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Bridget Riley

Playing with Masterpieces: from Henri Matisse to Marina Abramovic (group show)
Jewish Museum and Tolerance Center, Moscow
14 February - 12 May 2019

Bridget Riley, Painting with verticals 2, 2006 © Bridget Riley
Bridget Riley, Painting with verticals 2, 2006 © Bridget Riley

Jewish Museum and Tolerance Center presents an exhibition Playing with Masterpieces: from Henri Matisse to Marina Abramovic. The exhibition will demonstrate modern and contemporary art masterpieces from cubism to video art. Following foreign and Russian artists will be at the centre of the display: Kazimir Malevich and Francis Bacon, Roy Lichtenstein and Victor Pivovarov, Natalia Goncharova and Marina Abramović, Alberto Giacometti and Bridget Riley, Anselm Kiefer and Niko Pirosmani.

Playing with Masterpieces is mainly designed for a family visit. The display works as an amusement park where visitors need to climb a staircase, to pass under something, to ride down the slide or to open a cupboard in order to see a work of art so that both children and adults can perceive contemporary art masterpieces beyond styles and conceptions. The exhibition will include selected works of the XX and XXI century such as masterpieces by Kazimir Malevich (Three Figures in a Field), Francis Bacon (Study for head of George Dyer), Roy Lichtenstein (Portrait), Vladimir Yakovlev (Cat Catching a Bird), Viktor Pivovarov (For Pasha, For Vika), Natalia Goncharova (Bathing Girls), Anselm Kiefer (For Adalbert Stifter) as well as works by Wassily Kandinsky, Niko Pirosmani, Marina Abramovic, Pablo Picasso, Henri Matisse and others prominent artists. Visitors will enjoy more than 30 art works in different genres: painting, photography, installation or experimental animation.

Adults often feel lost at the contemporary art exhibitions because they think that it is necessary to know names or to have special knowledge in order to understand unfamiliar forms of art. On the other hand, children feel neglected because they simply cannot see paintings displayed too high on the wall. The exhibition "Playing with Masterpieces" presents art at children’s eye level while objects and annotations help them to see museum as an entertaining and child-friendly space. As for adults, they can explore contemporary art without fear of being lost.

Masterpieces of various styles and periods mold into a statement of its own which aims to point out a universal nature of art, to enter into a dialogue with it and to let emotions prevail over reason. 

Jewish Museum and Tolerance Center, Moscow


Additional:

Bridget Riley

Vertigo. Op Art and a History of Deception 1520–1970 (group show)
Kunstmuseum Stuttgart
23 November 2019 – 19 April 2020

Bridget Riley, Hesitate, 1964 © Tate, London/Bildrecht Wien/ Bridget Riley, 2019
Bridget Riley, Hesitate, 1964 © Tate, London/Bildrecht Wien/ Bridget Riley, 2019

Of all the art movements of the 1950s and 1960s, op art has hitherto received the least attention. Often it is denigrated as being too spectacular and superficial. This is a misconception—this art sharpens our awareness of the ambiguity of appearances and illustrates the impossibility of grasping “reality.” Under the title Vertigo, mumok presents a deceptive game of the senses, presenting a wide spectrum ranging from panel paintings, reliefs, and objects to installations and experiential spaces, to film and computer-generated art.
Op art works are by no means only directed at our sense of sight. With their powerful effects and optical illusions they lead to experiences of sensory overkill, which can then affect the whole body. In all of this, op art remains indebted to the anti-classical. In this sense, the exhibition also includes references to anti-classical art from the sixteenth to the eighteenth centuries and to precursors from the first half of the twentieth century, works that also use pulsating patterns, beating and ephemeral after-images, paradoxical illusions of space, and other methods of optical illusions

This exhibition was initiated by mumok, where it is on show until 26 October 2019, and is implemented in cooperation with Kunstmuseum Stuttgart. Vertigo. Op Art and a History of Deception 1520–1970 is generously supported by the Art Mentor Foundation Lucerne.

Curated by Eva Badura-Triska and Markus Wörgötter.

Kunstmuseum Stuttgart


Bridget Riley

Bridget Riley (solo show)
The Hayward Gallery, London
23 October 2019 - 26 January 2020

Bridget Riley, Continuum, 1963/2005 © Bridget Riley 2018. All rights reserved
Bridget Riley, Continuum, 1963/2005 © Bridget Riley 2018. All rights reserved

In October 2019, Hayward Gallery will host a major retrospective exhibition devoted to the work of celebrated British artist Bridget Riley.

Organised by the National Galleries of Scotland in partnership with Hayward Gallery and in close collaboration with the artist, this comprehensive exhibition will be the first large-scale survey of Riley’s work to be held in the UK for 16 years.

The exhibition will look closely at the origins of Riley’s perceptual paintings and will trace pivotal, decisive moments in her acclaimed career.

It will feature the artist’s iconic black-and-white paintings of the 1960s, early representational paintings, expansive canvases in colour and recent wall paintings, as well as studies and preparatory material.

Alongside her best known canvases, the exhibition will also include the only three-dimensional work that the artist ever realised, Continuum (1963), as well as new wall paintings made specially for Hayward Gallery.

