“I am sometimes asked ‘What is your objective’ and this I
cannot truthfully answer. I work ‘from’ something rather than
‘towards’ something. It is a process of discovery.” Since
1961, Riley has focused exclusively on seemingly simple geometric
forms, such as lines, circles, curves, and squares, arrayed across
a surface—whether a canvas, wall, or paper—according to an
internal logic. The resulting compositions actively engage the
viewer, at times triggering sensations of vibration and movement.
In the present selection, Riley advances her Measure by Measure
series, her most extensive body of work to date, into a new, darker
color palette. Once again, changing the way we look and offering a
powerful effect on our eyes. This sense of dynamism was explored to
great effect in the artist’s earliest black-and-white paintings,
which established the basis of her enduring formal vocabulary. In
2020, after visiting her own earlier works at her retrospective
exhibition organized by the National Galleries of Scotland, Riley
returned to black-and-white lozenges, adjusting the orientation of
each shape to create a new visual sensation. In 1967, Riley
introduced colour into her work, thus expanding the perceptual and
optical possibilities of her compositions. Published on the
occasion of the 2021 exhibition at David Zwirner, London, this
monograph features new scholarship on the artist by art historian
Éric de Chassey, who looks at how Riley’s past, as well as
previous artists, has led to this body of work.
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