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Newsletter23 13 Bridget Riley The following two essays Bridget Riley Los dos siguientes ensayos are revised versions of talks given as part of son versiones revisadas de ponencias Chinati Weekend 2017 in Marfa, celebrating presentadas durante parte del Fin de the opening of the special exhibition by Semana de Chinati de 2017 en Marfa, Bridget Riley, Royal Liverpool University celebrando la inauguración de la exposición especial de Bridget Riley, Royal Liverpool Hospital, 1983, as wall painting, Bolt of University Hospital, 1983, expuesta como Colour, 2017. Richard Shiff’s talk was pintura mural, Bolt of Colour, 2017. La delivered at the Crowley Theater on Saturday, ponencia de Richard Shiff fue presentada en October 6, and Lynne Cooke spoke on el Crowley Theater el sábado, 6 de octubre, Sunday in the special exhibition gallery. y Lynne Cooke habló el domingo en la galería para exposiciones especiales. fore the official opening of Royal Liv- de 2017 –poco antes de la inaugu- erpool University Hospital, 1983, as ración oficial de Bolt of Colour, su Richard Shiff wall painting, Bolt of Colour, 2017, instalación en Marfa– estaba de- her installation at Marfa—she was sarrollando nuevas obras tanto en developing new work on both canvas lienzo como en poliéster, así como and polyester as well as compositions composiciones que serían pintadas directamente sobre pared. Su temá- to be painted directly on a wall. Her tica eran los círculos o, para ser más theme was circles or, more precisely, precisos, los discos coloreados. Este colored discs. This motif had been fea- tema había sido destacado en una tured in a wall painting that Riley de- pintura mural que Riley diseñó para Bridget Riley generates visual ideas Bridget Riley genera ideas visuales y signed for a museum in Christchurch, un museo en Christchurch, Nueva and pursues their various directions, persigue varias direcciones, apren- New Zealand, at about the same Zelanda, más o menos al mismo learning from her own initiatives. diendo de sus propias iniciativas. time that she was busy with her Marfa tiempo en que estaba ocupada When she recognizes that an aspect Cuando reconoce que un aspecto project [fig. 1]. Each of these bodies con su proyecto en Marfa. [fig. 1] of a format previously explored is yet de un formato explorado con ante- of work marks a return to an earlier Cada una de estas obras señala una to be investigated, she returns to it with rioridad aún no ha sido investigado, investigation of color, now extended. vuelta a una investigación anterior vuelve a ello con una intensidad re- sobre el color, que ahora se ha am- renewed intensity. What may have The Marfa project had an origin in the novada. Lo que pudiera haber pare- pliado. El proyecto en Marfa tuvo seemed familiar becomes unfamiliar, cido familiar se vuelve desconocido, early 1980s, when Riley visited Egypt, sus orígenes a principios del de- a novel invention. una invención novedosa. an experience that led her to create cenio de 1980, cuando Riley visitó When I visited Riley’s London studio Cuando visité el estudio de Riley a series of stripe paintings in brilliant Egipto, una experiencia que la llevó in late September 2017—shortly be- en Londres a finales de septiembre colors. About the same time, she re- a crear una serie de pinturas con 6 ceived a commission to decorate the rayas en colores brillantes. Alrede- did this by mixing contrasting colors el mismo valor (su posición es una interior corridors of a large hospital. dor de la misma época, ella recibió into the pure versions of these three escala que va del negro más oscuro I’ll return to the interaction of the les- el encargo de decorar los pasillos basic hues, producing an off-violet, al blanco más claro). Lo hizo al mez- sons of Egypt with the problem of the internos de un gran hospital. Volve- an off-orange, and an off-green. Be- clar los colores contrastantes con las hospital at a later point. ré más tarde a la interacción de las cause orange is inherently such a light versiones puras de estos tres tonos In Christchurch, Riley reinvestigated a lecciones de Egipto con el problema color, it required greater modifica- básicos, produciendo una tonalidad del hospital. violácea, una tonalidad anaranjada triad of colors first explored in 1970, tion then either violet or green. As a En Christchurch, Riley volvió a inves- y una tonalidad verdosa. Debido a in a painting with the suggestive title tigar una tríada de colores explora- result, Riley’s off-orange may at first que el naranja es inherentemente un Vapour [fig. 2]. For as long as I’ve da por primera vez en 1970, en una appear brownish rather than orange. color claro, requirió mayores modifi- known Bridget Riley, this painting has pintura con el título sugestivo de Va- She