Spanning 70 years of Riley’s work, the exhibition will offer visitors an unparalleled opportunity to experience powerful and engaging works by one of the most important artists of our time. 

The Hayward Gallery, London


Bridget Riley

Prints 1962 - 2019 (solo show)
Museum im Kulturspeicher, Würzburg
17 August - 13 October 2019

Bridget Riley, Red Red Blue, 2010 © Bridget Riley
Bridget Riley, Red Red Blue, 2010 © Bridget Riley

The subjects and content of the temporary exhibitions of the museum in the Kulturspeicher often refer to the two collections of the museum. The "Bridget Riley" project is linked to the "Sammlung Peter C. Ruppert. Konkrete Kunst in Europa nach 1945", in which two paintings by the fascinating British artist are presented. Bridget Riley, born in London in 1931, spent part of her childhood in Cornwall. This laid the foundation for her close connection to nature, although her art does not depict anything. Observations of natural phenomena continue to inspire her today in a free sense. Trained in the impressionist painting of Georges Seurat, she soon concentrated on color in the picture without assigning it a descriptive function. Rather, she still uses it today as a structure that creates oscillation and vibration effects on the surface.

The exhibition gathers screen prints from the early years from 1962 onwards in black and white, the greatest possible contrast as a "surrogate for color" (Bridget Riley), as well as above all numerous brilliant color prints from the 1970s to the present day and thus encompasses works from more than half a century. In picture series and individual sheets, the prints show what makes Bridget Riley's art so special: to present color and light while teaching the viewer the pleasure of seeing.

A total of 80 screen prints from the artist's London studio can be seen. The two paintings from the Ruppert Collection, which is housed in the museum's Kulturspeicher, are also integrated into the exhibition. It was curated by art historian Susanne A. Kudielka, who, like her brother Robert Kudielka, has accompanied Bridget Riley's work for many years.

Museum im Kulturspeicher, Würzburg


Bridget Riley

Bridget Riley (solo show)
Scottish National Gallery, Edinburgh
15 June - 22 September 2019

Installation view: Bridget Riley, Royal Scottish Academy, June 2019, National Galleries of Scotland. Photography © National Galleries of Scotland. All artworks © Bridget Riley 2019. All rights reserved.
Installation view: Bridget Riley, Royal Scottish Academy, June 2019, National Galleries of Scotland. Photography © National Galleries of Scotland. All artworks © Bridget Riley 2019. All rights reserved.

For more than 60 years, Bridget Riley has created dazzling and compelling abstract paintings which explore the fundamental nature of perception. Through her observations of the natural world, her experience of looking at the work of other artists, and through her own experimentation, Riley has made a deep, personal investigation of the act of painting, and of how we see. She is one of the most distinguished and world-renowned artists working today.

This comprehensive exhibition, which takes over both floors of the Royal Scottish Academy, will be the first museum survey of Riley’s work to be held in the UK for 16 years, and the first of its kind in Scotland. Spanning over 70 years of work, it will place particular emphasis on the origins of Riley’s practice and will trace pivotal moments across her acclaimed career. It will feature early paintings and drawings, iconic black-and-white works of the 1960s, Riley’s expansive explorations into colour, wall paintings and recent works, as well as studies that reveal Riley’s working methods.

National Galleries of Scotland, Edinburgh


Bridget Riley

Vertigo. Op Art and a History of Deception 1520 - 1970 (group show)
mumok, Vienna
25 May - 20 October 2019

Bridget Riley, Hesitate, 1964 © Tate, London/Bildrecht Wien/ Bridget Riley, 2019
Bridget Riley, Hesitate, 1964 © Tate, London/Bildrecht Wien/ Bridget Riley, 2019

Of all the pioneering art movements of the 1960s, Op art and kinetic art seem to have been accorded the least recognition. Often they were depreciatingly seen as too spectacular and thus superficial. Wrongly so, since Op art and kinetic art sharpen our awareness of the ambiguous nature of reality. They quite literally show us that perception is not objective but dependent on volatile parameters relating to context and to the beholder, with all the epistemological consequences that this has.

The exhibition Vertigo. Op Art and a History of Deception 1520 - 1970 presents a puzzling world of sensory illusion, comprising a broad spectrum of works including paintings, reliefs, and objects, installations and experiential spaces, and film and computer generated art.

mumok, Vienna


Bridget Riley

Messengers (wall painting)
The National Gallery, London
From 17 January 2019

Bridget Riley with Messengers by Bridget Riley, Annenberg Court, The National Gallery © 2019 Bridget Riley. All rights reserved / Photo: The National Gallery, London
Bridget Riley with Messengers by Bridget Riley, Annenberg Court, The National Gallery © 2019 Bridget Riley. All rights reserved / Photo: The National Gallery, London

See Messengers, a new large-scale wall painting by Bridget Riley: one of the most important artists of her generation.

The title, Messengers, is inspired by a phrase Constable used when referring to clouds, and might also be an allusion to the numerous angels, bearers of news, that we see in the skies of so many National Gallery pictures.

