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T Want There to Be Anything Mysterious About the Way That I Work,' She Says
NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 14 NG BR text pp1-78 270x230mm v8_AJ / text / pp1-64 / 5 21/10/2010 16:23 Page 15 Fig. 7 Bridget Riley Red with Red 1, 2007 Oil on linen, 177.5 ¥ 255 cm Private collection Fig. 8 Raphael (1483–1520) Saint Catherine of Alexandria, about 1507 (detail) Oil on poplar, 72.2 ¥ 55.7 cm The National Gallery, London (ng 168) and she is happy for them to be seen. ‘I don’t want there to be anything mysterious about the way that I work,’ she says. ‘I mean there is doubt and uncertainty, and the very act of enquiry means that things go wrong and have to be changed and revised. But to me this is part of the pleasure of working.’4 These are just three of the many surviving studies that Seurat used to gather the visual information with which he built his final composition. One study selected by Riley, A River Bank (The Seine at Asnières), about 1883 (plate 20), establishes the location, where he pins down the diagonal division between water and river bank. Seurat makes special use of the striped tidal-measuring post, which helps to carefully balance the compositional components of horizontal, diagonal and vertical. In Study for ‘Bathers at Asnières’, 1883–4 (plate 19), he makes notations of some of the figures that will eventually relate to this location. Lastly, in The Rainbow: Study for ‘Bathers at Asnières’, 1883 (plate 21), he begins to integrate the figures into the space. -
Bridget Riley's Paintings Continue to Mesmerize, Six Decades On
Galerie Max Hetzler Berlin | Paris | London Artsy Cohen, Alina: Bridget Riley‘s Paintings Continue to Mesmerize, Six Decades On November 2019 Bridget Riley’s Paintings Continue to Mesmerize, Six Decades On Alina Cohen Nov 1, 2019 11:47am Bridget Riley, 1963. Photo by Ida Kar. © National Portrait Gallery, Bridget Riley Blue Dominance, 1977 London. ARCHEUS/POST- MODERN British artist Bridget Riley, who is known for bold, blocky, and striped canvases of brilliant hues and contrasts, got her Drst taste of international celebrity back in 1965. Curator William Seitz included two of her paintings, Current (1964) and Hesitate (1964), in his groundbreaking exhibition at the Museum of Modern Art, titled “The Responsive Eye.” The eye-popping black-and-white squiggles of Riley’s Current adorned the catalogue cover, asserting Riley’s prominent position within the show. The exhibition situated her among an impressive roster of global artists whose artwork reconsidered ideas about perception. The group included American painters ranging from Morris Louis to Agnes Martin, along with Brazilian artist Almir da Silva Mavignier and a Spanish collective called Equipo 57. Along with Mavignier, Riley was considered part of a new wave of “Op artists” who exploited visual principles to make work that seemed to vibrate with new energy. Josef Albers, Salvador Dalí, and the museum-going public all swooned at Riley’s work. maxhetzler.com Galerie Max Hetzler Berlin | Paris | London While Op art has gone in and out of style, Riley herself is still working and is beloved on both sides of the pond. London’s Hayward Gallery is displaying a major Riley retrospective through January 26th, celebrating over six decades of the artist’s bold geometric abstratractions. -
52 Brook's Mews. Mayfair, W1K 4ED T: 02074953101 E: [email protected]
