The following texts have been selected by the artist as reference material on the nature of abstraction and colour theory. These formed part of her own research.

Armstrong, P., Lisbon, L. & Melville, S., As Painting: Division and Displacement, MIT Press, Cambridge, Massachusetts & London, 2000.

Aupetitallot, Y., Supports/Surfaces 1966-1974, (exhibition catalogue) Musée d’Art Moderne Saint-Etienne, 1991.

Barrett, C., Op Art, Studio Vista, London, 1970.

Batchelor, D., Chromophobia, Reaktion Books Ltd. London, 2000.

Benjamin, A., What is Abstraction? Academy Editions, London, 1996.

Bois, Y-A., Painting as Model, MIT Press, Cambridge, Massachusetts,1990.

Drew, J., Working with Colour, Recent Paintings and Studies by Bridget Riley, Arts Council of Great Britain, 1984.

Elkins, J., Why Are Our Pictures Puzzles?, Routledge, New York & London, 1999.

Fer, B., On Abstract Art, Yale University Press, London, 1997.

Fer, B., The infinite line: Re-making Art After Modernism, Yale University Press, New Haven, 2004.

Fried, M., Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella, (exhibition catalogue), Fogg Art Museum, Harvard University, Cambridge, 1965.

Follin, F., Embodied Visions, Bridget Riley, Op Art and the Sixties, Thames and Hudson, London, 2004.

Gage, J., Colour and Meaning. Art, Science and Symbolism, Thames and Hudson, London, 2000.

Joray, M., Soto, Editions du Griffon, Neuchâtel-Suisse, 1984.

Kudielka, R. (ed.), The Mind’s Eye: Bridget Riley Collected Writings 1965-1999, Thames & Hudson, London, 1999.

Lelong, G., Daniel Buren, Flammarion, Paris, 2002.

Lemoine, S., François Morellet, Flammarion, Paris, 1996.

Moorhouse, P. (ed.), Bridget Riley, (exhibition catalogue), Tate Publishing, London, 2003.

Rich, S. K., Gene Davis, 1960s Stripe Paintings, (exhibition catalogue), Charles Cowles Gallery, New York, 2004.

Riley, B., Mondrian: Nature to Abstraction, Tate Gallery Publications, London, 1997.

Riley 11, C. A., Color Codes. Modern Theories of Color in Philosophy, Painting, Architecture, Literature, Music and Psychology, University Press of New England, Hanover, 1995.

Rosenblum, R., Frank Stella, Penguin Books, Harmondsworth & Baltimore, 1971.

Rubin, W., Frank Stella, The Museum of Modern Art, New York, 1970.

Stanhope, Z., Good Vibrations: the legacy of Op art in Australia, (exhibition catalogue), Heide Museum of Modern Art, Melbourne, 2002.

Wall, D., Gene Davis, Praeger Publishers, New York, 1975.

Zelevansky, L., Beyond Geometry. Experiments in Form, 1940s – 70s, MIT Press, Cambridge, Massachusetts & London, 2004.

Zika, P. (ed.), Disorientate: Colour, Geometry and the Body, (exhibition catalogue), Plimsoll Gallery, University of Tasmania, Hobart, 2004.


	Drawing, 2009 Airborne, 2008 Ave atque Vale (for now) 2006 exhibition 'In the blink of an eye', an extract from Wilma Tabacco's PhD exegesis, Reading Between the Lines, 2006 The following texts have been selected by the artist as reference material on the nature of abstraction and colour theory. These formed part of her own research. Armstrong, P., Lisbon, L. & Melville, S., As Painting: Division and Displacement, MIT Press, Cambridge, Massachusetts & London, 2000. Aupetitallot, Y., Supports/Surfaces 1966-1974, (exhibition catalogue) Musée d’Art Moderne Saint-Etienne, 1991. Barrett, C., Op Art, Studio Vista, London, 1970. Batchelor, D., Chromophobia, Reaktion Books Ltd. London, 2000. Benjamin, A., What is Abstraction? Academy Editions, London, 1996. Bois, Y-A., Painting as Model, MIT Press, Cambridge, Massachusetts,1990. Drew, J., Working with Colour, Recent Paintings and Studies by Bridget Riley, Arts Council of Great Britain, 1984. Elkins, J., Why Are Our Pictures Puzzles?, Routledge, New York & London, 1999. Fer, B., On Abstract Art, Yale University Press, London, 1997. Fer, B., The infinite line: Re-making Art After Modernism, Yale University Press, New Haven, 2004. Fried, M., Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella, (exhibition catalogue), Fogg Art Museum, Harvard University, Cambridge, 1965. Follin, F., Embodied Visions, Bridget Riley, Op Art and the Sixties, Thames and Hudson, London, 2004. Gage, J., Colour and Meaning. Art, Science and Symbolism, Thames and Hudson, London, 2000. Joray, M., Soto, Editions du Griffon, Neuchâtel-Suisse, 1984. Kudielka, R. (ed.), The Mind’s Eye: Bridget Riley Collected Writings 1965-1999, Thames & Hudson, London, 1999. Lelong, G., Daniel Buren, Flammarion, Paris, 2002. Lemoine, S., François Morellet, Flammarion, Paris, 1996. Moorhouse, P. (ed.), Bridget Riley, (exhibition catalogue), Tate Publishing, London, 2003. Rich, S. K., Gene Davis, 1960s Stripe Paintings, (exhibition catalogue), Charles Cowles Gallery, New York, 2004. Riley, B., Mondrian: Nature to Abstraction, Tate Gallery Publications, London, 1997. Riley 11, C. A., Color Codes. Modern Theories of Color in Philosophy, Painting, Architecture, Literature, Music and Psychology, University Press of New England, Hanover, 1995. Rosenblum, R., Frank Stella, Penguin Books, Harmondsworth & Baltimore, 1971. Rubin, W., Frank Stella, The Museum of Modern Art, New York, 1970. Stanhope, Z., Good Vibrations: the legacy of Op art in Australia, (exhibition catalogue), Heide Museum of Modern Art, Melbourne, 2002. Wall, D., Gene Davis, Praeger Publishers, New York, 1975. Zelevansky, L., Beyond Geometry. Experiments in Form, 1940s – 70s, MIT Press, Cambridge, Massachusetts & London, 2004. Zika, P. (ed.), Disorientate: Colour, Geometry and the Body, (exhibition catalogue), Plimsoll Gallery, University of Tasmania, Hobart, 2004.