Bridget Riley (b. 1931)
colour silkscreen on paper
signed, titled and dated verso
61.6 x 91.4cm
Hayward Gallery, London; Hunterian Art Gallery, Glasgow; Abbot Hall Art Gallery, Kendal; Rugby Art Gallery and Museum, Rugby; Glynn Vivian Art Gallery, Swansea; Firstsite, Colchester, Complete Prints 1962-2001, 2001-02 (edition no. unknown) Rotermann Salt Storage, Tallinn; Contemporary Art Centre, Vilnius; East-Slovakian Gallery, Kosice; Moravian Gallery, Brno; Museum Sztuki, Lodz; Museum of Modern and Contemporary Art, Rijeka, A Print Retrospective, 1962-2003, 2004-05 (edition no. unknown), Galerie Nicole Schlégl, Zurich, Bridget Riley – Grafische Werke, 2011 (edition no. unknown)
Bridget Riley initially became known as one of the proponents of Op Art in the 1960s – a movement that explored the effects of optical illusions in visual art. However, before the end of the decade her work had already evolved into a direction that made it clear that the Op Art label was rather reductive to Riley. Throughout her now six-decade-long career, Riley’s visual language has continually evolved in unexpected directions, exploring how we perceive the world through an elaborate investigation into the interactions of colour and form.
Her obsession with the act of perception has meant that Riley’s later work has evolved largely independently from trends in contemporary art, resulting in a highly unique visual language. The series of curvilinear works that she started in the late 1990s, and of which Going Across is a part, is a fine example of this. Although both the colour palette and the composition of overlapping curved shapes are minimal, the resulting work is full of rhythm and movement.
Another version of Riley’s Going Across is held in the collection of the Museum of Modern Art in New York.