Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"For me, drawing is an enquiry, a way of finding out—the first thing that I discover is that I do not know. This is alarming even to the point of momentary panic. Only experience reassures me that this encounter with my own ignorance—with the unknown—is my chosen and particular task, and provided that I can make the required effort the rewards may teach the unimaginable. It is as though there is an eye at the end of my pencil, which tries, independently of my personal general-purpose eye, to penetrate a kind of obscuring veil or thickness. To break down this thickness, this deadening opacity, to elicit some particle of clarity or insight, is what I want to do." Bridget Riley, excerpted from Bridget Riley: Flashback.
Published by David Zwirner Books. Text by Richard Shiff.
This publication unfolds along the lines of Bridget Riley's (born 1931) 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface—wall or canvas—can affect a seemingly simple form: the triangle. While demonstrating these subtle changes, she manipulates this form by bending its sides. Riley is revisiting and developing works which she initiated over 50 years ago, as is shown here by the inclusion of Black to White Discs (1962/1965). This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In Cosmos and the Measure for Measure series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.
Published by Holzwarth Publications. Text by Éric de Chassey.
For her 2017 exhibition at Galerie Max Hetzler in Paris, Bridget Riley (born 1931) installed eight canvases and two wall works—all part of her Disc Paintings series (2016–2017), in which colored discs are arranged in a diagonal grid, their palette—off-green, off-violet and off-orange—inspired by Seurat.
The present volume includes the vast majority of significant essays on Bridget Riley written since 1999. This was a particularly fruitful period in the reception of her work, as the discourse broadened and her reputation as one of the most important painters of her generation solidified. The essays range from biographical and career overviews to detailed analysis of specific aspects or themes that occur throughout Riley’s career. The selection reflects a rich body of work, which sustains the interest of important authors, as evidenced by multiple pieces by Éric de Chassey, Lynne Cooke, Robert Kudielka, Paul Moorhouse and Richard Shiff. Together, this volume of essays tells the story of an artist whose art has continuously evolved over nearly six decades. Most of the critical texts have been written in close consultation with the artist, the result of long conversations, sudio visits and archive access. Largely commissioned on the occasion of particular exhibitions, these essays track and trace Riley’s focus and influences at different moments in time. Each essay builds upon the next, with more recent authors clearly responding and referencing earlier discourse. The result is a collection of great breadth and cohesion. An important resource, About Bridget Riley represents a monumental body of research and analysis by some of the most important art historians of today. It also offers the opportunity for the reader and the viewer to approach Riley from a plethora of perspectives to form their own view, much reflecting Riley’s own particular approach to art history. As John Elderfield puts it: ‘Effectively, Riley makes a pact with the viewer, through the medium of the painting, that they will collaborate in eliciting from a particular painting a particular sort of mobile visual array. And, when the viewer stops looking at the painting, it will therefore be as if leaving something that continues to go on.’
Published by Holzwarth Publications. Text by Éric de Chassey.
This volume documents a focused group of paintings from 2014–15 by British artist Bridget Riley (born 1931). After decades of exploring the subtle effects of color, Riley returns to stark, black-and-white, geometrically derived forms--variations on the trademark style she developed in the early 1960s.
Published by David Zwirner Books. Text by Richard Shiff, Robert Kudielka.
Published on the occasion of her 2015 solo exhibition at David Zwirner, Bridget Riley: Works 1981–2015 presents detailed spreads of paintings from the last 34 years of her career, including images of “Rajasthan,” a wall painting previously shown in Germany and England, and exhibited for the first time in New York. These dynamic reproductions begin with stripe paintings from the 1980s and end with her return to black and white that ties back to her work from the 1960s, but bear traces of Riley’s deep engagement with color in the interim. Also included is a selection of the artist’s works on paper; together, these complementary aspects of her practice over the past four decades reveal the astonishing variety she has achieved by developing and rediscovering different forms. An essay by art historian Richard Shiff contextualizes the developments in Riley’s practice since the early 1980s, and further emphasizes her influence and lineage as a painter. Rounding out the publication are biographical notes by Robert Kudielka, one of the artist’s foremost critics.
