Bridget Riley 1980

Editor: Here we have Bill Brandt's photograph of Bridget Riley from 1980. The stark black and white contrast is striking, especially with the swirling geometric patterns behind her. It almost feels like the background is moving. What draws your attention most about this piece? Curator: What immediately strikes me is how Brandt positions Riley within and against the backdrop of her own Op Art. Consider the socio-political context: Riley's work gained prominence during a period of intense social upheaval. The geometric abstraction, then, wasn't merely formal experimentation. It offered a visual language to express complex systems, social structures, and perhaps even a disruption of conventional perspectives. Doesn’t Brandt’s image, by placing Riley so deliberately within her art, raise questions about the artist’s role in reflecting and refracting the anxieties and energies of the time? Editor: That's fascinating. I hadn't considered the social context. The geometric pattern now seems less like decoration and more like a commentary. Curator: Exactly! And Brandt, known for his social documentary work, makes an interesting choice to photograph an abstract artist. This juxtaposition invites us to consider how seemingly disparate artistic practices can intersect and inform each other in reflecting societal concerns. How might Riley's Op art challenge or subvert the traditional conventions of representation in the photographic portrait? Editor: I guess I assumed that Op art was more apolitical than social documentary. It's opened my eyes to seeing the background, as more than just background. Curator: Precisely. It's a dialogue between artist, photographer, and the socio-political moment they inhabited. It challenges the perceived neutrality of abstract art. Editor: Thank you. I’ll never look at Op Art the same way.