Published on the occasion of Bridget Riley’s major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past fifty 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. As noted by Paul Moorhouse, “Throughout her development, Riley has drawn confirmation from Euge`ne Delacroix’s observation that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.” Created in close collaboration with the artist, the publication’s beautifully produced color plates offer a selection of the iconic works from the exhibition. These include the artist’s first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called “Egyptian” palette—a “narrow chromatic range that recalled natural phenomena”—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, 20th 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, taken especially for this publication; and installation views of the exhibition itself, installed throughout the three floors of the gallery’s eighteenth-century Georgian townhouse located in the heart of Mayfair.
This book tracks Bridget Riley's career from its sensational beginnings in the early 1960s to the ambitious and powerful paintings and works on paper of recent years.
Author: Bridget Riley
Publisher: Hayward Pub
Bridget Riley: Flashback is the first in a new series of monographic exhibitions from the Arts Council Collection. This book tracks Bridget Riley's career from its sensational beginnings in the early 1960s to the ambitious and powerful paintings and works on paper of recent years. It includes and essay by Michael Bracewell and a new text by the artist discussing her working practice. An illustrated chronology and an inventory of works by Riley in British public collections complete this survey.
A completely up-to-date catalogue raisonné of celebrated artist Bridget Riley's graphic work.
Author: Lynn MacRitchie
Bridget Riley has made screenprints throughout her career, extending the principles of her paintings into a new, reproducible medium. Bringing together the complete, updated inventory of this substantial body of work, this volume explores Riley's development as a printmaker and her relationship to the screenprint medium. Newly revised, updated and designed, this catalogue raisonné richly illustrates Bridget Riley's graphic work in a larger, enhanced format. Alongside a full-colour inventory of the prints are updated essays by Lynn MacRitchie and Craig Hartley and an additional essay by Robert Kudielka, which provide a greater context for Riley's work. This revised volume, a co-publication with The Bridget Riley Art Foundation, also benefits from supplemental material including an artist biography and selected solo and group exhibition history.
The quest for discovery through looking is the driving force of Bridget Riley’s work, as she has written: “More than anything else I want my paintings to exist on their own terms.
Author: Bridget Riley
Publisher: David Zwirner Books
The quest for discovery through looking is the driving force of Bridget Riley’s work, as she has written: “More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple—telling no tales as it were—resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendors to which pure sight alone has the key.” This publication unfolds along the lines of Riley’s 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 she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking. Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of Black to White Discs (1962/1965) in the exhibition. 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. The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley’s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.
Bibliography Statements by the artist Statement in the New Generation Exhibition
catalogue , Whitechapel Art Gallery , London 1964 ' Bridget Riley answers
questions about her work ' Monad I London 1964 ' Perception is the medium ' Art
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.
Author: Bridget Riley
Category: Painting, Abstract
Bridget Riley is one of Britain's most respected artists, with an international reputation. Her distinguished career encompasses forty years of uncompromising and remarkable innovation. paintings she began to make in 1961 under the 'Op Art' banner. Disseminated through the mass-media and widely plagiarized by the fashion industry, these came to epitomise an era. Since then she has remained at the forefront of developments in comtemporary painting, making highly distinctive works which seek to articulate an abstract language in which relations of colour and form generate visual sensations. includes key examples of all phases of her work. It accompanies the exhibition held at Tate Britain, Summer 2003.
This landmark book reflects on almost 70 years of works by Bridget Riley (b.1931), from some of her earliest to very recent projects, providing a unique record of the work of an artist still very much at the height of her powers.
This landmark book reflects on almost 70 years of works by Bridget Riley (b.1931), from some of her earliest to very recent projects, providing a unique record of the work of an artist still very much at the height of her powers. Essays from leading scholars and commentators on Riley's work will make this title the authority on new thinking around Riley's practice. The book includes a special 'in conversation with Bridget Riley' discussion conducted by Michael Bracewell. In the last decade, Riley has continued to push her practice considerably, producing several large-scale site-specific wall paintings as well as continuing to develop new paintings. This book will explore these recent developments, as well as showcasing a number of very early drawings and paintings by Riley never previously published. It will also examine the notable influence that other artists such as Georges Seurat and Piet Mondrian have had on Riley's work. AUTHOR: Lucy Askew is Senior Curator (Exhibitions) at the Scottish National Gallery of Modern Art, Edinburgh, specialising in post-war and contemporary art. Her previous publications include From Death to Death and Other Small Tales: Masterpieces from the Scottish National Gallery of Modern Art and the D.Dasklalopoulos Collection (2010) and Louise Bourgeois: A Woman without Secrets (2013). SELLING POINTS: * Includes up-to-date discussion of Riley's most recent works by leading scholars in the field * Featuring a number of very early drawings and paintings never before published * Includes a brand new interview with Bridget Riley conducted specifically for this book 120 colour images
1 5 7 10 Bridget Riley, “Painting Now” (1996), “Seurat as Mentor” (2007), in
Robert Kudielka, ed., The Eye's Mind: Bridget Riley, Collected Writings 1965–
2009, 2nd ed. (London: Ridinghouse and Thames & Hudson, 2009), pp. 296 (
Author: Bridget Riley
Publisher: David Zwirner Books
Bridget Riley’s explorations of perception through form and color have made her into one of the most significant painters working today. Since the early 1960s, she has used elementary shapes—lines, circles, curves, and squares—to create visual experiences that immediately draw the viewer in, often triggering optical vibrations and illusions. More recently, Riley has shifted back to black and white in her large-scale paintings, marking a departure from her recent colored stripe paintings and a return to the palette of some of her earliest works. Published on the occasion of her 2015 solo exhibition at David Zwirner, Bridget Riley: Works 1981–2015 presents paintings from the last thirty-four 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 a coda of sorts —a 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. As critic Éric de Chassey puts it in his essay for Riley’s 2015 catalogue with Galerie Max Hetzler: “The black-and-white paintings not only enter into a dialogue with the 1960s works, but take stock of every painting experience Riley has created during a long career.” Also included is a selection of the artist’s works on paper; taken 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 helps contextualize 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. With a career spanning six decades, Bridget Riley remains one of the most exciting painters today, and Bridget Riley: Works 1981–2015 presents a selection of works from what may be her richest period to date.
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 seminal encounter with a painting by Georges Seurat, this volume demonstrates how studying Seurat has enabled Riley to extend and transform her visual language.In 1959, Riley's copy of Seurat's The Bridge at ...
Author: Pennsylvania. Superior CourtPublish On: 1900
Before LYNCH , J. It appears from the record that James Riley died December 2 ,
1895. On February 8 , 1896 , Bridget Riley , his wife , brought suit in her own
name against defendant company to recover on a policy of insurance issued to ...
Author: Pennsylvania. Superior Court
Category: Law reports, digests, etc
Containing cases decided by the Superior Court of Pennsylvania.