For true pop music devotees — and particularly for those who came of age in the ’70s and ’80s — 2016 delivered a year of The Day The Music Died-level emotional trauma on a monthly basis. Like some kind of Plague Upon the Rock Stars, 2016 wiped out an entire lifetimes’ worth of legends, including David Bowie in early January, then Keith Emerson in March, Prince in April, Leonard Cohen in November and, as the year’s final fuck you — on Christmas day no less — we lost George Michael. Continue reading The George Michael Collection at Christie’s
I had the most amazing time at the Architectural Digest Design Show a few weeks back, and photographed so many great pieces that will eventually end up in this blog. Here’s one of them: a liquor cabinet designed by Zelouf + Bell that was inspired by the fabulous Op Art of painter Bridget Riley — and you know how much we love her here at The Gig.
Here’s the reveal…wait for it…
OMG, so cool! Zelouf + Bells specializes in bespoke art furniture. Visit them online at Zelouf and Bell Dot Com.
Do you enjoy the fabulous Op Art images of legendary British painter Bridget Riley? I sure do. Bridget Riley is so cool, the retro-pop project Death By Chocolate even wrote a song about her. Fabulous. Bridget is 84 now, but still rocking a paintbrush, and I got to meet her recently at the opening reception for her current exhibit over at David Zwirner. You need to check it out.
I don’t think I could count the number of times I overheard someone mention how much the paintings of Julian Stanczak reminded them of Op Art pioneer Bridget Riley while we cruised around the opening reception for From Life, Stanczak’s new exhibit over at Mitchell-Innes & Nash. Trust me: it was a lot – and I was thinking the same thing.
While at Goldsmith’s College in London, Bridget Riley (born 1931) became interested in the optical vibrations initiated by Georges Seurat’s Pointillist technique of the 1880s. By 1961, Riley was painting solely in Black and White, and her paintings of the early 1960s are pioneering examples of what came to be known as Op Art.
With Blaze 1 (1962), Riley applied black zigzag stripes of emulsion to a white ground to create a pattern that assaults the eye: the bands of paint create a corkscrew–like optical effect wherein the two-dimensional painting appears to both recede into the wall and to project itself into space in front of the picture plane.
Bridget Riley’s Blaze 1 is part of the permanent collection in the Modern Art wing at the Metropolitan Museum of Art in New York City.