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| | | | Bridget Riley: Paintings And Gouaches 1979-80 & 2011: At Karsten Schubert, London
Placing new paintings by Bridget Riley in relation to her early gouaches, this publication highlights the important new directions taken by the famous British artist.
Accompanying an exhibition of the same name at Karsten Schubert, London, this catalogue features three new paintings which bring Riley's exploration of the circle from the wall to the canvas, and from black and white to colour.
Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the eye to continuously adjust as the shapes grow and compress, and dance across the canvas.
Full-colour illustrations are accompanied by a conversation between Bridget Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve ‘as a rhythmic vehicle for colour’.
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FORMAT: Pbk, 9.63 x 10.25 in. / 40 pgs / 15 color.
LIST PRICE: U.S. $29.95
LIST PRICE: CANADA $45
ISBN: 9781905464487
PUBLISHER: Ridinghouse
AVAILABLE: 12/1/2011
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Active
AVAILABILITY: In stock
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| Bridget Riley: Paintings And Gouaches 1979-80 & 2011: At Karsten Schubert, London Published by Ridinghouse. Placing new paintings by Bridget Riley in relation to her early gouaches, this publication highlights the important new directions taken by the famous British artist.
Accompanying an exhibition of the same name at Karsten Schubert, London, this catalogue features three new paintings which bring Riley's exploration of the circle from the wall to the canvas, and from black and white to colour.
Through the layering of circles of yellow and orange in her exploration of interplaying colours, Riley asks the eye to continuously adjust as the shapes grow and compress, and dance across the canvas.
Full-colour illustrations are accompanied by a conversation between Bridget Riley and Robert Kudielka from 1978, in which the artist discusses her move away from the blacks, greys and whites of her 1960s works and towards the use of the curve ‘as a rhythmic vehicle for colour’.
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