Bridget Riley et al.

KONKRET! Hommage an Ulrich Schumacher (group show)
Emil Schumacher Museum, Hagen
21 November 2021 – 13 March 2022

Installation view: Emil Schumacher Museum, Hagen, 2021
Installation view: Emil Schumacher Museum, Hagen, 2021

Bridget Riley’s Stream of Change, 1987, is included in the group exhibition KONKRET! Hommage an Ulrich Schumacher, on view at the Emil Schumacher Museum in Hagen, until 13 March 2022.

As a homage to Dr. Ulrich Schumacher, the late art historian and former director of the Emil Schumacher museum, this exhibition presents selected works from the institution’s collection. Spanning from 1923 to 2003, the works provide an insight into the Concrete Art of the twentieth century as well as Schumacher’s curatorial biography.

Emil Schumacher Museum


Bridget Riley

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.

Inge Mahn, Bridget Riley et al.

NOTHINGTOSEENESS - Void/White/Silence (group show)
Akademie der Künste, Berlin
15 September – 12 December 2021

Image: Inge Mahn, Stuhlkreis, 2000, photo: def image
Image: Inge Mahn, Stuhlkreis, 2000, photo: def image

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

Bridget Riley

Perceptual Abstraction (solo show)
Yale Center for British Art, New Haven
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

Installation view: The Hepworth Wakefield, 2021, photo: Lewis Ronald (Plastiques)
Installation view: The Hepworth Wakefield, 2021, photo: Lewis Ronald (Plastiques)

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

Bridget Riley, Thomas Struth et al.

Oil: Beauty and Horror In The Petrol Age (group show)
Kunstmuseum Wolfsburg, Wolfsburg
4 September 2021 – 9 January 2022

No other substance has shaped societies in the twentieth and early twenty-first centuries as much as petroleum. Airplanes, tanks, and spacecraft, motorways, shopping malls and suburban settlements, nylon stockings, mountains of plastic, and vinyl – key materials and technologies, lifestyles and visions of our time owe their existence to the energy density and transformability of oil. Now, however, the dusk of the “petrol age” is looming, whereby neither can its end be precisely dated, nor its consequences adequately assessed. The exhibition Oil. Beauty and Horror in the Petrol Age therefore takes a speculative, poetic look back at the presence of the modern age of petroleum, which has lasted for roughly one hundred years. From the distance of a hypothetical future, we ask what was typical of our time, what was great and beautiful, what was ugly and terrible, and how all this is reflected in art and culture.

Fundamental here is the observation of a deep conflict: In the oil boom of the 1950s and 1960s, gasoline and kerosene, plastic, asphalt, and synthetic fibers stood for the futuristic promises of boundless mobility, individual freedom, and unrestricted transformability. Today, they are associated with global battles over resources, mountains of waste, and global warming, as well as sea and air pollution.

The exhibition focuses on all this from a fictitious archaeological distance and at the same time seeks a thematic and emotional proximity: Beyond entrenched ideology, it confronts works of art with natural science and technology, politics and everyday life, with knowledge, practices, and apparatus from chemistry, drilling, and geology, from daily working life and pop culture, from industry and cultural theory. Well-known and lesser-known works of art from the canon of Western modernism, as well as from oil-producing regions around the globe, are reappraised in the black mirror of oil and placed in relation to current artistic positions.

The exhibition focuses on the decades between the end of the Second World War and today. The cultural, technical, and geological constellations presented range, however, from the Middle Ages and antiquity to the early history of culture and life, while at the same time anticipating developments that may extend hundreds or even thousands of years into the future.

In this way, the exhibition presents the world’s first retrospective of the global modern age of petroleum.

Kunstmuseum Wolfsburg

Bridget Riley

Intervals 1, 2019
recently acquired by the National Gallery of Ireland

Installation view: Bridget Riley, Galerie Max Hetzler, Berlin, September – October 2020, photo: def image, work © Bridget Riley 2020. All rights reserved
Installation view: Bridget Riley, Galerie Max Hetzler, Berlin, September – October 2020, photo: def image, work © Bridget Riley 2020. All rights reserved

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

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