Bridget Riley was born in 1931 in London, where she currently lives and works. Educated at Goldsmiths College of Art and at the Royal College of Art in London, she has exhibited widely since her first solo exhibition in 1962. Among numerous group exhibitions, Riley participated in the 1968 Venice Biennial--where she won the international prize--and the 1986 Venice Biennial, as well as Documenta 4 in 1968 and Documenta 6 in 1977. Retrospectives of her work toured Europe and the world during the 70s, and she has exhibited work at institutions including The Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; The Victoria and Albert Museum, London; and Tate Britain, London.
Robert Kudielka is an art historian and former Professor of Aesthetics and Philosophy of Art at the University of the Arts, Berlin. He is the co-author with Bridget Riley of Paul Klee: The Nature of Creation, Works, 1914–1940 (2002) and author and editor of numerous books on Riley, including Robert Kudielka on Bridget Riley: Essays and interviews since 1972 (2005; revised and expanded edition, 2014) and The Eye’s Mind: Bridget Riley, Collected Writings 1965–2009 (2009).
?Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin, where he directs the Center for the Study of Modernism. His scholarly interests range broadly across the field of modern and contemporary art and theory, with publications that include Ce?zanne and the End of Impressionism (1984), Critical Terms for Art History (co-edited, 1996; second edition, 2003), Barnett Newman: A Catalogue Raisonne? (co-authored, 2004), Doubt (2008), Between Sense and de Kooning (2011), and Ellsworth Kelly: New York Drawings 1954–1962 (2014). Artists featured in Shiff’s recent essays have included Mark Bradford, Peter Doig, Marlene Dumas, Zeng Fanzhi, Ellen Gallagher, Jasper Johns, Donald Judd, Alex Katz, Per Kirkeby, Julie Mehretu, David Reed, Bridget Riley, Joel Shapiro, Keith Sonnier, Cy Twombly and Vincent van Gogh.
Spanning over 50 years of Bridget Riley’s career, this volume explores the dialogue between black-and-white and colour in the artist’s work. Riley gained critical attention internationally for her black-and-white paintings during the mid-1960s, using elementary shapes to engage the eye by creating flux and rhythm within the pictorial field. Throughout the succeeding decades, Riley has continued her investigation into perception through related bodies of work in rich colour. This volume accompanies a focused display at the Scottish National Gallery of Modern Art, Edinburgh (15 April 2016 – 16 April 2017), which tracks Riley’s work up to the recent re-introduction of a palette of black and white. It includes essays by Éric de Chassey and Frances Spalding as well as a historic interview with the artist by Robert Kudielka, which together contextualise Riley’s early developments and demonstrate how her latest paintings progress directly out of a rigorous engagement with colour.
Examining a breakthrough moment in Bridget Riley’s career, this volume illustrates the importance of colour to the artist’s investigation of visual contrast and perception. During the early 1960s, Riley’s black-and-white work employed elementary shapes to convey movement and light. Having tested this limited set of means, the artist incorporated colour into her paintings in 1967. This volume accompanies an exhibition at Graves Gallery, Sheffield (18 February–25 June 2016) that chronicles the period of change which took place before, during and after Riley’s representation of Great Britain at the 34th Venice Biennale. Using Rise 1 (1968) as a starting point, the carefully selected group of paintings and works on paper from 1967–85 situate this important painting within its context. Alongside over 30 full-colour illustrations, an essay by Paul Moorhouse explores how the adoption of colour informs developments throughout Riley’s ensuing career.
Published by Ridinghouse. Text by Robert Kudielka.
Marking the first major survey of Bridget Riley’s use of the curve, this volume explores how the artist has often returned to this pictorial device over a 50-year time span. Coinciding with the artist’s exhibition at De La Warr Pavilion, Bexhill on Sea (13 June–6 September 2015), the publication features studies and paintings from throughout Riley’s career; beginning with black-and-white works from the 1960s up to the recent wall painting Rajasthan (2012), which combines curvilinear shapes with a vibrant colour palette. Animating the entire visual field, Riley’s distinctive abstract language is shaped by her study of Paul Cézanne and Georges Seurat’s treatment of pictorial space. Accompanied by colour illustrations of over 30 works in the exhibition, a new interview with the artist by Paul Moorhouse offers an in-depth exploration of Riley’s influences and developments.
Tracking a transitional period of Bridget Riley’s career, the works on paper in this volume move from the vertical stripe to increasingly complex diagonal compositions. During the mid-1980s, Riley introduced a new pictorial device – the rhomboid – to the then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. Riley constructs new visual relationships between divergent colours and forms within these works, creating what the artist terms a ‘harmony of contrasts’ that animates the entire visual field. Illustrated in full colour, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Natalia Naish and Alexandra Tommasini, which situate these studies with major paintings during this period.
