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130:(RAOC) in Egypt. He worked as an architectural assistant from 1950 to 1958. In 1960 he set up a small design and construction firm making “prototype dwellings and furniture”. In 1963 he began to make art full-time. In a 1967 interview he said, “I wanted to concern myself with philosophy. I felt the need to get away and involve myself with the investigation of ideas… and this led me to painting.”
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in the house, and he did it,” however, it was “a tight squeeze”. In the same year, they developed the idea of an
Artists Information Registry (AIR), a “central repository of information about artists’ work, which would be available for open consultation”. This meant that buyers could contact artists
176:
and Riley, to exhibit in his gallery in Canada, about which he wrote, “I realized that a show of this work in Canada could have a tremendous impression, not just on buyers, but on artists. I thought they would do very well to be able to see, absorb, really look at this inspiring new work. And they
188:
In the late 1960s
Sedgley became interested in the possibilities of using coloured light. This interest began accidentally while setting up lights for an evening exhibition. While trying to find a form of light which approximated most closely to daylight, he became aware of the varying effects of
148:
Sedgley met Riley in 1961. Of his influence on her, she said “I did not know how to make a curve, even how to use a ruler, till I met Peter. I was still working on my kitchen table. He had to teach me geometry so that I could make the things I knew ought to be.” In the mid-1960s
Sedgley and Riley
218:
In
Germany, Sedgley was “mostly concerned with the use of electric light and kinetic sculpture.” His first permanent installation was “Night and Day”, at Hermann Ehlers Platz Steglitz in 1974. He also experimented with the addition of music to his installations, for example at
262:
The success of SPACE led
Sedgley to develop a similar set-up in Berlin. The first exhibition, London Now in Berlin, featuring the artists who were using the London SPACE studios, was held at Messehalle, Berlin in 1971.
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different lights on his targets. This experimentation led ultimately toe
Sedgley's creation of art using artificial light. His first work using electric light was a “light ballet”, a moving light installation at
306:(how one might spell the sound of a whistle) which staged ‘happenings’ that were designed to provoke a response from the person in the street. He gave an example: “If newspapers were blowing around
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His experiments led to the creation of ‘videorotors’, painted discs programmed with patterns of light, using coloured light, filters, ultraviolet and stroboscopic light. Together with
291:. They “developed canvases and constructions organised in arrangements free from painterly 'accident', subjective sensation or emotion, exhibiting regular constants and variables.”
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directly, cutting out the need for agents. The need for somewhere to physically store this information led to the idea of a location that would house both AIR and artist studios.
215:
Berlin
Artists Programme. He remained in Berlin after the formal exchange ended, but had returned to London by the 1990s. He considered his work “‘international’ in spirit.”
259:, London, as a “scheme for artists’ studios.” Sedgley was secretary of the organisation and worked almost exclusively on the running of both SPACE and AIR.
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in 1974, when he employed music directed by Jörg Höller. Around this time, he also worked with composers
Eberhardt Blum and
161:. About Sedgley and Riley, Dyson said, “From them I learnt how to see and understand form, and ultimately how to draw it.”
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Peter B. Sedgley was born in London. His father was a railway engineer. He studied building and architecture at
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as their studio, but their work started to become too large for the space. Riley said “Peter wanted to build a
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An
Introduction to Optical Art (1971) Cyril Barret (Pub. Studio Vista) - for a selection of his images
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Art Museum of
Atenuem (Finland), British Embassy, Berlin (Germany), Chase Manhattan Bank, NYC (USA),
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2046:(Vol. 146 No. 1212 ed.). London, UK: Burlington Magazine Publications. March 2004. p. 207.
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310:, we’d come along and glue them down. The point was to provoke, to see how the public responded.”
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Sedgley was “entirely self-taught” as an artist. He was initially influenced by Bridget Riley,
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and Bruce Lacey. As his work progressed, he developed “a preference for circular forms.”
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1111:(Vol.117 No.845 ed.). London, UK: David and Charles. September 1971. p. 470.
204:, he was “among the first painters to make use of fluorescent materials” in his work.
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Contemporary Artists (1977) Naylor, C and G. P-Orridge (Pub. St James Press, London)
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from 1943 to 1947. From 1948 to 1950 he completed national service with the
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Sedgley married Marguerite Wiltshire in 1951. They had two children.
