Robert Kudielka Book order

The birth of the SPACE artist initiative in London, 1968 coincided with student protests and autonomous interventions in cities across Europe. Asserting the rights to space was a theme common to student sit-ins, squatting and free festivals. The unique contribution made by SPACE to the city is that artist founders Bridget Riley and Peter Sedgley negotiated vast amounts of space for creativity through legitimate means. They persuaded authorities and landlords to lease them property to which the artists brought new life and creative uses. Many have subsequently benefitted from the example set. This timely book celebrates the contribution of this artist-run initiative to London. The focus is on 1968-75, when SPACE and its sister organisation AIR came into fruition, a period which has much influence for artists and policy today. The story of SPACE is relevant to artists in cities across the world who face challenges of working in ever-more expensive and congested cities. Essays by artists Bridget Riley and Peter Sedgley, plus Mel Dodd, Will Fowler, Larne Abse Gogarty, Rebecca Gordon-Nesbitt, Robert Kudielka, Courtney J. Martin, Alicia Miller, David Morris, Neil Mulholland, Naomi Pearce, Ana Torok and Andrew Wilson. Published on the occasion of the exhibition, Archive display at SPACE HQ, London (January - March 2018). -- Publisher's website.

Since meeting Bridget Riley in 1967 art historian and critic Robert Kudielka has proved her keenest observer. This newly revised and expanded edition collates a substantial body of his essays on and interviews with the artist. For over 40 years, Robert Kudielka has documented Bridget Riley's career progress and artistic development in an academic and personal manner, reflecting his relationship with the artist. Moving from an analysis of Riley's iconic 1960s black and white paintings to her more recent wall drawings, Kudielka explores the unpredictable changes of direction throughout Riley's career. Accompanied by over 80 full-colour illustrations, biographical notes and bibliography, the texts in this volume provide a unique insight into Riley's working methods and styles. Bridget Riley and Robert Kudielka will launch the book at a signing at David Zwirner on Monday, 23 June.

Published on the occasion of the major exhibition at David Zwirner in London, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past 50 years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm and density. Created in close collaboration with the artist, the publication's beautifully produced color plates offer a selection of the iconic works, including Riley's first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called "Egyptian" palette, and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen. A range of texts about Riley's original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist's wall paintings and newest body of work by Paul Moorhouse, Twentieth-Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary's Hospital in West London; and installation views of the London exhibition itself

Marking the first major survey of Bridget Riley's use of the curve, this volume explores how the artist has often returned to this pictorial device over a fifty-year time span. Coinciding with the artist's exhibition at De La Warr Pavilion, Bexhill On Sea (13 June - 6 September 2015), the publication features studies and paintings from throughout Riley's career; beginning with black-and-white works from the 1960s up to the recent wall painting Rajasthan (2012), which combines curvilinear shapes with a vibrant colour palette.0 0Animating the entire visual field, Riley's distinctive abstract language is shaped by her study of Paul Cézanne and Georges Seurat's treatment of pictorial space. Accompanied by colour illustrations of over 30 works in the exhibition, a new interview with the artist by Paul Moorhouse offers an in-depth exploration of Riley's influences and developments

Der Übergang zu einer brasilianischen Moderne manifestierte sich im Neoconcretismo und in der Architektur Brasílias. Der Katalog verdeutlicht, dass das Moderne-Projekt vielfältige Gesichter hat, die über den europäisch-nordamerikanischen Raum hinausgehen. Der „Sprung nach Form“ in den späten 1950er Jahren führte zu bedeutenden Errungenschaften in der bildenden Kunst, Architektur, Städteplanung und im Design. Historische Positionen von Künstlern wie Aluísio Carvão, Amilcar, Willys de Castro, Lygia Clark, Oscar Niemeyer, Hélio Oiticica und Lygia Pape werden mit zeitgenössischen brasilianischen Künstlern wie Waltercio Caldas, Iole de Freitas, Carla Guagliardi, Cao Guimarães und Pablo Lobato verglichen, die diese Ideen weiterentwickelt haben. Die Dokumentation enthält erstmals in deutscher Sprache veröffentlichte Texte von Ferreira Gullar, Lygia Clark, Hélio Oiticica, Lygia Pape und Mário Pedrosa und setzt die brasilianische Perspektive auf den Neoconcretismo in Relation zur Rezeption in Westeuropa. Sie zeigt sowohl Abwehr als auch die „Einverleibung“ westeuropäischer Gedanken durch die brasilianische Moderne und umfasst unpublizierte Materialien aus Archiven. Die kontroverse Rezeption brasilianischer Architektur und Kunst in Deutschland und der Schweiz spiegelt die Anziehungskraft und Missverständnisse alternativer Modernekonzepte wider. Interviews mit Ferreira Gullar, Almir Mavignier, Eugen Gomringer und Carla Guagliardi bieten