needed to make this color darker, caciones con respecto al violeta o el been hanging in a prominent location pour [fig. 2]. Desde que conozco a while making her violet lighter. For her verde. Como resultado, la tonalidad in her London home, which is also one Bridget Riley, esta pintura ha estado green, a color already midway on the anaranjada de Riley a primera vista of her studios. Its effects remain for her colgando en una ubicación promi- value scale, she reduced the satura- podría parecer pardusca en lugar de a source of wonder and even puzzle- nente en su casa de Londres, que tion (the chromatic purity) to conform naranja. Ella necesitó hacer que este ment. She took the three secondary también es uno de sus estudios. Sus to the muted character of the orange color fuera más oscuro, a la vez que hues of the color wheel—violet, or- efectos siguen siendo para ella una and violet. hacía que el violeta fuera más claro. fuente de asombro e incluso de per- En cuanto al verde, un color que ya ange, and green—and brought their At this level of middle-value gray- plejidad. Tomó los tres tonos secun- está en medio de la escala de valo- chromatic intensity down to a level darios de la rueda de color –violeta, ness, the qualities of illumination of res, redujo la saturación (la pureza that made the three hues quite equal naranja y verde– y bajó su inten- the three colors become integrated. cromática) para poder ajustarse al in value (their position on a scale from sidad cromática hasta un nivel que A subtle chromatic harmony of dis- carácter apagado del naranja y el darkest black to lightest white). She hacía que los tres tonos cobrasen parate hues appears, with none of violeta. FIG. 1: BRIDGET RILEY, COSMOS, 201617. ACRYLIC. COLLECTION CHRISTCHURCH ART GALLERY TE PUNA O WAIWHETŪ, ACQUIRED THROUGH THE CHRISTCHURCH ART GALLERY FOUNDATION WITH THE GENEROUS HELP OF HEATHER BOOCK; ROS BURDON; KATE BURTT; DAME JENNY GIBBS; ANN DE LAMBERT AND DAUGHTERS, SARAH, ELIZABETH, DIANA, AND RACHEL; BARBARA, LADY STEWART; GABRIELLE TASMAN; JENNY TODD; NICKY WAGNER; AND THE WELLINGTON WOMEN’S GROUP (EST. 1984). © BRIDGET RILEY 2017. ALL RIGHTS RESERVED. PHOTOGRAPHER: JOHN COLLIE. 7 FIGS. 2 AND 3: VAPOUR (1970). © BRIDGET RILEY 2018. ALL RIGHTS RESERVED. PHOTO COURTESY BRIDGET RILEY ARCHIVE. the disorienting stress that would oc- En este nivel de grisura de valor me- when we want to say both that some- otros colores y efectos de luz que ve- cur if contrasts of light and dark were dio, se integran las calidades de ilu- thing is and that something is not (“I’m mos pero que no podemos localizar also evident. To intensify this unusual minación de los tres colores. Aparece not quite certain ...”). We realize that del todo. Usar las palabras del todo effect in Vapour, Riley twisted the or- una sutil armonía cromática de tonos we’ve reached our limits of description de esta manera es un poco elusivo ange band around the other two. The dispares, sin la tensión desorienta- and resolution. We might venture that e insinúa incerteza. Empleamos este three bands become an amalgam of dora que tendría si fueran también Riley’s art starts where our powers of término clasificatorio tan vago cuan- evidentes los contrastes de luz y os- do queremos decir a la vez que algo the colors, and they interact with each description end. curidad. Para intensificar este efecto es y algo no es (“No estoy del todo other across the intervening areas of inusual en Vapour, Riley enrolló la In 1959, Riley copied a painting by seguro…”). Nos damos cuenta que white in a variety of ways. The system franja naranja alrededor de las otras Georges Seurat, an artist from whom hemos alcanzado nuestros límites de frames the white with different com- dos. Las tres franjas se convierten en she may have learned more than from descripción y resolución. Podríamos binations of the hues. In one area, una amalgama de colores e interac- any other predecessor. Instead of us- atrevernos a decir que el arte de Ri- the white is bordered by two violets, túan entre sí de diversas maneras ing the physical object itself as her ley comienza donde terminan nues- elsewhere by two greens, elsewhere por las zonas intermedias del blan- source, she followed a reproduction tros poderes de descripción. by a violet and a green [fig. 3]. This co. El sistema enmarca el blanco en in a book [figs. 4-5]. She rendered En 1959, Riley copió una pintura de optical complexity—originating from diferentes combinaciones de tonos. her copy freely with a stroke broader Georges Seurat, un artista del que a simple structural system—causes the En una zona, el blanco está limita- than Seurat’s and with his colors ex- pudo haber aprendido más que de do por dos violetas, en otro lugar cualquier otro predecesor.
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