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These works’ pictorial strategies, and others from the 1970s on, though their initial effects are still op, align them with many of the now marginalized practices of post-50s hardedge and geometric abstract art. With this insight, I realized Riley’s practice extends beyond her association with Op art and that her work can be contextualized within the broader aesthetic discourses of early and late modernism.
Marking op art’s takeover from the passe machismo of abstract expressionism, Riley’s pulsing exercises in perception opened a new way of seeing that activated the spectator and extended art’s boundaries
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(PRINCETON, NJ) -- American art made across four centuries will be the subject of a far-reaching new traveling exhibition organized by the Princeton University Art Museum. Object Lessons in American Art, drawn entirely from the Museum’s venerable collections, presents more than one hundred works of Euro-American, African American, and Native American art, created between the eighteenth century and today, to ask fundamental questions about artistic significance and how meaning changes across time, place, and context.
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