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 Eugene 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.
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