Published by David Zwirner Books. Text by Paul Moorhouse, Robert Kudielka, Richard Shiff. Interview by Robert Kudielka.
Published on the occasion of the major exhibition at David Zwirner in London, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past 50 years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm and density. Created in close collaboration with the artist, the publication's beautifully produced color plates offer a selection of the iconic works, including Riley's first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called "Egyptian" palette, and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth-Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary's Hospital in West London; and installation views of the London exhibition itself. Born in London in 1931, Bridget Riley attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955. In 1974 she was made a CBE and in 1999 appointed the Companion of Honour. In 1968 she won the International Prize for Painting at the Venice Biennale. Recent international museum shows include Bridget Riley: Paintings and Related Work, National Gallery, London (2010); Bridget Riley: From Life, National Portrait Gallery, London (2010); Bridget Riley: Rétrospective, Musée d'Art Moderne de la Ville de Paris (2008); and Bridget Riley: Reconnaissance, Dia Center for the Arts, New York (2000).
Published by Ridinghouse. Text by Robert Kudielka.
Eight never-before-seen gouache studies are at the centre of this volume, illustrating Bridget Riley’s dynamic approach to colour. This volume documents a group of gouache studies by Bridget Riley from 1969 to 1972 that reflects a major reconfiguration of Riley’s style. The shapes formed in these gouaches are arranged from a limited selection of colours – namely violet, green and pink – to explore the visual relationship between 'contrast and harmony’. Accompanying full colour illustrations, a conversation between the artist and Robert Kudielka from 1972 posits the works within the context of Bridget Riley’s oeuvre.
Filled with Bridget Riley’s mesmerising stripe paintings, this catalogue conveys the artist’s unique development in using stripes to animate the entire visual field. Published in conjunction with the Bridget Riley: The Stripe Paintings 1961–2012 exhibition at Galerie Max Hetzler, Berlin, key paintings and studies of Riley's stripe works are collected for the first time. This well-illustrated title demonstrates how Riley reguarly returned to this seemingly simple pictorial device to achieve complex, surprising results. The volume includes full-colour illustrations alongside important texts by John Elderfield and Paul Moorhouse – in both English and German – which situate these exhiliarating works within the artist's ouevre and a broader art historical context.
Filled with iconic black and white paintings, studies and prints that mesmerise and challenge the viewer, Bridget Riley: Works 1960–1966 represents the foundation of the artist’s exploration of shape, movement and perception.Accompanying a two-part exhibition of the same name at Karsten Schubert, London, and Hazlitt Holland-Hibbert, London, this volume features over 40 works from the beginning of Riley's impressive career.Full-colour illustrations are presented alongside a selection of essays, including an interview with David Sylvester from 1967 that discusses the distinctive, optically vibrant works that Riley was making during this important period, and a conversation with Maurice de Sausmarez.
Published by Ridinghouse. Text by Lynne Cooke, Robert Kudielka.
Accompanying an exhibition curated by Bridget Riley, over three decades of the artist’s dynamic paintings and studies are brought together in this volume. Published on the occassion of a unique retrospective exhibition at Galerie Max Hetzler, Berlin (2011), this large catalogue presents works selected by the artist herself. Focusing on the last three decades of the artist's prolific career, Riley's paintings are situated in relation to to drawings and prepratory studies. Alongside over 30 full-colour illustrations, an essay by Riley and a conversation with Lynne Cooke provide an in-depth understanding of the artist's approach to colour, form and painting itself.
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’.
Published by Ridinghouse. Edited by Robert Kudielka.
Bringing together essays by and interviews with British artist Bridget Riley, this volume represents her passionate and articulate engagement with colour, perception and art history. Divided into three sections, the writings reveal Riley’s relationship to different topics over time, including the term ‘abstract’; the influence of Georges Seurat and Paul Cézanne; the role of colour and painting throughout art history; the importance of perception and much more. The book includes interviews with preeminent art historians such as David Sylvester, Mel Gooding and Lynne Cooke, as well as in-depth studies of other artists: Piet Mondrian, Bruce Nauman and Georges Seurat.
Published by Hayward Gallery Publishing. Text by Michael Bracewell, Bridget Riley, Robert Kudielka.