Press Release Not So Original: Carlos Cruz-Diez, León Ferrari, Terry Frost, Cipriano Martinez, Bridget Riley, Jesus Soto and Emilia Sunyer 8th November – 25th January 2014 This November Maddox Arts will be staging ‘Not So Original’ an exhibition that delves into the symbiotic relationship between the print and the original. Though printmaking is often assumed to be an afterthought in an artist’s practice ‘Not So Original’ demonstrates the variety of roles it may play, spurring the artist’s imagination and engaging in a dialogue with their primary practices. Taking Walter Benjamin’s seminal ‘The Work of Art in the Age of Mechanical Reproduction’ as it's starting point, ‘Not So Original’ features the work of five, celebrated 20th century printmakers: Bridget Riley, Carlos Cruz-Diaz, Leon Ferrari, Terry Frost and Jesus Soto, alongside the emerging talents of Cipriano Martinez and Emilia Sunyer. From the Middle Ages to the advent of the digital era, technology has allowed artists to disseminate their images in the form of reproductions to a wider audience than a single canvas would ever be able to reach. In facing the prospect of engaging a wider audience artists are often compelled to formalize their style so that a singular print may surmise an artist’s catalogue. Likewise such technologies have enabled art lovers to acquire a ‘piece’ of an original via a process in which the artist may have had no hand. The rise of e-editions and 3D printing ask further questions as to how we distinguish the original from the reproduction, when an infinite number of copies can be instantly and flawlessly reproduced indefinitely. -
Viewership and How These Binaries Function and Appear Within Abstract Painting
Contextualizing Epiphanies and Theories on a Surface of a Painting THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Maija Helena Miettinen-Harris Graduate Program in Art The Ohio State University 2015 Master’s Examination Committee: Laura Lisbon, Advisor George Rush Amanda Gluibizzi Copyright by Maija Helena Miettinen-Harris 2015 Abstract In this thesis I intend to explore the complex, confusing and often paradoxical nature of my painting practice and the way I see it being influenced by historical, socio-political and ideological underpinnings of my reality. During the course of my thesis, I hope to establish a conceptual and contextual basis for my usage of allover pattern-like configurations, rejection of linear perspective, and the manipulation of competing forms and colors in my abstract paintings. I will focus on to the often-elliptical nature of my paintings through variety of ideas and theories and I hope to demonstrate how cultural theory has helped me to contextualize the essential features of my practice. I will first map out the mostly intuitive epiphanies that are rooted in the observations of my reality, which in turn informs the constructions and orientations of my paintings. I will study these in relation to the notions of artist Bridget Riley. I find her writing especially useful in terms of articulating the dichotomy and paradox between active and passive viewership and how these binaries function and appear within abstract painting. I will then examine the circular and expanding theory of liminality by cultural anthropologist Victor Turner, and centers and margins as well as cultural dirt by anthropologist Mary Douglas. -
Bridget Riley Born 1931 in London
This document was updated March 3, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Bridget Riley Born 1931 in London. Live and works in London. EDUCATION 1949-1952 Goldsmiths College, University of London 1952-1956 Royal College of Art, London SOLO EXHIBITIONS 1962 Bridget Riley, Gallery One, London, April–May 1963 Bridget Riley, Gallery One, London, September 9–28 Bridget Riley, University Art Gallery, Nottingham 1965 Bridget Riley, Richard Feigen Gallery, New York Bridget Riley, Feigen/Palmer Gallery, Los Angeles 1966 Bridget Riley, Preparatory Drawings and Studies, Robert Fraser Gallery, London, June 8–July 9 Bridget Riley: Drawings, Richard Feigen Gallery, New York 1967 Bridget Riley: Drawings, The Museum of Modern Art (Department of Circulating Exhibitions, USA): Wilmington College, Wilmington, February 12–March 5; and Talladega College, Talladega, March 24–April 16 Bridget Riley, Robert Fraser Gallery, London Bridget Riley, Richard Feigen Gallery, New York 1968 Bridget Riley, Richard Feigen Gallery, New York British Pavilion (with Phillip King), XXXIV Venice Biennale, 1968; Städtische Kunstgalerie, Bochum, November 23–December 30, 1968; and Museum Boijmans Van Beuningen, Rotterdam, 1969 1969 Bridget Riley, Rowan Gallery, London Bridget Riley: Drawings, Bear Lane Gallery, Oxford [itinerary: Arnolfini Gallery, Bristol; Midland Group Gallery, Nottingham] 1970 Bridget Riley: Prints, Kunststudio, Westfalen-Blatt, Bielefeld Bridget Riley: Paintings and Drawings 1951–71, Arts -
