Word: riley
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Dates: during 1970-1979
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...innocuously drab brick buildings is labeled "American Opinion, 395 Concord Ave.," with a single large American flag dangling over the front door. Inside, the only open doors are to the right, in a sea of fake wood paneling. The doors lead into a bookstore where sits the receptionist, Sally Riley, amidst a welter of reprints, newsletters, magazines, bumper stickers, and books with screaming titles, blood dripping dramatically down the covers, chains a prominent motif, and "Conspiracy" figuring in almost every title. During a five-hour span when I was in and out of the bookstore, as I toured the Society...
Perhaps the adventurous ones had not liked Riley--she never looked me in the eye the whole time she was explaining how prolific all the Society's "brilliant" writers were, and her spiel varied somewhat with the official line. For instance, she said, "You know, of course, that Mr. Welch [Robert Welch, Founder of the Society] learned to read at age two" --the official biography says he was three. And she told me that John Birch, who was a fundamentalist missionary to China in the early 1940's and later became an intelligence agent for Gen. Clair Chennault in China...
...find it hard to understand Robert Hughes' praise of Bridget Riley's Op art [May 1]. Unless I have it serviced regularly, I get pretty much the same pictures on my television...
There is nothing undisclosed in Riley's paintings. All their components are there, and visible, down to the last small bend of a stripe. There are no accidental effects. Like Vasarely, Riley prefers to have her work done by assistants from a preplanned sketch, with every color shift worked out in advance. Yet the way the paintings work on the eye is unpredictable, and almost baffles analysis. As Art Critic Bryan Robertson put it, "We are creatures of habit and rarely fully stretched. Riley's paintings are alive with potentiality; they disrupt visual complacency and do not provide...
...tempted to read Riley's color as light, mixed and reflected in the white spaces between the stripes-but it is a highly constructed, finished sort of light, unrelated to nature. "My pictures need time to develop on the retina," says Riley. "The first contact is always a bit off-putting and abrasive. You have to go with it. It's like taking a cold shower: a shock at first, but then it feels good...