Bridget Riley is that rare instance of an artist whose work breaks free of art history and merges with the broader cultural imagination, yet preserves for itself a rigorous, focused dialogue with painting's most basic properties: the interaction of form and color. Produced in close collaboration with the artist, Flashback tracks Bridget Riley's career from its sensational beginnings in the early 1960s, at the helm of Op art, to the ambitious and powerful paintings and works on paper of recent years. Alongside a wealth of reproductions of works from 1961 to 2007, it also features an illustrated chronology and list of works in U.K. public collections, an essay by Michael Bracewell and a wonderful meditation by Riley, titled “Work,” in which she looks back on the curve of her art across the decades. “You cannot deal with thought directly outside practice as a painter,” she writes: “‘doing' is essential in order to find out what form your thought takes.” Flashback reveals Riley's achievement in all its energetic glory, surveyable in one concise volume.
Published by Ridinghouse. Edited by Rosalind Horne, Text by Robert Kudielka.
Bringing together over 20 gouache studies by Bridget Riley, this volume reveal elements of the celeberated artist's process. Accompanying an exhibition of Riley's work at Karsten Schubert, London, the studies explore the results of setting circles of colours – such as turquoise, cerise and ochre – at different distances. The works are accompanied by an interview with the artist by Robert Kudielka from 1972, just following the creation of these works. In the discussion, Riley touches upon the role of her studies and the effects of her colour choices on light and movement in the picture plane.
Published by Ridinghouse. Text by Jonathan Crary, Nadia Chalbi, Robert Kudielka.
Published in conjunction with a major retrospective at Musée d’Art Moderne de la Ville de Paris, this comprehensive volume illuminates the history and motivations behind Bridget Riley’s energetic art. Illustrations of over 60 Riley paintings are complemented by more than 80 drawings, which offers a unique opportuntity to compare early works inspired by Georges Seurat alongside both her well-known black and white paintings during the 1960s and her recent canvases of curved forms and vivid colours. This bilingual catalogue contains six essays by Éric de Chassey, Jonathan Crary, Frances Follin, Robert Kudielka, Anne Montfort and Semir Zeki; an interview with the artist by Lynne Cooke; a text about the two mural works by Nadia Chalbi; and an extensive biography. Providing an overview of Riley's growing oeuvre, this volume is a detailed account of the artist's ceaseless creative process.
Focusing on Bridget Riley's newest body of works, this volume reflects the artist's exploration of curves to create paintings of great energy and movement. Accompanying an exhibition of new 'curvilinear’ works at Timothy Taylor Gallery, London (June–July 2006), these paintings incorporate complex layers of flowing forms that interlock and move with one another. Using a patch of colour that is similar to a brushmark, Riley’s forms interrupt and threaten to break out from the picture plane, overhanging the frame to jostle and animate the visual field. Refining and developing this form in recent paintings, the artist's work offers an incredible melding of form and colour. Alongside over 20 full-colour illustrations, an in-depth essay by Paul Moorhouse examines the changes within Riley’s work throughout her multi-decade career.
Published to accompany a major retrospective, this lavishly produced volume surveys Bridget Riley’s innovative approach to painting and drawing. Bridget Riley is one of the leading abstract painters of her generation. She first attracted critical attention with the dazzling black and white paintings made during the 1960s, and has continued to develop new styles in her work through a considered approach to colour, shape and perception. This volume is a comprehensive survey of Riley’s work – covering over four decades of paintings and studies – and contains numerous colour illustrations alongside five essays and an interview with the artist by Jenny Harper.
Published by Dia Art Foundation. Essays by Lynne Cooke, John Elderfield. Foreword by Michael Govan.
This book documents Bridget Riley's current exhibition at New York's Dia Center for the Arts, Reconnaissance, which brings together seminal paintings from the early 1960s, landmark works esteemed via word-of-mouth but not often seen. These works are shown together with others from the later 60s and 70s to chart the early career of this highly influential but--especially in the US--all-too-little-known artist. Riley's dynamically abstract paintings from the 1960s and 1970s long ago secured her a permanent place in the history of postwar art. Despite this widespread acclaim, Riley's work has been exhibited in the US only on a few occasions. In Reconnaissance, the artist's first solo exhibition to originate in the US in decades, the public will be able to examine a selection from Riley's compelling body of early work. Additionally, Riley has executed a wall drawing for Dia's galleries, which is documented here.