ppRNFL thickness (β = -0.10,
p
= 0.03), whereas in the HIV-N-ART group, higher CD4 counts positively correlated with inferior temporal BMO-MRW and APS-ppRNFL thickness (β = 1.08,
p
= 0.01). ART duration showed mixed associations with ONH measurements in treated individuals.
Conclusion
This proof-of-concept study demonstrates that all HIV factors (especially CD4 count) may influence ONH morphology that can be used as potential structural biomarkers. These findings highlight the potential of optic nerve head measurements as biomarkers for assessing the structural impact of HIV and ART. ART-treated individuals exhibited ONH thinning, while ART-naïve participants showed thicker nerve fibre layers, possibly reflecting early inflammatory or compensatory mechanisms before treatment initiation. these preliminary findings support further investigation to validate these associations and explore their clinical relevance.
Journal Article
Special-Effect and Conventional Pigments in Black Light Art: A Multi-Technique Approach to an In-Situ Investigation
Since their introduction in the early decades of the 20th century, fluorescent pigments have found progressively wider applications in several fields. Their chemical composition has been optimized to obtain the best physical properties, but is not usually disclosed by the manufacturers. Even the other class of luminescent pigments, namely the phosphorescent ones, is now produced industrially. The peculiar optical properties of these pigments have attracted more and more the attention of famous artists since the middle of the last century. The Italian Black Light Art movement exploits the possibility of conveying different aesthetical messages depending on the kind of radiation (UV or visible) with which the artwork is illuminated. In the present work, a non-invasive in-situ investigation based on Raman, fluorescence, and visible-reflectance spectroscopies was performed on a series of Black Light Art paintings exhibited in Milan (Italy) in 2017, succeeding in the identification of the materials used by the artists. In particular, the use of both fluorescent and phosphorescent pigments, alone or combined with conventional synthetic organic pigments, has been recognized.
Journal Article
Constructing Spatiality and Dimension
Describes the author's installation, 'Construing space', at the Dunedin School of Art Gallery. Explains the work is aimed at an understanding around the question, 'What does looking feel like?' and exploring notions of how to express volume without mass and presence through absence. Informs of the installation process, construction and materials used. Includes a discussion of Len Lye’s analogue film-making processes and British artist Bridget Riley’s approach to 'active looking'. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
Journal Article
Rethinking and evaluating the role of historical buildings in the preservation of fragile artworks: the case study of the Gallerie dell’Accademia in Venice
In this work, we present the results of the analysis of the indoor behavior of temperature and relative humidity in the space of temporary exhibitions of the Gallerie dell’Accademia Museum in Venice (Italy), located in the ancient Santa Maria della Carità Church. The museum was monitored from May to October 2019 during the exhibition “Baselitz-Academy”. This research analyzed the microclimate using a tailored methodology for the study of indoor climate in historical buildings.\" This methodology is based on the calculation of daily and weekly fluctuations, as well as the speed of weekly fluctuations in temperature and relative humidity. Additionally, the microclimate in the monitored rooms were compared by calculating the indices of climate excursions (ICE) for each type of fluctuation. In the Santa Maria della Carità church, the analysis shows that the current use of an adapted air conditioning system plus the hygrothermal inertia of the building ensures a stable ambience, appropriate for the conservation needs of fragile artworks with little fluctuations.
Journal Article
Painting in Light and Chemistry: D. O. Hill’s The Market Cross, Ayr (1835) and Its Relation to His Photographic Work with Robert Adamson, 1843–47
This essay examines The Market Cross, Ayr (1835), an oil painting by Scottish artist David Octavius Hill (1802–1870), as part of an extended series of landscapes designed for publication and associated with the poet Robert Burns. The picture, which has recently reemerged, is significant for its relevance to issues that both lead to and inform the new art of photography in the 1840s. Concerns of time, light, and living figures in the picture added to the practical interest in large-scale reproduction for a public audience.
Hill was a painter by profession when he entered into partnership with the young photographer Robert Adamson in Edinburgh in 1843. In the course of four years, they explored and extended the possibilities of photography and established that it was indeed a potential aesthetic art form. The essay offers connections between the earlier painting and the photographs they took in William Henry Fox Talbot's calotype process—the first viable process for negative/positive photography.
Journal Article
Soul-Beating
I was a student at the New York Studio School during the fall of 1966 and spring of 1967. The school was then located in a loft building on the northeast corner of Broadway and Bleecker Street. Draft deferments during the Vietnam War were not granted to students attending an art school, especially an unaccredited one like the Studio School. But because I was still enrolled at Reed College in Portland, Oregon, and came to New York on a Rockefeller Foundation Fellowship, I was safe. I studied with Mercedes Matter, Charles Cajori, Esteban Vicente, and especially Milton Resnick, among others. Frank Stella, Gandy Brody, Alfred Leslie, and others gave talks at the school. It was quite an immersion in New York painting culture for an idealistic would-be-painter from San Diego.
Journal Article
Not If, But When and How: Digital Comes to the American Art House
This article examines the impact of digital cinema conversion on the business and programming models of art house theaters in the United States. While first-run commercial cinemas are utilizing studio-subsidized financing to install DCI-compliant digital projection, art houses by necessity and design are embracing a wider range of financing schemes and digital projection technology. As a case study of art houses in Miami illustrates, the end result is a two-tiered exhibition sector: DCI-compliant art cinemas able to screen studio fare and potentially compete with commercial multiplexes vs. non-DCI-compliant art cinemas that are unable to digitally screen studio-affiliated films and thus focus on more independent or alternative programming. Different tiers of exhibition may help the art house sector increase access to a wider range of films during the transition to digital, yet the long-term viability of two distinct digital distribution and exhibition systems remains unclear.
Journal Article