The Neuroscience of Op Art
The Art Genome Project
Extremely rare when hand signed; this is one of only a few that were hand signed - thought to be between about approx. 50. This 2011 offset lithograph poster of Bridget Riley's "Rose Rose" commissioned by the Olympic Committee and published to celebrate the 2012 Olympics: "For her Olympic print, Riley has arranged colours in horizontal stripes, indicating the direction of athletic tracks or swimming lanes. The relationships between the colours create a sensation of movement capturing the energy of sport and the Olympic Games.” Unlike the mass produced posters, this one bears the official (rare) Olympic hologram and was one of the original limited edition posters that were distributed before the mass produced run.
Most readily indicative of her later career, “Rose Rose” shifts from a monochromatic palette of black and white to ingenious color combinations while remaining true to the elementary shapes and curves that define her methodology and practice. These combinations activate her canvas, though while minimal, are replete with a dynamic form and energy. The poster itself is now a collectors item. It is unframed, in fine condition, and boldly signed in black marker by Bridget Riley. The back of the sheet bears the Olympic hologram (see photo), as proof of authenticity. Unnumbered.
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Signature: Boldly signed by Bridget Riley in black marker. Extremely rare when signed. Also bears the Olympic hologram on the verso of the sheet as additional provenance.
Bridget Riley is an abstract painter who came to prominence in the American Op Art movement of the 1960s, after her inclusion in the 1965 exhibition “The Responsive Eye” at The Museum of Modern Art. There, her black-and-white paintings—which created illusions of movement—were shown alongside works by Victor Vasarely, Richard Anuszkiewicz, Frank Stella, and Ellsworth Kelly, among others. In the late '60s, she introduced color into her work and went on to win the Prize for Painting at the 1968 Venice Biennale. Since then her work has unfolded through numerous groups and series that engage the viewers' perception to induce simultaneously shifting patterns of forms and changing, optical mixtures of colors. Over the past decade, she has also made large, black-and-white murals that shape and articulate the environments they occupy. Her work is ultimately inspired by nature—“although in completely different terms,” she says, adding, “For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance.”
British, b. 1931, Norwood, London, United Kingdom, based in London, United Kingdom