Y9 Graphics: Op Art
Y9 Graphics: Op Art Does this picture make your eyes go funny? Don't worry it's not you – it's Op art! Op art is short for 'optical art'. The word optical is used to describe things that relate to how we see. Have you seen an optical Illusion before? Op art works in a similar way. Artists use shapes, colours and patterns in special ways to create images that look as if they are moving or blurring. Op art started in the 1960s and the painting here is by Bridget Riley who is one of the main op artists. What shapes can you see in the Some op artists made artworks picture below? It is by an Op artist that don't just look as if they are called Victor Vasarely. moving – they actually ARE aAlong with Bridget Riley and moving! Art that moves is another artist called Jesus Rafael sometimes called kinetic art. Soto were three of the most important Op artists. The artwork below is by an artist called Julio Le Parc who often created mobiles. To make this work he has hung lots of tiny bits of metal onto almost invisible suspended threads. These bits of metal jiggle and move slightly with any breeze, and their shadows on the white background also jiggle and move. Can you see the shadows? There are also some abstract artists who don't always make op artworks but sometimes slip into it. This picture by Frank Stella uses bright and jazzy colours that create a buzzy effect on our eyes. -
The Origins and Exhibition of Rachel Whiteread's 'Untitled (Room 101)'
MA.NOV.Lawrence.pg.proof.corrs:Layout 1 15/10/2010 16:18 Page 736 A substitute for history: the origins and exhibition of Rachel Whiteread’s ‘Untitled (Room 101)’, 2003 by JAMES LAWRENCE IN NOVEMBER 2003, Untitled (Room 101) (Fig.46), by Rachel Whiteread, appeared in the Italian Cast Court at the Victoria and Albert Museum, London, where it remained until the following summer. In contrast to the ornate surfaces, elegant contrapposto and fluid modelling of the surrounding casts, the new object presented a rectilinear mass of pockmarked planes and stodgy architectural details. The parenthetical title alludes to the place of final torture in George Orwell’s novel Nineteen Eighty-Four (1949) but refers specifically to the real source of the sculpture: Room 101 at Broadcasting House (Fig.45), the headquarters that George Val Myer and Francis James Watson-Hart designed for the British Broadcasting Corporation. A widespread legend held that Room 45. Broadcasting House, 2–22 101 served as Orwell’s office when he worked for the Eastern Portland Place, Service during the Second World War. Early coverage and sub- London W1. sequent discussion of Untitled (Room 101) emphasised this unsub- 1932. Designed by George stantiated literary connection – all the more resonant in 2003, the Val Myer and centenary of Orwell’s birth – and the connotations of authoritar- Francis James ian menace that flow from it.1 This article focuses on less allusive Watson-Hart. (Photograph by aspects, including the circumstances that led to the creation of the Janet Hall, 1995; sculpture; the physical conditions of its origins, form and public RIBA Library display; and the interpretive consequences of those physical traits. -
Young British Artists: the Legendary Group
