We are delighted to announce that Sean Scully has been named an Officier de l’Ordre des Arts et des Lettres, one of France’s highest cultural honours. The award was personally presented by Catherine Pégard, France's Minister of Culture.

Sean Scully’s work is the subject of Lines of Emotion, a solo exhibition at Kunstmuseum Magdeburg. Staged within the monastic architecture of the museum’s four cloisters, the exhibition presents important bodies of the artist’s work from the past three decades, including large-scale ‘Doric’ and ‘Wall of Light’ paintings alongside Scully’s figurative ‘Eleuthera’ series, which is deeply rooted in German Expressionism.

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Bridget Riley’s works are the subject of a solo exhibition at Dia Beacon. Drawn in part from Dia’s collection, the exhibition showcases a selection of Riley’s earliest black-and-white paintings, created between 1961 and 1964, before the artist introduced colour to her work. 

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A major recent painting by Bridget Riley, Concerto I, 2024, has been gifted by the artist to Tate’s permanent collection. The work will be on view in a spotlight display at Tate Britain, until 15 November 2026. 

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Published on the occasion of the solo exhibition Wall Works 1983–2023, at Galerie Max Hetzler, Berlin from 9 June – 19 August 2023. Alongside texts by Michael Bracewell, Éric de Chassey, Robert Kudielka and Bridget Riley, this catalogue also contains two interviews with the artist, conducted by Sir John Leighton and Douglas Stephen.

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We are delighted to announce Bridget Riley’s monumental work, Ascent (Wall Painting), 2023, is now part of the Centre Pompidou Collection. This is the first work from Riley’s ‘Wall Painting’ series to be acquired by the museum, and the only version designed by the artist to unfold in a vertical format. With its quintessential pattern of dots, the work refers directly to the origins of Riley’s practice, as well as to her career-long dialogue with the palette and pointillism of Georges Seurat.

Published in conjunction with the artist’s first solo exhibition at Galerie Max Hetzler, Berlin: Dark Yet, 19 April – 1 June 2024.

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Bridget Riley’s [Detail of] Bolt of Colour (Wall Painting) [Marfa], 2017, has been acquired by the Kunstsammlung Nordrhein-Westfalen and is now on view in a new presentation of the museum’s collection. Inspired by the radiant light of the desert and colour schemes used in ancient Egypt, the wall painting was originally part of a large work installed at the Chinati Foundation.

Bridget Riley’s first ceiling painting, Verve, 2023, was unveiled on 4 May 2023 at the British School at Rome. Covering four barrel vaults of the ceiling in the artist’s ‘Egyptian palette’, the large-scale work appears in the foyer of the BSR. Since 2016, Riley has endowed the Bridget Riley Fellowship, which provides an opportunity for a young painter to spend six months developing their work at the school. 

British School at Rome

Published on the occasion of Bridget Riley’s solo exhibition at the Art Institute Chicago, Bridget Riley Drawings: From the Artist Studio explores the importance of Riley’s works on paper as means of visual experimentation and works of art in their own right, illustrating the story of a career underpinned by drawing. 

The illustrated catalogue, by Modern Art Press, is available to preorder and will be published on 11 October 2022.

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Thames & Hudson has published Bridget Riley: Working Drawings, the first-ever book dedicated to the celebrated British artist’s working drawings. This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburg and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction.

The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.

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We are pleased to announce that Bridget Riley's Intervals 1, 2019, is now part of the collection of the National Gallery of Ireland. 

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