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Current -- In Explore 14 Nov 2015

Current (1964) by Bridget Riley is a work at the Museum of Modern Art in NYC. Done in synthetic polymer paint on composition board, the curation card notes: Current's undulating black-and-white lines appear to vibrate and form three-dimensional depressions that quiver on the painting's surface. The juxtaposition of black and white activates the painting with the semblance of movement and the appearance of other colors. In this and other early works, Riley "wanted the space between the picture plane and the spectator to be active." She later explored color contrast. View it large and move it around -- a truly extraordnary experience. en.wikipedia.org/wiki/Bridget_Riley Please use the following to link back to the photo if you choose to use it: goo.gl/6KFMXo . Thanks!. Current (1964) by Bridget Riley is a work at the Museum of Modern Art in NYC. Done in synthetic polymer paint on composition board, the curation card notes: Current's undulating black-and-white lines appear to vibrate and form three-dimensional depressions that quiver on the painting's surface. The juxtaposition of black and white activates the painting with the semblance of movement and the appearance of other colors. In this and other early works, Riley "wanted the space between the picture plane and the spectator to be active." She later explored color contrast. View it large and move it around -- a truly extraordnary experience. en.wikipedia.org/wiki/Bridget_Riley Please use the following to link back to the photo if you choose to use it: goo.gl/6KFMXo . Thanks!

Zapatistas

JosÃ© Clemente Orozco Mexican, 1883-1949 i>Zapatistas, 1931 Oil on canvas From the curation card: The slain revolutionary leader Emiliano Zapata (1879-1919) figures prominently in the work of Mexican artists of the 1920s and 1930s. In this painting Orozco depicts a somber moment in the Mexican Revolution,as Zapatistas -- Zapata's peasant followers -- march to their deaths. "I don't trust revolutions or glorify them, as I witnessed too much butchery," Orozco later remarked, referring to his experience in the Revolution. His trademark palatte, dominated by blacks and earthy reds, underscores the violent nature of the subject matter and echoes the colors in the political caricatures he made for revolutionary journals early in his career. Museum of Modern Art in New York City en.wikipedia.org/wiki/Jos%C3%A9_Clemente_Orozco

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