Bridget riley brief biography of maya
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A British Museum touring exhibition
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A Brief Retrospective of Bridget Riley
Much has happened in Bridget Riley’s lifetime: among it all, a World War, the invention of the internet and a global pandemic. And during this time, the artist herself has influenced how the industry regards women, thanks in part to a refusal to be pigeon-holed by sex or genre. As one of the most significant artists of the modern period, Riley has much to celebrate. To mark her 92nd birthday, we took a look back at seven decades of career highs…
Just a year after her first solo show (at London’s influential Gallery One), Bridget Riley was already winning awards. In 1963, she scooped both the AICA Critics Prize and a John Moores', Liverpool Open Section prize for her pioneering Op-Art works. In 1965, one of Riley’s pieces made the cover of the catalogue for MoMA’s influential exhibition, The Responsive Eye and her name was made worldwide. The resulting media frenzy distressed the artist, who was upset to see her work treated in a reductivist fashion and her images subsequently borrowed for use on clothing and in adverts. None of this harmed her reputation, however, and in 1968, she became the first woman to win the International Prize at the Venice Biennale.
Catalogue cover for MoMA's The Responsive Eye by William C Seitz | Pu
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Even for those familiar with modernism’s history in the latter half of the 20th century, the story of the life of the British painter Bridget Riley and the development of her work is not very well known. Now, though, Paul Moorhouse’s well-researched, lucid new biography, Bridget Riley: A Very Very Person (Ridinghouse, 2019) may help reveal to a broad audience the full scope and richness of her unusual, distinctive oeuvre, which was recognized in the 1960s as the embodiment of Op Art.
A former senior curator at London’s Tate Gallery and National Portrait Gallery, Moorhouse first met Riley, who was born in 1931, around the time he was organizing a small retrospective exhibition of her work at the first of those two institutions.
That presentation, in 2003, followed a 1998 show at Abbot Hall Art Gallery, a small museum in the Lake District in northwestern England. During a recent telephone interview, speaking from his home in London, Moorhouse recalled that the Abbot Hall exhibition had “marked a turning point in Riley’s career, for she had been eclipsed, and not much had been heard about her or her art for more than two decades until that time.”
His new Riley biography, he notes in its introduction, is a response to “a dearth of information about the artist herself” that