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Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge

Marepe

Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Measure for Measure. New Disc Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

Scully, Sean: Dark Yet

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei

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Bridget Riley: Circles and Discs
Texts Robert Kudielka, Angela Lammert


English / German
Brochure, stapled
24 x 30.5 cm
36 pages
30 color illustrations
978-3-947127-50-4
15.00 Euro


 

This catalog presents studies and preparatory works for larger paintings that provide a special insight into Bridget Riley’s artistic workshop. She methodically develops the dynamic potential of her motifs in order to give expression to the natural movement of vision. First works are from 1961, when Riley had just found her special form of abstraction: black and white, geometric, inspired by questions of optical perception. Later, she returned to circles and discs time and again, exploring a wide range of approaches, such as the use of post-impressionistic color from 1970 on, and rhythmical compositions in muted shades of green, purple, and orange during the latest decade. Due to the smaller format, the sketches have greater intimacy and openness, combining strict form with a musical sense of color.

 

ABOUT LOOKING: THE MEANING OF STUDIES AND SCALE
(excerpt from the essay by Angela Lammert)


Making preliminary studies for pictures seems to have become a rarity in contemporary painting. For Riley, they are imperative: a research process that simultaneously serves as a “visual bank.” In contrast to the paintings, which have to do with the whole, in the studies the artist focusses on particular aspects, as needed for the painting in preparation. Very different means, materials and formats are used in making the paintings: paper and pencil, paper and gouache, Ripolin paint and polyester fabric, large-scale cartoons, written notations—to mention just a few. She uses a variety of papers including graph and tracing paper, wax and felt-tip pens, oils, acrylics, pastels, crayons and pencils of many kinds including black Conté pencils. In her studies for the Measure for Measure paintings which are on canvas, Riley uses acrylic paint on polyester fabric. This enables her to work on an intimate small scale which allows her to simultaneously see the whole surface whilst focusing on details . . .


Enlarging the image invariably means reconfiguring the scale and adjusting the separate components. As Riley puts it, “Maybe scale could be compared to a key in music.” In the work that goes into creating different formats of a motif, what is striking is the haptic effect of different painted papers. When the image is viewed from a distance, individual color values take on an incorporeal radiance that hangs between stability and movement, light and color. Reducing the tonal contrast can intensify the effect of color. The color saturation and tonal values should be in the right relationship, not just the play of colors. What Riley is interested in is not focused seeing, but rather an “enactment of seeing.” Her work invites us to see with precision, to perceive the sometime shimmering instability of color and to shift our position in front of the image: moving from left to right, adopting a closer view or looking from a distance.

 

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In collaboration with Akademie der Künste Berlin