Artist's Books / Special Editions





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


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

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


Out of print


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Bridget Riley: The Stripe Paintings 1961–2012
Texts John Elderfield, Paul Moorhouse, biography Robert Kudielka

English / German
24 x 30 cm
86 pages
28 color and 3 b/w illustrations
35.00 Euro


Amongst the many pictorial devices Bridget Riley has deployed over her long career the use of stripes has been recurring consistently. Accompanying the Bridget Riley: The Stripe Paintings 1961–2012 exhibition at Galerie Max Hetzler, 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 centre of the publication stands a group of new horizontal stripe paintings which take Riley’s ability to animate the entire visual field to new heights.


The Stripe Paintings 1961–2013
(excerpt from the essay by Paul Moorhouse)

... From 1980 to 1985, the stripe format dominated Riley’s thinking. This focused body of formal activity was then supplanted by other considerations. It was not until 2009, almost twenty-five years later, that it once again resurfaced. The recent works in the present exhibition follow her renewed involvement with this motif. With Rose Rose 5 (2009), certain developments were immediately clear. A new, warm and highly radiant palette was evident. Employing broad vertical stripes of regular width, the formal architecture was firm. Yet, as a successor painting Lux (2011) made apparent, this structure was anything but rigid. Colour, light, space, depth and mass are building blocks, but these elusive components provide an unexpected, wonderfully transparent tissue of fleeting sensation. Previously supporting her visual argument, chromatic modulation was now at centre-stage, dissolving the picture plane. There is a sense that Riley’s earlier concerns – with bold contrast, the interaction of colours, tonality, movement and the interplay of light and dark – were all being brought together in an astonishing synthesis.

Rose Red (2012) stands at the beginning of the resulting, new phase. With the stripe as the vehicle for this celebratory activity, in Rose Red and other paintings completed since 2012, the format switched to the horizontal. Having previously avoided a landscape connotation, such works accommodate it. That said, the sensuous warmth of Riley’s palette, which includes rose red, purple, bright orange, yellow and magenta, seems more redolent of human life than place. These colours intimate her long-standing admiration for Renoir’s palette. Her chromatic range can also be understood in relation to studies made in 2012 connected with a corridor wall painting contemplated for St Mary’s Hospital in Paddington, London. In those preparatory works, Riley deliberately embraced uplifting colours linked with the human body. However, the expansive scale of the new paintings leads to nature. This feeling is also engendered by a further, surprising reprise of earlier preoccupations. The paintings’ structure now embraces the purely plastic requirements of sensation but also moves beyond that imperative. Accentuating the picture plane with its stresses and intervals, colour generates a perception of light and movement that animates the entire visual field. The result is a constantly changing pageant – a chromatic suffusion – that unfolds before the observer.

Employing a shared palette of warm colours, the recent stripe paintings constitute complex variations on a single, chromatic theme. In Rose Red, Burnished Rose, Rose Gold, Rose Shadow, Rose Rise and Red Overture (all 2012), colour and space are massed differently, with weight, rhythm and density moving around, dissolving and then re-forming. These fugitive structures draw into various clusters and groupings. The greens add stresses and nuances, accentuating particular passages. Certain relationships echo others encountered elsewhere, so that the total ensemble resonates. This dynamic is distinctly musical and yet, conspicuously, it speaks to the eye, pressing and caressing with subtle emphasis. The ‘pleasures of sight’, a principle that has guided Riley’s work throughout its development, are here as surprising as ever. Instability is linked with unpredictability so that, as in nature, a sudden conjunction or intrusion will catch us unawares. In Rose Gold, for example, the chromatic movement proceeds from the top edge through to the base line. Proceeding via modulated passages of related pinks and reds, the eye responds to the insistent, irregular thrusts of blue and green. Few artists have used colour so rhythmically, harnessing visual sensations to visceral responses.

Throughout her development Riley has drawn confirmation from one of the last entries in Delacroix’s diary in which he observed that ‘the first merit of a painting is to be a feast for the eyes’. Her recent stripe paintings are a striking reaffirmation of that principle, exhilarating and entrancing in equal measure. These expansive horizontal arrangements do not depict. But, fed by memory and imagination, they are movingly redolent of things seen and savoured – vast skies, the dying of the light, distant horizons and new dawns. The latest works are none of these phenomena, and yet – plastic and metaphorical – they recall the surrounding world. Echoing nature, art provides a site for contemplation that seems invested with the mysterious, affirmative quality of life.



In collaboration with Galerie Max Hetzler, Berlin, and Ridinghouse, London