Painted directly onto the wall of the Annenberg Court and spanning a vast 10 x 20 metres, the abstract work, comprised of coloured discs, carries influences from our historic collection over into the 21st century. Throughout art history, harmonies of colour have played a large part in pictorial composition.Taking as a point of departure the paintings of George Seurat, in particular Bathers at Asnières, Bridget Riley’s 'Messengers' transforms the Annenberg Court into a great white space in which coloured discs float as clouds drift in the lanes of the sky. By leaving after-images on the viewer's retina that suggest volume and movement the longer it is perceived, the work becomes a tribute to its artistic predecessors and to the process of looking at art itself.

Bridget Riley (born 1931) has a long-standing relationship with the Gallery; she made copies of paintings in the collection including Jan van Eyck’s Portrait of a Man (Self Portrait?), 1433, as a teenager as part of her portfolio when applying to Goldsmiths College, London, just after the end of the Second World War, and Georges Seurat's Bathers at Asnières while training as an artist.

In 1989 Riley was invited to select that year’s Artist’s Eye exhibition and between 2010 and 2011 the Gallery held her acclaimed exhibition Bridget Riley: Paintings and Related Work.

The National Gallery, London


Bridget Riley

Bridget Riley (solo show)
The Chinati Foundation, Marfa
6 October 2017 - 2019

Bridget Riley, Royal Liverpool University Hospital, 1983, as wall painting, Bolt of Colour, 2017. Courtesy Chinati Foundation, Marfa, Texas. ©Bridget Riley. All rights reserved. Photo: Alex Marks
Bridget Riley, Royal Liverpool University Hospital, 1983, as wall painting, Bolt of Colour, 2017. Courtesy Chinati Foundation, Marfa, Texas. ©Bridget Riley. All rights reserved. Photo: Alex Marks

In October 2017 the Chinati Foundation will inaugurate a large new multicolored wall painting by Bridget Riley. The artwork has been conceived specifically for the museum’s special exhibition building and will encompass the entire U-shaped enclosure. The work will debut during Chinati Weekend, October 6 through 8, and remain on view through 2019.

For more than fifty years Bridget Riley has pursued a rigorous, open-ended, and self-renewing inquiry into the constituent elements of abstract painting. She established her reputation in the early and mid-1960s with visually dizzying black-and-white works and then, through a slow step-by-step process later that decade, began to explore the properties of color. Throughout her career, Riley has developed paintings through the accumulation and distribution of particular forms—vertical and horizontal stripes, circles, triangles, and rhomboids, curving bands—that move rhythmically across the surface of a painting. The works create luminous visual fields that are difficult to take in all at once and that seem to shimmer, blink, and glow in an indeterminate space between the viewer and the actual surface of the painting. Over the course of her career, Riley’s explorations of the possibilities of a given template of shapes and colors have prompted further investigations, and she often returns to forms she has used earlier in order to test them in new contexts.

Riley’s first wall painting was made in response to a 1979 invitation from the Royal Liverpool Hospital to conceive a work for its walls. Riley devised a visual scheme featuring horizontal ribbons of color, running the lengths of the hospital corridors. The palette, like that of her paintings at the time, was inspired by a 1980 trip to the pyramids and tomb paintings of ancient Egypt. Of this color scheme Riley later wrote: “The Ancient Egyptians had a fixed palette. They used the same colors—turquoise, blue, red, yellow, green, black and white—for over 3,000 years….In each and every usage these colors appeared different but at the same time they united the appearance of the entire culture. Perhaps even more important, the precise shades of these colors had evolved under a brilliant North African light and consequently they seemed to embody the light and even reflect it back from the walls.”

Riley completed the design for the Royal Liverpool Hospital in 1983. In the years since, she has made many more wall paintings, including a work for two floors of St. Mary’s Hospital in London in 1987, with a third floor completed in 2014. In addition to these commissions, Riley has made wall drawings for numerous museum and gallery exhibitions and collections in the U.S., the U.K., and Europe.

Riley’s wall painting for Chinati will be the artist’s largest work to date and span six of the eight walls of the building. As referenced in the work’s title, Wall Painting, Royal Liverpool Hospital 1983–2017, the mural revisits Riley’s Egyptian palette and establishes a continuity between the design for the Royal Liverpool Hospital and the new work for Chinati. It is inspired in part by similarities in size and spatial orientation in the sites of each project and affinities between the brilliant light and palette the artist witnessed in Egypt and the high desert landscape in which the Chinati Foundation is situated.

Riley draws inspiration from nature—not as a subject to be depicted but as a play of perceptions and sensations. She has written: “For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance. These forces can only be tackled by treating color and form as ultimate identities, freeing them from all descriptive or functional roles.” Riley’s paintings make plain how they were made yet induce optical effects that supersede their physical qualities, demonstrating a rapport with works in Chinati’s permanent collection by artists of her generation such as Donald Judd, Dan Flavin, and Robert Irwin. Her wall painting for Chinati will merge art and architecture and release the potentiality of color in harmony with many of the works in the museum’s collection.

The Chinati Foundation, Marfa