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Bridget Riley's seminal paintings from the 1960s are landmark works esteemed by repute but not often seen. This exhibition brings together these historic works with others from the later 1960s and 1970s to chart the early career of this highly influential but too-little-known artist. In addition, Riley has executed a new site-specific wall drawing for Dia's fourth-floor galleries
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| Checklist of Works |
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1. Samarra, 1984
oil on linen
80 x 68 inches
Private collection, London
2. Song of Orpheus 5, 1978
acrylic on linen
77 x 1021/4 inches
Courtesy Pace Wildenstein, New York
3. Après Midi, 1981
oil on linen
91 x 773/4 inches
Private collection, London
4. Andante 1, 1980
acrylic on linen
72 x 661/2 inches
Private collection, London
5. Paean, 1973
acrylic on canvas
114 x 113 inches
Collection of National Museum of Modern Art, Tokyo
6. Entice 2, 1974
acrylic on linen
61 x 54 inches
Collection of Camille Oliver-Hoffmann, Chicago
7. Orient 4, 1970
acrylic on canvas
88 x 127 inches
Berardo Collection, Sintra Museum of Modern Art, Lisbon
8. Cataract 3, 1967
PVA on canvas
881/2 x 871/2 inches
Collection of The British Council, London
9. Movement in Squares, 1961
tempera on board
48 x 471/2 inches
Collection of The Arts Council, Hayward Gallery, London
10. White Disks, 1964
emulsion on board
41 x 39 inches
Private collection, London
11. Crest, 1964
emulsion on board
651/2 x 651/2 inches (diagonal)
Collection of The British Council, London
12. Disturbance, 1964
emulsion on canvas
68 x 68 inches
Courtesy Robert Sandelson Gallery, London
13. Pause, 1964
emulsion on board
451/2 x 453/4 inches
Private collection, London
14. Composition with Circles 2, 2000
graphite, acrylic paint, and permanent marker on plaster wall
133/4 x 491/2 feet
15. Breathe, 1966
emulsion on canvas
117 x 82 inches
Collection of Boijmans van Beuningen Museum, Rotterdam
16. Veld, 1971
acrylic on linen
751/2 x 1541/2 inches
Collection of National Gallery of Australia, Canberra
17. Arrest 2, 1965
acrylic on linen
761/2 x 75 inches
Courtesy Pace Wildenstein, New York
18. Deny II, 1967
emulsion on canvas
851/2 x 851/2 inches
Collection of Tate Gallery, London
19. Static 2, 1966
emulsion on canvas
90 x 90 inches
Courtesy Pace Wildenstein, New York
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| Selected Bibliography |
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The Eye’s Mind: Bridget Riley. Collected Writings 1965–1999 (London: Thames & Hudson, Serpentine Gallery and De Montfort University, 1999). Includes conversations with Alex Farquharson, Mel Gooding, Vanya Kewley, Robert Kudielka, and David Thompson. Edited by Robert Kudielka.
Bridget Riley: Paintings from the 60s and 70s (London: Serpentine Gallery, 1999). With texts by Lisa Corrin, Robert Kudielka, and Frances Spalding.
Bridget Riley: Selected Paintings 1961–1999 (Düsseldorf: Kunstverein für die Rheinlande und Westfalen; Ostfildern: Cantz Publishers, 1999). With texts by Michael Krajewski, Robert Kudielka, Bridget Riley, Raimund Stecker, and conversations with Ernst H. Gombrich and Michael Craig-Martin.
Bridget Riley: Works 1961–1998 (Kendal, Cumbria: Abbot Hall Art Gallery and Museum, 1998). A conversation with Isabel Carlisle.
Bridget Riley: Dialogues on Art (London: Zwemmer, 1995). Conversations with Michael Craig-Martin, Andrew Graham Dixon, Ernst H. Gombrich, Neil MacGregor, and Bryan Robertson. Edited by Robert Kudielka and with an introduction by Richard Shone.
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| Biography |
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Bridget Riley was born in 1931 in London, where she currently lives and works. Educated first at Goldsmiths (1949–52), then at the Royal College of Art in London (1952–55), Riley has exhibited widely since her first solo show in 1962. Among numerous group exhibitions, she was included in the 1968 Venice Biennial (where she won the International Prize for painting) and the Venice Biennial in 1986, Documenta IV (1968) and Documenta VI (1977). After traveling retrospective tours in 1970–71, 1978–80, a major retrospective show of Riley’s work was installed most recently at the Tate Britain, London (2003). Bridget Riley: Reconnaissance, an exhibition of paintings from the 1960s and 1970s, was presented at Dia:Chelsea in 2000.
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| Funding |
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Funding for this exhibition has been provided by the Lannan Foundation, The British Art Council, and the members of the Dia Art Council.
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