Inge Mahn, Bridget Riley et al.
NOTHINGTOSEENESS - Void/White/Silence (group show)
Akademie der Künste, Berlin
15 September – 12 December 2021
The broad spectrum of meaning of the colour white, of void and silence in the visual arts, and the associated difference between materiality and immateriality, is at the focus of the exhibition and event project featuring international artists in the Akademie der Künste at Hanseatenweg. The aim is to explore artistic/aesthetic practices from the 1950s/60s until the present day that have brought about critical and process-based artistic positioning at international level in selected circles. The focus is on the “question of seeing (...), the visual non-slipping” (John Cage, 1961). In addition to colour, material, void, and silence, the exhibition and the accompanying programme will reference themes of keeping silent and narration in literature, performance, music and architecture. Works by Inge Mahn and Bridget Riley are included.
Akademie der Künste
Working Drawings (publication)
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.
Get your copy here.
Bridget Riley et al.
Light: Works from Tate’s Collection (group show)
Museum of Art Pudong, Shanghai
8 July – 14 November 2021
The Museum of Art Pudong is delighted to announce that it will present the exhibition Light as part of its inauguration in Shanghai. This major exhibition will comprise more than 100 works from Tate, which holds the United Kingdom’s national collection of British art from 1500 to the present day and international modern and contemporary art.
Light explores how artists have, in every conceivable media, exploited the contrasts between light and dark found in nature and the built environment, opposed cool and warm colours, drawn on science and plumbed the depths of their imaginations in attempts to capture the transient effects and harness the emotional associations of light.
The exhibition begins with Tate’s historic British holdings and traces the theme of light across the breadth of the international collection. Light will feature some of the most renowned works in Tate’s collection, including John Constable’s Salisbury Cathedral from the Meadows (1831); JMW Turner’s pair of paintings Light and Colour (Goethe's Theory) (1843) and Shade and Darkness (1843); John Martin’s The Destruction of Pompeii and Herculaneum (1822), William Holman Hunt’s The Awakening Conscience (1853); Claude Monet’s The Seine at Port-Villez (1894) and Wassily Kandinsky’s Swinging (1925). Contemporary interventions by artists such as Dan Flavin, James Turrell, Anish Kapoor, Tacita Dean, Olafur Eliasson, Bridget Riley and Yayoi Kusama among others, feature within the exhibition’s broadly chronological narrative, demonstrating how an interest in the qualities of light connects great artists from across the centuries and around the world.
Museum of Art Pudong
Yale Center for British Art, New Haven (solo show)
3 March – 24 July 2022
Conceived by Bridget Riley, this exhibition is the first survey of works by Riley in the United States in over two decades. The display includes art dating from her earliest paintings to more recent objects and explores her formal interest in stripes, curves, light, and tonality. Riley also sees this exhibition as a kind of visual dialogue with the Center’s building, designed by Louis I. Kahn. Her geometric references resonate with Kahn’s grid and structural features.
Yale Center for British Art
Bridget Riley et al.
Barbara Hepworth: Art & Life (group show)
The Hepworth Wakefield, Wakefield
21 May 2021 – 27 February 2022
In summer 2021, to mark The Hepworth Wakefield’s 10th anniversary, the gallery will organise the largest exhibition of Barbara Hepworth’s work since the artist’s death in 1975.
The exhibition will present an in-depth view of the Wakefield-born artist’s life, interests, work and legacy. It will display some of Hepworth’s most celebrated sculptures including the modern abstract carving that launched her career in the 1920s and 1930s, her iconic strung sculptures of the 1940s and 1950s, and large-scale bronze and carved sculptures from later in her career. Key loans from national public collections will be shown alongside works from private collections that have not been on public display since the 1970s, and rarely seen drawings, paintings and fabric designs. It will reveal how Hepworth’s wide sphere of interests comprising music, dance, science, space exploration, politics and religion, as well as events in her personal life, influenced her work.
Contemporary artists Tacita Dean and Veronica Ryan have been commissioned to create new works which will be presented within the exhibition. Each artist will explore themes and ideas that interested Hepworth and that continue to resonate with their own work. Art works by Bridget Riley from the 1960s will also be presented in dialogue with Hepworth’s work from the same period.
The Hepworth Wakefield
Stand und Verfassung
A project by Inge Mahn and Vlado Velkov
A Christmas tree is also affected by the lockdown in Brandenburg. It is located on Lake Wolziger near Funkenmühle and will remain there for the foreseeable future. This socially distant Christmas tree by Inge Mahn and Vlado Velkov floats, lonely, on a raft on top of cold water. Without family and friends, he turns on his axis again and again and dances with his reflection. For the small community on the shore that helped with the production, the tree evolved into a social project that brings people back together, brings joy and instills hope. The work, titled Stand und Verfassung (Status and Constitution), is on view until the end of the lockdown, from the shore in Funkenmühle.
Watch the video here.
Intervals 1, 2019
recently acquired by the National Gallery of Ireland
We are pleased to announce that Bridget Riley's Intervals 1, 2019, is now part of the collection of the National Gallery of Ireland.
National Gallery of Ireland
Messengers (wall painting)
The National Gallery, London
From 17 January 2019
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