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Bridget RileyBridget Riley Book: Reconnaissance (hand signed and inscribed by Bridget Riley)2001
2001
$880
£672.81
€774.94
CA$1,233.15
A$1,376.70
CHF 721.37
MX$16,852.11
NOK 9,161.38
SEK 8,638.02
DKK 5,783.44
About the Item
Bridget Riley: Reconnaissance (hand signed and inscribed by Bridget Riley), 2001
Hardback monograph (book) with no dust jacket as issued (hand signed and inscribed)
Hand signed and inscribed to Alan on the title page
9 1/2 × 8 1/2 × 1 inches
This hardback monograph with thick illustrated boards, and no dust jacket as issued, is hand signed and inscribed to Alan. This book is a true collectors item when hand signed by Bridget Riley, as is the present one.
Makes a memorable gift.
Book information:
Publisher: Dia Center for the Arts (January 15, 2001)
English; Hardcover; 112 pages with color and black and white illustrations
Publisher's blurb:
This book documents Bridget Riley's 2001 exhibition at New York's Dia Center for the Arts, Reconnaissance, which brings together seminal paintings from the early 1960s, landmark works esteemed via word-of-mouth but not often seen. These works are shown together with others from the later 60s and 70s to chart the early career of this highly influential but--especially in the US--all-too-little-known artist. Riley's dynamically abstract paintings from the 1960s and 1970s long ago secured her a permanent place in the history of postwar art. Despite this widespread acclaim, Riley's work has been exhibited in the US only on a few occasions. In Reconnaissance, the artist's first solo exhibition to originate in the US in decades, the public will be able to examine a selection from Riley's compelling body of early work. Additionally, Riley has executed a wall drawing for Dia's galleries, which is documented.
About Bridget Riley:
Bridget Riley's (b. 1931) abstract compositions yield a singular sense of visual pleasure for the viewer, a notion derived as much from the artist's formative encounters with Old Master and Impressionist painting as from her early experiences with nature. Since 1961, she has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface—whether a canvas, a wall, or paper—according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 1967, Riley introduced color into her work, thus expanding the perceptual and optical possibilities of her compositions.
Riley was born in 1931 in London, where she attended Goldsmiths College from 1949 to 1952 and the Royal College of Art from 1952 to 1955.
Riley’s first solo exhibitions were held at Gallery One, London, in 1962 and 1963, followed by two exhibitions at Robert Fraser Gallery, London, in 1966 and 1967. She was also at that time included in numerous group exhibitions such as Towards Art?, Royal College of Art London (1962); The New Generation, Whitechapel Gallery, London (1964); and Painting and Sculpture of a Decade 1954–1964, Tate Gallery, London (1964). In 1965, her work was included in the now-seminal group exhibition The Responsive Eye, organized by William Seitz at The Museum of Modern Art, New York. In 1968, she represented Great Britain at the 34th Venice Biennale (along with Philip King), where she was the first living British painter to win the prestigious International Prize for Painting. Her first retrospective, covering the period from 1961 to 1970, opened at the Kunstverein Hannover in 1971 and subsequently traveled to Kunsthalle Bern; Kunsthalle Düsseldorf; Galleria Civica d’Arte Moderna, Turin; and the Hayward Gallery, London.
More recent significant solo presentations include those at Dia Center for the Arts, New York (2000-2001); Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany (2002); Museum of Contemporary Art, Sydney (2004-2005); Musée d'Art Moderne de la Ville de Paris (2008); Walker Art Gallery, Liverpool (traveled to Birmingham Museums and Art Gallery; Norwich Castle Museum and Art Gallery; Southampton City Art Gallery; 2009-2010); The National Gallery, London (2010-2011); Art Institute of Chicago (2014-2015); The Courtauld Gallery, London (2015); De La Warr Pavilion, Bexhill on Sea, England (traveled to Gemeentemuseum, The Hague; 2015); Graves Gallery, Museum Sheffield, England (2016); Christchurch Art Gallery, New Zealand (2017); and Kawamura Memorial DIC Museum of Art, Sakura, Japan (2018).
Bridget Riley: Perceptual Abstraction was on view at the Yale Center for British Art, New Haven, Connecticut, in 2022. The traveling exhibition Bridget Riley Drawings: From the Artist’s Studio, which includes drawings from the late 1940s to the present day, originated at The Art Institute of Chicago and will subsequently be on view at the Hammer Museum, Los Angeles, and the Morgan Library, New York, in 2023.
A large-scale wall painting by Riley entitled Messengers was unveiled in 2019 at The National Gallery in London. Also in 2019, a solo presentation of the artist’s work that was organized by the National Galleries of Scotland opened at the Scottish National Gallery, Edinburgh, and traveled to the Hayward Gallery, London (2019-2020).
In 1974, Riley was named a CBE (Commander of the Most Excellent Order of the British Empire) and in 1999, appointed the Companion of Honour. In 2003, the artist was awarded the Praemium Imperiale in Tokyo. She received the Kaiser Ring of the City of Goslar, Germany, in 2009 and the Rubens Prize of the City of Siegen, Germany, in 2012.
Work by the artist is included in museum and public collections worldwide, including The Albright-Knox Art Gallery, Buffalo, New York; Art Institute of Chicago; Arts Council, U.K.; British Council, U.K.; Dallas Museum of Art; Dia Art Foundation, New York; Israel Museum, Jerusalem; Kunstmuseum Bern; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Moderna Museet, Stockholm; Museum für Gegenwartskunst, Siegen, Germany; The Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; National Museum of Modern Art, Tokyo; Nationalgalerie, Berlin; Stedelijk Museum, Amsterdam; and Tate, London.
David Zwirner has worked with Riley since 2014, and the gallery's inaugural exhibition of her work, Bridget Riley: The Stripe Paintings 1961-2014, was held in London that year. In 2015, a career spanning survey was presented at the gallery in New York, and in 2018, the London gallery presented Riley’s recent works from the last four years. Bridget Riley – Studies: 1984-1997 was on view at the gallery’s London location in 2020. Bridget Riley: Past into Present was on view at David Zwirner, London in 2021. Riley lives and works in London, Cornwall, and France.
-Courtesy of Zwirner Gallery
- Creator:Bridget Riley (1931, British)
- Creation Year:2001
- Dimensions:Height: 9.5 in (24.13 cm)Width: 8.5 in (21.59 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:In very good condition other than minor shelf wear; interior pages are clean and crisp and fresh.
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1745213545692
Bridget Riley
British painter Bridget Riley’s visually spectacular abstractions seem far removed from natural forms. Riley, however, claims she draws inspiration for her paintings and prints largely from nature, which she defines as a “dynamism of visual forces — an event rather than an appearance.”
Indeed, dynamism characterizes her work, which explores how simple geometric forms can create illusions of movement.
Born in 1931, Riley first came to worldwide attention in 1965, when she was included, alongside such other prominent figures as Victor Vasarely and Frank Stella, in the exhibition “The Responsive Eye” at New York’s Museum of Modern Art. The catalogue cover featured one of her paintings, Current (1964), composed of wavy black and white lines that seem to vibrate as they move from the top to the bottom of the canvas.
Since the 1970s, Riley has been experimenting with color, creating works like Nataraja (1993), made up of columns of brightly hued diagonal stripes that seem to pulse rhythmically. By instilling life, movement and energy into flat, geometric forms, she helped pioneer kinetic art.
Browse a collection of Bridget Riley's visionary art at 1stDibs.
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