Bridget Riley
British, b.1931
Elongated Triangles 4
- 1971
- Screenprint
- Purchased 1973
- 1025 x 420mm
- 73/163
Tags: abstraction, Op art, stripes, triangles (polygons)
This screenprint by English artist Bridget Riley presents a compressed, iridescent concertina of aqua green bands, wedged between tapering lines of orange and candy pink. Bridget’s major international debut was in The Responsive Eye, an exhibition held in 1965 at the Museum of Modern Art in New York, where she showed two large, powerfully optical works in black-and-white and grey. She began creating related sharp-edged optical works in pure colour two years later.
(Perilous: Unheard Stories from the Collection, 6 August 2022- )
Exhibition History
Op + Pop 6 February – 19 June 2016
British artist Bridget Riley is a leading name in the op art movement. Her work came to international attention in 1965 when included in an exhibition called The Responsive Eye at the Museum of Modern Art in New York, alongside artists including Victor Vasarely and Josef Albers.
Riley’s earliest op art paintings in black and white had a major impact on 1960s fashion, advertising and design. She increasingly used colour in her work from 1967 onwards, when she also began using simplified forms, often vertical straight or wavy lines, and colour variation and contrast that produced a sense of movement.
(Op + Pop, 6 February – 19 June 2016)
Ape To Zip: Adventures in Alphabet Art, 13 May 2005 – 8 October 2006
In the exhibition Ape to Zip this work was used for the letter V and was displayed with the following label:
VERTICAL Vs Vertical means standing straight up, like a lamppost or a tree trunk. Bridget Riley is famous for making paintings full of stripes and bright colours that are quite hard to look at! How many vertical Vs can you see?
Related reading: Op + Pop
Notes
To the memory of Julian Dashper
One of the highlights for staff over the eight or so years that the Christchurch Art Gallery was open prior to the shakes was the opportunity to work alongside Julian Dashper on his exhibition To The Unknown New Zealander.
Notes
Untitled 1956 by Gordon Walters
This article first appeared as 'Balancing act' in The Press on 17 August 2012.
Notes
Glittering
When it comes to posting comprehensive pictures of your new exhibitions online, opinion is divided.
Notes
Selected proofs
Peter Trevelyan's exhibition Selected Proofs is currently on at the University of Canterbury's SOFA Gallery until 7th September.
Article
The pleasure of making: objects taking centre stage in the space of the art gallery
Was it serendipity that the opening of Christchurch Art Gallery's Burster Flipper Wobbler Dripper Spinner Stacker Shaker Maker coincided with that of Slip Cast, a group exhibition at the Dowse Art Museum that also focused on the pleasure that artists take in manipulating materials in the process of making art?
Article
New Zealand in the Biennale of Sydney and the Biennale of Sydney in New Zealand
and the Biennale of Sydney in New Zealand
Collection
Simon Morris June Pause
Op + Pop 6 February – 19 June 2016
Packed with an energetic sense of movement, Simon Morris’s painting gives the effect of a boldly rhythmic musical score. Its pattern, appearing at first to be random or chaotic, is found to be sequenced and repeating, and with diagonals regularly breaking up the picture plane.
Morris builds on the legacy of pioneering New Zealand geometric abstractionists such as Carl Sydow and Gordon Walters. This optical sequence was generated by a mathematical formula, which he says “creates images that I wouldn’t come up with myself. It’s like the system partly makes the work.”
Collection
Gordon Walters Black on white
Gordon Walters is best-known for work that fused the influence of European modernist art and Māori and Pacific art forms, particularly the koru motif of painted kōwhaiwhai rafter designs. Walters’ influences from European modernism included the hard-edged geometric abstractions of Victor Vasarely and Auguste Herbin, seen while in Europe in 1950–51. Walters made his first optically charged ‘koru paintings’ in 1956, but didn’t show them until 1966 when he first exhibited this painting in Auckland.
Walters’ adaptation of the koru has been both admired and criticised by cultural commentators. Walters himself, when discussing the motif, increasingly focused on the fine mechanics of abstraction:
'What I’ve done to the form is push it more in the direction of geometry. So that I can have in my painting not only a positive/negative effect of black and white, but I can also have a working of vertical and horizontal, which is equally important.' (Op + Pop, 6 February – 19 June 2016)