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https://www.redfern-gallery.com/artists/66-peter-sedgley/biography/-
2189:. Hanover, USA: Dartmouth College Museum and Galleries. p. 11.
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98:(born 13 March 1930, London) is an English artist associated with
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Segdley's 1971 design for the Pimlico London Underground station
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Featuring 1960s paintings from the Arts Council's collection
2123:
The Stirling Prize: ten years of architecture and innovation
247:
In January 1969, inspired by studios they had seen while in
891:"Discussion between Peter Sedgley and Maurice de Sausmarez"
1556:. Chicago, USA: University of Chicago Press. p. 303.
271:
In November 1969, Sedgley became a founding member of the
235:
In 1968, Sedgley and Riley were using Riley's house in
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took some of Sedgley's pieces, together with those by
889:
Sedgley, Peter; de Sausmarez, Maurice (Spring 1971).
1579:
British art in the 20th Century; The Modern Movement
1254:. New York, USA: Museum of Modern Art. p. 54.
85:
71:
63:
55:
47:
28:
21:
1845:Walia, Saranjeet; Parry-Crooke, Charlotte (1979).
1227:Lights and Pigments: Colour principles for artists
1202:Lights and Pigments: Colour principles for artists
2229:. New York, USA: St Martin’s Press. p. 839.
2100:. New York, USA: St Martin’s Press. p. 839.
1581:. Munich, Germany: Prestel-Verlag. p. 444.
640:Sedgley's work is in the following collections:
207:He worked in London until 1971 when he moved to
1952:. Bristol, UK: Art Dictionaries. p. 1086.
1849:. New York, USA: St Martin’s Press. p. 36.
1640:"My Kinetic Artworks and Paintings (1971-1982)"
1461:"My Kinetic Artworks and Paintings (1971-1982)"
1408:"My Kinetic Artworks and Paintings (1971-1982)"
1355:"My Kinetic Artworks and Paintings (1971-1982)"
1302:"My Kinetic Artworks and Paintings (1971-1982)"
1149:"My Kinetic Artworks and Paintings (1971-1982)"
1036:. London, UK: Secker and Warburg. p. 198.
699:(Japan), Stuyvesant Foundation (South Africa),
110:and the Artist Information Registry (AIR) with
2204:. San Diego, USA: Benefic Press. p. 25.
1864:. London, UK: St James’s Press. p. 866.
1759:. London, UK: Thames and Hudson. p. 10.
986:. London, UK: St James’s Press. p. 866.
946:. London, UK: St James’s Press. p. 866.
868:. London, UK: St James’s Press. p. 866.
843:. London, UK: St James’s Press. p. 866.
8:
1908:. London, UK: British Council. p. 132.
1603:"A bit of artistic licence down in dockland"
580:A solar activated mobile of glass and steel
1950:Dictionary of artists in Britain since 1945
1638:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1459:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1406:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1353:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1300:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1279:. New York, USA: G Braziller. p. 241.
1147:Sedgley, Peter; Ohff, Heinz (Summer 1982).
1860:Naylor, Colin; P-Orridge, Genesis (1977).
982:Naylor, Colin; P-Orridge, Genesis (1977).
942:Naylor, Colin; P-Orridge, Genesis (1977).
864:Naylor, Colin; P-Orridge, Genesis (1977).
839:Naylor, Colin; P-Orridge, Genesis (1977).
784:His name is sometimes misspelt as Sedgeley
317:
18:
1904:Bowness, Sophie; Phillpot, Clive (1995).
1834:. London, UK: Lund Humphries. p. 79.
1695:. London, UK: Lund Humphries. p. 80.
1621:"Space is on the way for cramped artists"
1552:Jacob, Mary J; Grabner, Michelle (2010).
1541:. London, UK: Lund Humphries. p. 70.
1229:. New York: Harper and Row. p. 147.
1126:. London, UK: Studio Vista. p. 128.
1011:. London, UK: Studio Vista. p. 127.
1906:Britain at the Venice Biennale 1895-1995
1204:. New York: Harper and Row. p. 45.
1931:"New chapter and it's all in high tech"
1086:. London, UK: Bloomsbury. p. 250.
797:
777:
721:DAAD (German Academic Exchange Service)
213:DAAD (German Academic Exchange Service)
2278:. New York, USA: Praeger. p. 103.
