“Painting Now” is the title and subject of a 1996 lecture by Bridget Riley advocating the continued—indeed, increasing—capacity and relevance of painting through all its evolutions.
A new retrospective exhibition of Riley’s work from the last sixty years borrows that title and is now on view.
Through January 26.
Sprüth Magers, 5900 Wilshire Boulevard, Los Angeles.
Michael Bracewell on Riley.
Above: Bridget Riley.
Below: Riley artwork courtesy the artist and Sprüth Magers.
“In the mid-1970s, I started to use the curve again, this time as a rhythmic vehicle for color. This was different from the earlier paintings like Cataract. By using twisted curves, I could bunch up color sensations in a way that went further than the lateral groupings in Pæan. When colors are twisted along the rise and fall of a curve, their juxtapositions change continually. There are innumerable sequences, each of which throws up a different sensation.” — Bridget Riley
From Bridget Riley, The Eye’s Mind: Collected Writings 1965–2009, edited by Robert Kudielka (London: Ridinghouse, 2009).
See Riley in the London Review of Books: lrb.co.uk/bridget-riley/at-the-end-of-my-pencil
Top: Bridget Riley in 1963. Image credit: Getty Images. Bottom: Bridget Riley, Aurulum, 1978.
