Bridget Riley is known for her optical art. and creating a variety of geometric forms that produce sensations of movement.
She has been going strong since the 1960's.So when her exhibition came to BMAG's Waterhall, it was a must to fit it in to our gallery trips for that day.
I must admit, I wasn't overally keen, and after spending about ten minutes in the exhibition I felt like I had the greatest headache ever. Greatest in a negative sense that is. But as we started to walk around the show, apart from the movement that each piece conveyed it also opened up my eyes to vast amount of preparation and mathematical precision that went into composing each piece in order for it to be a success.
Riley presents some of her work in a way that shows her progression. She indicates measurements and shows the viewer just how the optical illusion was constructed. It felt a bit like that show on television 'the masked magician' where the trick is shown and then the conjurer takes you step by step how the whole thing was constructed.This a key element to implement into teaching and particularly in terms of assessing art.
Koster (2009) agrees saying,
" Teachers must find ways of recording and presenting not just the final static product, but the whole process of creation" (Koster, 2009, p67)
This to create a broadened understanding of the stages of work passed through, how the children worked and the children's perceptions of their work.A key part of assessment in art.A great way to collate this information is through the use of sketchbooks and art journals. It is a personal way for a child to record their art journey.
Wyatts and Cox(2007)believe in the value of sketchbooks,
"The sketchbook is invaluable for children of all ages, to help them and the teacher with assessment"(Wyatts and Cox,2007, p12)
In my opinion her work it conveys an element of problem solving.
Because of this Torrance (1970) would consider this part of a creative process as his definition suggests creativity is concerned with,
"An ability to see a problem, form an idea to solve it and share the results"(Torrance, 1970 in Koster (2009) p30)
It features some of Riley's most iconic work.
Movement in squares 1961.The painting that Riley credits as the beginning of her breakthrough of abstraction.
In the early 1960s it was said that Riley's work induced variations of movements into viewers as varied as seasickness.
Riley is MOST famous for her black and white images but in the 1980s she began experimenting with colour.
In some works, lines of colour are used to created a shimmering effect, while in others the canvas is filled with tessellating patterns.
Shadow play (1990)
I think overall the exhibition changed my perception of Riley's work and it is definitely worth a look. You can not explain or represent in images the way each picture makes you feel when you walk past it. It is definitely a sensory experience, one that can only be experienced when exploring the art first hand. Supporting evidence for visiting galleries.
Beal indicates the importance of visiting galleries.
"They (galleries) can be a wonderful learning experience for children. it is important that children see real work whenever possible - work that artists have actually made as opposed to looking only at reproductions" (Beal,2001,p207)
References
Beal, N with Miller G,B.(2001) The art of teaching art to children. Farrar, Straus and Giroux. New York.
Wyatts R, Cox, S (2007) Teaching art and Design 3-11. Reaching the standard Series. Continuum International.
Koster, J, B. (2009) Growing Artists. 4th edition. Teaching the Arts to Young Children. Delmar. Cengage Learning.
http://www.bmag.org.uk/events?id=557
Torrance, E. P (1970 in Koster, J, B. (2009) Growing Artists. 4th edition. Teaching the Arts to Young Children. Delmar. Cengage Learning.
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