Artist's Books / Special Editions
Almond, Darren: All Things Pass
Almond, Darren / Blechen, Carl: Landscapes
Brown, Glenn: And Thus We Existed
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, 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
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
Hatoum, Mona (Kunstmuseum
St. Gallen)
Eric Hattan Works. Werke Œuvres 1979–2015
Hattan, Eric: Niemand ist mehr da
Herrera, Arturo: Boy and Dwarf
Hilliard, John: Accident and Design
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
Kowski, Uwe: Paintings and Watercolors
Mikhailov, Boris: Temptation of Life
Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)
Neto, Ernesto: From Sebastian to Olivia
Oehlen, Albert: Mirror Paintings
Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990
Oehlen, Albert: unverständliche braune Bilder
Oehlen, Pendleton, Pope.L, Sillman
Oehlen, Albert | Schnabel, Julian
Phillips, Richard: Early Works on Paper
Riley, Bridget: Circles and Discs
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
Wang, Jiajia: Elegant, Circular, Timeless
Wool, Christopher: Westtexaspsychosculpture
Zeng Fanzhi: Old and New. Paintings 1988–2023
Zhang Wei / Wang Luyan: A Conversation with Jia Wei
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Bridget Riley: Circles and Discs English / German |
This catalog presents studies and preparatory works for larger paintings that provide a special insight into Bridget Riley’s artistic workshop. She methodically develops the dynamic potential of her motifs in order to give expression to the natural movement of vision. First works are from 1961, when Riley had just found her special form of abstraction: black and white, geometric, inspired by questions of optical perception. Later, she returned to circles and discs time and again, exploring a wide range of approaches, such as the use of post-impressionistic color from 1970 on, and rhythmical compositions in muted shades of green, purple, and orange during the latest decade. Due to the smaller format, the sketches have greater intimacy and openness, combining strict form with a musical sense of color.
ABOUT LOOKING: THE MEANING OF STUDIES AND SCALE Making preliminary studies for pictures seems to have become a rarity in contemporary painting. For Riley, they are imperative: a research process that simultaneously serves as a “visual bank.” In contrast to the paintings, which have to do with the whole, in the studies the artist focusses on particular aspects, as needed for the painting in preparation. Very different means, materials and formats are used in making the paintings: paper and pencil, paper and gouache, Ripolin paint and polyester fabric, large-scale cartoons, written notations—to mention just a few. She uses a variety of papers including graph and tracing paper, wax and felt-tip pens, oils, acrylics, pastels, crayons and pencils of many kinds including black Conté pencils. In her studies for the Measure for Measure paintings which are on canvas, Riley uses acrylic paint on polyester fabric. This enables her to work on an intimate small scale which allows her to simultaneously see the whole surface whilst focusing on details . . . Enlarging the image invariably means reconfiguring the scale and adjusting the separate components. As Riley puts it, “Maybe scale could be compared to a key in music.” In the work that goes into creating different formats of a motif, what is striking is the haptic effect of different painted papers. When the image is viewed from a distance, individual color values take on an incorporeal radiance that hangs between stability and movement, light and color. Reducing the tonal contrast can intensify the effect of color. The color saturation and tonal values should be in the right relationship, not just the play of colors. What Riley is interested in is not focused seeing, but rather an “enactment of seeing.” Her work invites us to see with precision, to perceive the sometime shimmering instability of color and to shift our position in front of the image: moving from left to right, adopting a closer view or looking from a distance.
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