Bridget Riley (b. 1931, London, UK) lives and works in London, Cornwall, and the Vaucluse in France. She studied art in London in the 1950s, attending both Goldsmiths College and the Royal College of Art, and her work was the subject of touring retrospectives as early as 1971. More recently, she has received solo exhibitions at the Scottish National Gallery of Modern Art, Edinburgh (2016); The Courtauld Institute, London (2015); The Art Institute of Chicago (2014); National Gallery, London (2010); and Musée d’Art Moderne de la Ville de Paris (2008). Riley participated in important early group exhibitions, including The Responsive Eye at the Museum of Modern Art, New York (1965), Documenta IV (1968), Documenta VI (1977), and the 1968 Venice Biennale, where she became the first woman to ever win the International Prize for Painting.
Text courtesy Sprüth Magers.
Anish Kapoor, Louise Bourgeois, Rachel Whiteread, Gerhard Richter. These may not be names that spring to mind when you think of the British Museum, but they all have work filed away in its extensive archive of prints and drawings. 'Pushing Paper: Contemporary Drawing from 1970 to Now' lifts a lid on a lesser-known collection at a museum renowned...
Even for those familiar with modernism's history in the latter half of the 20th century, the story of the life of the British painter Bridget Riley and the development of her work is not very well known. Now, though, Paul Moorhouse's well-researched, lucid new biography, Bridget Riley: A Very Very Person (Ridinghouse, 2019) may help reveal to a...
Bridget Riley is a name so familiar that it seems baffling nobody has previously written in-depth about her early years, and how she rose to such a stellar place in our cultural lexicon. A new book from publisher Ridinghouse explores her journey from British wartime beginnings to her rise as darling of the New York art world—and one of the...
Kaleidoscope casts fresh perspectives over the creations of the period, bringing into view the relationship between rationality and absurdity, colour and form, order and unruliness. Curated by Sam Cornish and Natalie Rudd, the exhibition draws on collection's holdings, alongside significant loans, for the first retrospective of its kind in over...
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