Bridget Riley – Going Across, 2001

“No painter, dead or alive, has ever made us more aware of our eyes than Bridget Riley.” 

– Robert Melville

Few international artists are as well-presented in Australian public and private collections as Bridget Riley. The British grande dame of abstract painting has long exhibited here, with her first selling exhibition at Coventry Galleries in Sydney as early as 1976. Both a significant mid-career survey and a full-scale retrospective were staged in Australia in 1979 and 2004-05, and every major contemporary art museum in Australia owns work by her.

Going Across, 2001
signed, titled, dated ’01 and numbered 49/90
colour silkscreen on paper
image: 42 by 73 cm.   sheet: 61.6 by 91.4 cm.
Edition number 49 of 90. Published by Parkett Editions, Zurich.

Exh. cat., Hayward Gallery, London, Bridget Riley, Complete Prints 1962-2001, 2001, illustrated on the cover
Karsten Schubert, ‘Bridget Riley: Complete Prints 1962-2005’, London 2005, no. 45
Robert Kudielka, Bridget Riley, Prints 1962-2020, London 2020, no. BRS 45

This edition is held in the following public collections:
The Museum of Modern Art, New York

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Exhibition History
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)
Städtische Galerie, Villingen-Schwenningen, Bridget Riley, Prints 1962-2012, 2013 (edition no. unknown)
Museum in Kulturspeicher, Würzburg, Bridget Riley – Prints, 2019 (edition no. unknown)
ILEANA, Brisbane, ‘Great Ladies’, November – December 2020

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 which she started in the late 1990s, and of which Going Across is part, is a great 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 Bridget Riley’s Going Across is held in the collection of the Museum of Modern Art in New York.

Read more about Bridget Riley’s work in Australia here.