Bridget Riley is one of the outstanding figures of modern painting. For thirty-five years she has pursued a course of rigorous abstraction, from her celebrated Op Art works in black and white of the 1960s to the complex colour paintings of the 1990s. On the occasion of a major exhibition of her recent work at the Hayward Gallery, London, in 1992, BBC Radio broadcast an illuminating series of five dialogues, each one between Riley and a well-known personality from the art world. These talks have been brought together in this volume, expertly edited by the art historian Robert Kudielka. With Neil MacGregor, Director of the National Gallery, London, she discusses the art of the past in relation to the present; with Sir Ernst Gombrich the perception of colour in painting; with the artist Michael Craig-Martin, the theory and practice of abstraction; and with the critics Bryan Robertson and Andrew Graham-Dixon she talks about the events and travels that have shaped her life as an artist.

Bridget Riley: Dialogues on Art

MacGregor, Neil

Gombrich, E.H.

Graham-Dixon, Andrew

Craig-Martin, Michael

Riley, Bridget

Robertson, Bryan

Kudielka, Robert

Arts & Photography

Zwemmer

The Eye s Mind Bridget Riley Collected Writings 1965-2019 /anglais

Individual Artists

Thames&Hudson

Bridget Riley is one of the outstanding figures of modern painting. She has pursued a course of rigorous abstraction for some 40 years, from her celebrated black and white Op Art works in the 1960s to the complex colour paintings of the 1990s. On the occasion of a major exhibition of her work in 1992 at London's Hayward Gallery, BBC Radio broadcast a series of five dialogues, each one between Riley and and a well-known figure from the art world. These encounters, edited by an art historian, are contained in this book, With Neil MacGregor, Riley discusses the art of the past in relation to the art of the present; with Sir Ernest Gombrich the perception of colour in painting; with the artist Michael Craig-Martin, the theory and practice of abstraction; and with the critics Bryan Robertson and Andrew Graham-Dixon, she talks about events and travels that have influenced her as an artist. Taken as a whole, this series forms an excellent introduction to the work and ideas of one of the most creative minds of today.

SHONE, Richard

Thames and Hudson Ltd.

This study explores diversity as the mainspring of Klee's creative practice. Drawing on Klee's own classifications for his work, along with those of distinguished Klee scholars, the book traces the development of the artist's rich visual language not as a single line of enquiry, but as a series of movements, counter-movements and interconnections. By the time of his death in 1940, Klee was an acknowledged modern master, his fame and influence both as an artist and a teacher recognized throughout the western world. However, his work lost prominence for many years from the early 1960s, only re-emerging into view in much later years. Featuring an essay by Robert Kudielka, Professor of Aesthetics and Philosophy of Art at the Universitat der Kunste, Berlin, along with a personal response to Klee's work by renowned British artist Bridget Riley, this book brings to the fore the seminal role Klee had in the development of 20th-century art and signals the ongoing relevance of his work.

Paul Klee: The Nature of Creation, Works, 1914-1940

History & Criticism

Lund Humphries Pub Ltd

Bridget Riley is that rare instance of an artist whose work breaks free of art history and merges with the broader cultural imagination, yet preserves for itself a rigorous, focused dialogue with painting's most basic properties: the interaction of form and color. Produced in close collaboration with the artist, Flashback tracks Bridget Riley's career from its sensational beginnings in the early 1960s, at the helm of Op art, to the ambitious and powerful paintings and works on paper of recent years. Alongside a wealth of reproductions of works from 1961 to 2007, it also features an illustrated chronology and list of works in U.K. public collections, an essay by Michael Bracewell and a wonderful meditation by Riley, titled "Work," in which she looks back on the curve of her art across the decades. "You cannot deal with thought directly outside practice as a painter," she writes: "'doing' is essential in order to find out what form your thought takes." Flashback reveals Ril

Bridget Riley: Flashback

Bracewell, Michael

Hayward Gallery Publishing

"The future of sculpture has only just begun. Its potential is greater now than ever before, and its possibilities are just starting. Its language and its forms are just beginning to evolve." So says Tony Cragg, a believer not just in sculpture, but in freestanding, made-from-scratch abstraction. Cragg refuses to accept the domination of installation and the ready-made. His dedication to the form as he works in it--to its complexities, to its ability to interrogate the world and heighten our sensitivity--and his consistent espousal of that dedication, have given him an intriguing and unusual role in contemporary art. Cragg is a promoter of his medium in an age of anxiety about medium-based definitions, an age of crossover. There are plenty of words here, in an interview and three essays, but it's the sketches, watercolors, installation views, studio photographs and the sculptures themselves that make up the bulk of this new volume.

Tony Cragg: In and Out of Material

Cragg, Tony

Brockhaus, Christoph

Walther König, Köln

Im Dialog - Erich Hauser zum Achtzigsten

Breinlinger, Gerhard

Langer, Heiderose

Mäntele, Martin

Schlichtenmaier, Harry

Modo Verlag Gmbh

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