Word: striped
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Painter Riley's development spans a ten-year arc from the aggressiveness of her early black-and-white images to the imperiled quiet of such new stripe paintings as Apprehend, 1970. First reactions to her work may run from puzzlement to nausea. But Riley has always denied she means to hurt the eyes, aiming only for "a stimulating, an active, a vibrating pleasure." But not relaxation -the pleasure is existential, a tuning of the consciousness. In a picture like Cataract III, the eye has no resting place. The viewer scans the inexorably waving lines with something akin to mounting...
Cold Shower. Bridget Riley's paintings are nearly always made of such a formal unit-dot or stripe or ellipse-repeated and multiplied with tiny changes of position, tone or color. Through repetition, the force builds up. Then it peaks, like a laser emitting its stored energy in one flash. The serial changes (which may be no more than the slow rotation of a geometric "blip" of paint, happening a thousand times on one canvas) subvert, and at last explode, what would otherwise be a rigid order. "Everybody lives through states of disintegration but then finds something stronger that...
...strategic fortress, now held by rebels of their own stripe, were truly to fall into enemy hands, who knew what might occur? The Whites could play upon popular discontent, of which there was now an excess; or they might simply muster a large militia and drive the Soviets under for the last time. In any event, the prospect was a dangerous...
...original flag design called for a star and a stripe for each state admitted to the union. By 1818 there were 20 states in the union, and it became apparent that the continuous addition of smaller and smaller stripes would adversely affect the flag's appearance...
...solution was to start with what he called a "void," a blank circle on a spacious canvas, building color and movement around it. Soon the void developed into a stripe, or as he preferred to call it, a "zip." The zip usually zipped straight down for eight feet or so through an unmodulated expanse of plain color. When the paintings were shown in 1950 at the Betty Parsons Gallery, reactions ranged from negative to outrage. "You're a threat to us all," exclaimed one artist. What followed were perhaps Newman's bleakest years...