Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Bonnet, Louise

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings 1961–2012

Riley, Bridget: Measure for Measure. New Disc Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Bridget Riley: Paintings 1984–2020
Texts Éric de Chassey, Robert Kudielka



24 x 30 cm

78 pages
41 color illustrations


35.00 Euro


Leaf through the book


Bridget Riley’s art is fueled by the artist’s fascination with forms and colors from the history of painting, in which she finds new harmonies and meanings when she abstracts colors from their original figurative purposes. With each painting series, she arrives at new results—and this book, her fifth at Holzwarth Publications, introduces her latest ones: the Intervals, broad horizontal stripes in shades of a grayed green, violet, orange, and turquoise standing on a white background. The arrangement does not follow strict rules: “When it has become clear that there is no stable intellectual principle behind the permutations,” Éric de Chassey writes in his essay, “the mind and eye can engage in and accept the harmony of the whole picture, established as it has been by the rhythm of changes in its units.” The series Measure for Measure is held in similar tones, but as the composition is built from colored circles, the paintings have a more airy, floating character, each color also standing on its own. In the exhibition at all three venues of Galerie Max Hetzler in Berlin, these new works are related to earlier canvases and wall paintings dating back to 1984. It becomes clear that Riley’s works are always both a stocktaking of what she has achieved already and preparatory work for future paintings.


(excerpt from the essay by Éric de Chassey)

In 1965, Bridget Riley succinctly described her method in words that have since become famous and often repeated when considering her work: ‘The basis of my painting is this: that in each of them a particular situation is stated. Certain elements within that situation remain constant. Others precipitate the destruction of themselves by themselves. Recurrently, as a result of the cyclic movement of repose, disturbance and repose, the original situation is re-stated.’ The importance of this statement cannot be overemphasised. The fact that she has always remained faithful to the principles thus established enables us to understand one key aspect of Riley’s aesthetics, which has set her oeuvre apart from those of all other abstract painters ever since the early 1960s: harmony encompasses contradictions; it is the result of labour and not an easy and immediate find; order is born out of destruction, not through an internal feud but rather through a paced resolution. The artists who took part in the international Op Art tendency, such as Victor Vasarely or Julio Le Parc, stop at the second step, destroying the stability of a situation to create a feeling of continuous movement and permanent agitation, ultimately leading to the abandonment of the picture plane and the translation of painting into an environment. The artists who established the basis of what came to be known as ‘post-painterly’ or ‘minimal’, such as Ellsworth Kelly, Kenneth Noland or Frank Stella, stop at the first stage, creating a pictorial situation that immediately establishes a stable harmony, so much so that, when they felt they had exhausted the possibilities contained in such a method (with the notable exception of Kelly), they created works that start with overtly clashing elements and reach a conclusive state by pitting those one against the other. As for the artists who have turned to abstract painting since the late 1970s, when they don’t re-enact previous artistic situations according to postmodern strategies, they either believe in immediate harmony, emphasise destruction as a creative tool or depend on the unleashing of contradictory elements.

In Riley’s most recent paintings, the Intervals series, she applies the three-stage principles she established in the creation of Movement in Squares in 1961. The particular situation stated here of four to six horizontal bands of four to five colours forms a rectangular unit on a white (or, rather, an off-white) surface. This unit is repeated vertically several times, admittedly with changes in the order of colours, so that its regularity, perceived at first glance as a kind of primary order, is thrown into question and destroyed. The mind and the eye become agitated and attempt to follow the differences between each of the four or five units in a process of comparison. When it has become clear that there is no stable intellectual principle behind the permutations – but only a visual search – the mind and eye can engage in and accept the harmony of the whole picture, established as it has been by the rhythm of changes in its units… As has generally been the case in Riley’s recent paintings, the Intervals take stock of the means and ways that the artist has used previously.



In collaboration with Galerie Max Hetzler, Berlin | Paris | London