Young British Artists: The Legendary Group Given the current hype surrounding new British art, it is hard to imagine that the audience for contemporary art was relatively small until only two decades ago. Predominantly conservative tastes across the country had led to instances of open hostility towards contemporary art. For example, the public and the media were outraged in 1976 when they learned that the Tate Gallery had acquired Carl Andre’s Equivalent VIII (the bricks) . Lagging behind the international contemporary art scene, Britain was described as ‘a cultural backwater’ by art critic Sarah Kent. 1 A number of significant British artists, such as Tony Cragg, and Gilbert and George, had to build their reputation abroad before being taken seriously at home. Tomake matters worse, the 1980s saw severe cutbacks in public funding for the arts and for individual artists. Furthermore, the art market was hit by the economic recession in 1989. For the thousands of art school students completing their degrees around that time, career prospects did not look promising. Yet ironically, it was the worrying economic situation, and the relative indifference to contemporary art practice in Britain, that were to prove ideal conditions for the emergence of ‘Young British Art’. Emergence of YBAs In 1988, in the lead-up to the recession, a number of fine art students from Goldsmiths College, London, decided it was time to be proactive instead of waiting for the dealers to call. Seizing the initiative, these aspiring young artists started to curate their own shows, in vacant offices and industrial buildings. The most famous of these was Freeze ; and those who took part would, in retrospect, be recognised as the first group of Young British Artists, or YBAs. -
The Responsive Eye by William C
The responsive eye By William C. Seitz. The Museum of Modern Art, New York, in collaboration with the City Art Museum of St. Louis [and others Author Museum of Modern Art (New York, N.Y.) Date 1965 Publisher [publisher not identified] Exhibition URL www.moma.org/calendar/exhibitions/2914 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art MoMA 757 c.2 r//////////i LIBRARY Museumof ModernArt ARCHIVE wHgeugft. TheResponsive Eye BY WILLIAM C. SEITZ THE MUSEUM OF MODERN ART, NEW YORK IN COLLABORATION WITH THE CITY ART MUSEUM OF ST. LOUIS, THE CONTEMPORARY ART COUNCIL OF THE SEATTLE ART MUSEUM, THE PASADENA ART MUSEUM AND THE BALTIMORE MUSEUM OF ART /4/t z /w^- V TRUSTEES OF THE MUSEUM OF MODERN ART David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-Chairman;William S. Paley, Vice-Chairman; Mrs. Bliss Parkinson, Vice-Chairman;William A. M. Burden, President; James Thrall Soby, Vice-President;Ralph F. Colin, Vice-President;Gardner Cowles, Vice-President;Wa l ter Bareiss, Alfred H. Barr, Jr., *Mrs. Robert Woods Bliss, Willard C. Butcher, *Mrs. W. Murray Crane, John de Menil, Rene d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, "James W. Husted, Philip Johnson, Mrs. Albert D. Lasker,John L. Loeb, Ranald H. Macdonald, Porter A. McCray, *Mrs. G. Macculloch Miller, Mrs. Charles S. -
The Jeremy Lancaster Collection to Highlight Christie’S Frieze Week
PRESS RELEASE | LONDON FOR IMMEDIATE RELEASE: 29 JULY 2 0 1 9 THE JEREMY LANCASTER COLLECTION TO HIGHLIGHT CHRISTIE’S FRIEZE WEEK DEDICATED EVENING AUCTION ON 1 OCTOBER 2019 Philip Guston, Language I, 1973, estimate: £1,500,000-2,000,000 London – Christie’s Frieze Week programme will be launched with a dedicated auction of the remarkable private collection of Jeremy Lancaster on 1 October 2019. A chorus of vivid colour, radical form and brilliant innovation, the collection showcases some of the greatest achievements in post-war British painting, complemented by a stellar selection of European and American works. Many of the works were acquired through the gallery of Leslie Waddington, and a number have passed through notable collections such as Herbert Read, E. J. Power and Charles Saatchi. Such distinguished provenance is testament not only to a shared championship of the post-war British art scene, but also to the exchange with the European and American avant-gardes in which Waddington and his clients played such a vital role. Several of the works have been on long-term loan to museum collections and Jeremy Lancaster was a trustee at Birmingham’s Ikon Gallery of contemporary art and the Barber Institute of Fine Arts. A frequent traveller with a keen appetite for art and knowledge, Jeremy Lancaster was in part influenced by the seminal exhibition ‘A New Spirit in Painting’. Undoubtedly a profound moment in the landscape of contemporary art it was staged by London’s Royal Academy of Arts in 1981. The direction of his collecting taste follows a similar dedication to transatlantic discourse in paintings from Frank Auerbach and Howard Hodgkin to Philip Guston, Robert Ryman and Josef Albers. -
