BRIDGET RILEY

Paintings and Related Work 1983 – 2010

A focused, unique retrospective exhibition catalog from Berlin’s Galerie Max Hetzler, this large-format book presents an exhibition curated by Bridget Riley herself, and including works from private collections and some works never before shown in Germany. The focus is on the last three decades of this towering British artist’s work, and the book includes her 2009 essay, Work, and her 2005 conversation with Lynne Cooke. In 2009, Riley received Germany’s most prestigious prize, the Goslar Award for Modern Art, and in 2012 she will be awarded the Rubenspreis der Stadt Siegen. Designed and edited in Ridinghouse’s typically distinguished style, the book includes crisp reproductions, several fold-out pages and a rare photographic portrait of Riley, in front of a study for her Composition with Circles series.

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BRIDGET RILEY: COMPLETE PRINTS 1962-2012

Karsten Schubert (Ed.)

Newly designed and expanded, the 2012 edition of Bridget Riley: Complete Prints includes every print from the early 1960s to the present day. This beautiful catalogue raisonné of Bridget Riley’s graphic work now shows each print on its own page. Alongside a full colour inventory of the prints are essays by Lynne MacRitchie and Craig Hartley that together provide a greater context for Riley’s work. Here, MacRitchie explores Riley’s career as a printmaker focusing on different periods of activity. Hartley discusses the history of screenprinting and Riley’s relationship to the medium. Including over 80 prints – featuring 5 new prints from 2011 – this book brings together a substantial body of cohesive works.

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BRIDGET RILEY

Works 1960-1966

This stunning exhibition catalog features over 40 works from the beginning of the artist’s monumental career. The iconic early black-and-white works—in the form of paintings, drawings, gouaches and prints—challenge the viewer’s sensations and form the foundation of Riley’s continued explorations of shape, movement and perception over the past four decades. Also featured are a 1967 interview with the British art critic David Sylvester on the distinctive, optically vibrant works made by Riley during the 1960s and an extensive conversation between the artist and Maurice de Sausmarez from 1967.

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BRIDGET RILEY

Paintings and Gouaches, 1979-80 & 2011

Bridget  Riley:  Paintings  and  Gouaches  1979-­80  &  2011 features three new paintings which represent an important new direction in the artist’s work. Riley brings her exploration of the circle from the wall to the canvas, and from black and white to color. Through the layering of circles of yellow and orange, Riley asks the eye to continuously adjust as the shapes grow and compress, recede and advance, and dance across the canvas. Nine early ‘wave’ gouaches, twisted and curved, show the relationship and interplay of assorted colors. Full-color 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, grays and whites of the 1960s into the use of the curve as a rhythmic vehicle for color.

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BRIDGET RILEY

The Stripe Paintings 1961–2012

Among the many pictorial devices Bridget Riley has deployed over her long career, the use of stripes has recurred the most consistently. Accompanying the exhibition Bridget Riley: The Stripe Paintings 1961–2012 at Galerie Max Hetzler in Berlin, this publication documents key paintings and studies demonstrating how Riley regularly returns to this seemingly simple idea and achieves surprising and complex results. At the center of the book stands a group of new horizontal stripe paintings, which take Riley’s ability to animate the entire visual field to new heights. This unique and focused publication includes full-color illustrations alongside important new texts by John Elderfield and Paul Moorhouse.

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BRIDGET RILEY

Eight Studies 1969–1972

Eight never-before-seen gouache studies from 1969 to 1972 are at the center of this slim title, illustrating Op Art doyenne Bridget Riley’s dynamic approach to color. Part of a comprehensive series on specific periods in the artist’s career, this volume documents the small group of studies that represent a major reconfiguration of her style—the introduction of soaring Technicolor to her previous monochromatic works. The shapes in these gouaches, arranged from a limited selection of colors—namely violet, green and pink, explore the visual relationship between “contrast and harmony”. Accompanied by full-color illustrations, a conversation between the artist and art critic Robert Kudielka from 1972 positions the works within the context of Bridget Riley’s oeuvre.

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BRIDGET RILEY

The Curve Paintings 1961–2014

Over the past 50 years, artist Bridget Riley has returned to the curve motif again and again in her work. Designed to coincide with her current exhibition at De La Warr Pavilion, Bexhill-on-Sea, UK, this slender catalog features over 30 studies and paintings from the exhibition exploring how the artist combined curvilinear shapes with her vibrant color palette throughout her career. From her black-and-white works of the 1960s through her recent wall painting Rajasthan (2012), this is the first major survey of this theme in her work. Riley’s distinctive abstract language was shaped by her study of Paul Cézanne’s and Georges Seurat’s treatment of pictorial space. Accompanying the color illustrations are an introduction by art historian and critic Robert Kudielka, who has written extensively on Riley, and a new interview with the artist by curator Paul Moorhouse offering an in-depth exploration of Riley’s influences and developments.

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BRIDGET RILEY

Studies 1984–95

The latest addition to the publisher’s series on Bridget Riley’s paintings, this compact monograph tracks a transitional period in the artist’s career in the mid-1980s. One of the foremost exponents of Op art, Riley became inspired by the 19th-century colorists Monet, Seurat and Cézanne in the late 1960s and began painting “complex color symphonies” of “interactive color.” The introduction of a new pictorial device—the rhomboid—to her then-predominantly vertical stripes is the subject of this monograph. While exploring the interplaying tones of green, yellow and orange, she gradually moved from vertically striped to increasingly complex diagonal compositions. New visual relationships between divergent colors and forms animate the entire visual field. Illustrated in full color, the works are accompanied by an interview with the artist by German art critic Robert Kudielka. An introductory text by writer Natalia Naish and art historian Alexandra Tommasini situates these studies within Riley’s long and rich career.

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BRIDGET RILEY

Paintings 1963–2015

In this compact survey of Bridget Riley’s career, the dialogue between monochrome and color in the British artist’s work is explored over a span of 50 years through 2015 in essay and image. Accompanying the 2016–17 show at the Scottish National Gallery, the hardcover publication sports an Op Art cover and includes 30 illustrations of the artist’s work and essays by art historians Éric de Chassey and Frances Spalding, as well as a historic interview by art critic Robert Kudielka. Together they contextualize Riley’s early developments and demonstrate how her latest paintings progress directly out of a rigorous engagement with color. 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 be it through rich colors or simple black and white.

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BRIDGET RILEY

Learning from Seurat

The newest edition in the encyclopedic series documenting accomplished British abstract painter Bridget Riley’s exceptional career, Learning from Seurat is a petite but informative publication exploring the early influence of historical artists on her work. Accompanying Riley’s show at the noted Courtauld Gallery, London (2015–16), the catalog focuses on her seminal encounter in 1959 with Georges Seurat’s painting The Bridge at Courbevoie (1886–87). Riley gained a new understanding of color and tone from this painting, which subsequently led to her first major works of pure abstraction in the early 1960s. Alongside full-color illustrations, the publication includes an introductory text by Courtauld curators Karen Serres and Barnaby Wright, an interview with the artist by critic Éric de Chassey, as well as two essays written by Riley that offer her insights on Seurat’s importance to her own practice.

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