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'Changing Places', oil on linen, 2009
Looking at Bridget Riley's paintings is like having a conversation with a particularly challenging tutor. Can't see the rhythms in her discombobulating patterns? Then train your lazy eyes to look harder. Don't like the colours? Tough, why should art pander to your pathetic ideas of taste?
That Riley, uncompromising during a five-decade career, is A Good Thing in the British art establishment, is not in doubt. And yet, as the septuagenarian comes up with more and more hard-to-like pictures, the point at which one is tempted to throw in the stripy towel draws closer and closer.
This show, for example, continues her study of almost impenetrably interwoven curved diagonals, developed across two large canvases and two wall paintings, all in a defiantly unlovely colour scheme of chalky ochres, lavenders, pale blues and green. The canvases introduce to the leaf-like forms rectangular elements that read like a shattered frame. The wall paintings reveal what happens when Riley's designs aren't constrained by the canvas edge ñ but are far from immersive.
In the back room a series of gouaches show some of the adjustments that take place before the assistants work up the designs. How rigorous, you might think, and how great to see an artist become more testing with age. I wanted to think that but the idea was ousted by the notion that, for the viewer, Riley's art is one of ever diminishing returns. Come on Bridget, throw us a bone.
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"Come on Bridget, throw us a bone"? Really? What a ridiculous remark. So you'd like her to paint something easier to look at in a different palette?
I am shocked by this lazy review. It seems that Mr. Coomer does not like Bridget Riely’s latest group of works because he finds them too difficult and does not enjoy the selection of colours. ‘Taste’ is not an acceptable judgement in looking at art and it is irresponsible for a reviewer to incorporate it in this forum. Perhaps if Mr. Coomer spent some time with the work he would realise that the wall paintings add a volume unattainable on canvas. Or, that the range of colours and the rhythm of the shapes together push the eye to see colours that are not even there. Riley’s art is therefore not an experience of ‘diminishing returns’ rather one continuous, demanding and exciting returns. Moreover, the fact that Mr. Coomer felt it necessary to mention Riley’s age three times further illustrates that he has not bothered to look or even think about the work. Mr. Coomer’s ‘clever’ challenge to ‘throw in the stripy towel’ or ‘Come on Bridget, throw us a bone’ are meaningless, juvenile and petty messages. Next time maybe you should look at the work in the exhibition rather than take the easy way out.
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