LondonArtFairCollaboratesWithOfficialMuseum PartnerArtUkToSt
PRESS RELEASE: Under embargo until Thursday 19 October, 09:00 hrs (BST) LONDON ART FAIR COLLABORATES WITH OFFICIAL MUSEUM PARTNER ART UK TO STAGE SPECIAL EXHIBITION IN CELEBRATION OF 30 YEARS ● Five leading contemporary artists - Sonia Boyce, Mat Collishaw, Haroon Mirza, Oscar Murillo and Rose Wylie - select works from Art UK for one-off exhibition at London Art Fair 2018 ● ‘Art of the Nation: Five Artists Choose’ is the first exhibition staged by digital platform Art UK, to showcase public collections across the UK ● Art UK is the official Museum Partner of London Art Fair, which will present leading British and international galleries alongside curated spaces from 17 - 21 January 2018 (Preview 16 January) In celebration of its 30th anniversary, London Art Fair has partnered with Art UK to stage a unique exhibition highlighting 30 remarkable works from the nation’s public art collections. As the Fair’s official 2018 Museum Partner, Art UK will present its first ever exhibition - ‘Art of the Nation: Five Artists Choose’ - from 17 - 21 January 2018. Reflecting the mission of the charity and its digital platform - the show will shine a spotlight on the rich and diverse regional collections showcased on artuk.org, the online home to every public art collection in the UK, which features over 200,000 artworks from over 3,250 venues. In an exhibition curated by Kathleen Soriano, Art UK has invited five leading contemporary artists to each select 20th and 21st century works from the Art UK online platform. Each artist has chosen up to six works within a theme that is both personal and speaks to their individual interests. -
Urban Demolition and the Aesthetics of Recent Ruins In
Urban Demolition and the Aesthetics of Recent Ruins in Experimental Photography from China Xavier Ortells-Nicolau Directors de tesi: Dr. Carles Prado-Fonts i Dr. Joaquín Beltrán Antolín Doctorat en Traducció i Estudis Interculturals Departament de Traducció, Interpretació i d’Estudis de l’Àsia Oriental Universitat Autònoma de Barcelona 2015 ii 工地不知道从哪天起,我们居住的城市 变成了一片名副其实的大工地 这变形记的场京仿佛一场 反复上演的噩梦,时时光顾失眠着 走到睡乡之前的一刻 就好像门面上悬着一快褪色的招牌 “欢迎光临”,太熟识了 以到于她也真的适应了这种的生活 No sé desde cuándo, la ciudad donde vivimos 比起那些在工地中忙碌的人群 se convirtió en un enorme sitio de obras, digno de ese 她就像一只蜂后,在一间屋子里 nombre, 孵化不知道是什么的后代 este paisaJe metamorfoseado se asemeja a una 哦,写作,生育,繁衍,结果,死去 pesadilla presentada una y otra vez, visitando a menudo el insomnio 但是工地还在运转着,这浩大的工程 de un momento antes de llegar hasta el país del sueño, 简直没有停止的一天,今人绝望 como el descolorido letrero que cuelga en la fachada de 她不得不设想,这能是新一轮 una tienda, 通天塔建造工程:设计师躲在 “honrados por su preferencia”, demasiado familiar, 安全的地下室里,就像卡夫卡的鼹鼠, de modo que para ella también resulta cómodo este modo 或锡安城的心脏,谁在乎呢? de vida, 多少人满怀信心,一致于信心成了目标 en contraste con la multitud aJetreada que se afana en la 工程质量,完成日期倒成了次要的 obra, 我们这个时代,也许只有偶然性突发性 ella parece una abeja reina, en su cuarto propio, incubando quién sabe qué descendencia. 能够结束一切,不会是“哗”的一声。 Ah, escribir, procrear, multipicarse, dar fruto, morir, pero el sitio de obras sigue operando, este vasto proyecto 周瓒 parece casi no tener fecha de entrega, desesperante, ella debe imaginar, esto es un nuevo proyecto, construir una torre de Babel: los ingenieros escondidos en el sótano de seguridad, como el topo de Kafka o el corazón de Sión, a quién le importa cuánta gente se llenó de confianza, de modo que esa confianza se volvió el fin, la calidad y la fecha de entrega, cosas de importancia secundaria.