2174:. New York, USA: Praeger. p. 103.
2085:. New York, USA: Praeger. p. 103.
1554:Studio Reader: on the space of artists
971:. New York, USA: Praeger. p. 103.
697:Nagasaki Museum of History and Culture
446:Greenwich Theatre Art Gallery, London
341:McRoberts and Tunnard Gallery, London
302:and others, he created a group called
1994:"Tuned in, turned out, still far out"
1732:"Tuned in, turned out, still far out"
1609:. London, UK. 1969-01-03. p. 11.
1277:Constructivism: Origins and Evolution
761:21 artworks by or after Peter Sedgley
7:
2200:Hubbard, Guy; Rouse, Mary J (1981).
2125:. London, UK: Merrell. p. 130.
2121:Chapman, Tony; Neville, Tom (2006).
1627:. London, UK. 1969-02-14. p. 3.
809:. New York, USA: Crown. p. 180.
736:for a wider selection of exhibitions
693:Museum of Modern Art, Rio de Janeiro
1061:. London, UK: Texere. p. 32.
177:did – they learned a great deal.”
14:
1975:"Drawing on an era of confidence"
164:In 1966 the Canadian art dealer,
1992:Geraldine Bedell (6 June 2004).
1809:. London, UK: Dent. p. 86.
1730:Geraldine Bedell (6 June 2004).
653:Arts Council of Northern Ireland
405:Richard Feigen Gallery, Chicago
385:Richard Feigen Gallery, Chicago
59:Brixton Technical School, London
609:Austin/Desmond Gallery, London
363:Museum of Modern Art, New York
2202:Art: Meaning, Method and Media
1832:Albert Irvin: Life to Painting
1693:Albert Irvin: Life to Painting
1539:Albert Irvin: Life to Painting
1512:Jonathan Jones (5 July 2008).
1124:An introduction to optical art
1009:An introduction to optical art
822:"Peter Sedgeley's Art Circles"
820:Anthony Everitt (1973-10-20).
531:Cardiff Public Library, Wales
416:Carnegie Institute, Pittsburgh
351:Howard Wise Gallery, New York
157:where one of his students was
1:
2276:Contemporary British painting
2172:Contemporary British painting
2083:Contemporary British painting
1981:. Birmingham, UK. p. 12.
1929:Suzanne Barnes (1988-12-05).
969:Contemporary British painting
828:. Birmingham, UK. p. 12.
689:Indiana University Art Museum
1887:"A glowing tribute to light"
1847:Contemporary British artists
1805:Lucie-Smith, Edward (1970).
1755:Walker, John Albert (1975).
1625:Westminster and Pimlico News
687:Museum and Galleries (USA),
2185:van der Marck, Jan (1979).
1973:Terry Grimly (1993-01-28).
1885:James Belsey (1974-02-27).
756:The Tate Gallery collection
427:British Drawing Exhibition
118:Personal life and education
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2062:contemporaryartsociety.org
1937:. Cardiff, UK. p. 12.
1893:. Bristol, UK. p. 12.
1250:McShine, Kynaston (1987).
1107:"Victoria Line complete".
723:, Berlin Artists Programme
669:Victoria and Albert Museum
124:Brixton School of Building
1807:Art in Britain: 1969-1970
1082:Pollock, Jackson (1990).
1032:Aitken, Jonathan (1967).
805:Pellegrini, Aldo (1966).
577:Conference Centre, Dubai
537:
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412:Pittsburgh International
378:
334:
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128:Royal Army Ordnance Corps
2330:British abstract artists
2225:Emanuel, Muriel (1983).
2096:Emanuel, Muriel (1983).
1830:Moorhouse, Paul (1998).
1691:Moorhouse, Paul (1998).
1537:Moorhouse, Paul (1998).
719:1971 – Recipient of the
471:Haus am Waldsee, Berlin
2187:Acquisitions: 1974-1978
2044:The Burlington Magazine
1948:Buckman, David (1998).
1577:Compton, Susan (1986).
1275:Rickey, George (1995).
1122:Barrett, Cyril (1911).
1007:Barrett, Cyril (1911).
716:award at Tokyo Biennale
221:Donaueschingen Festival
2274:Bowness, Alan (1968).
2170:Bowness, Alan (1968).
2081:Bowness, Alan (1968).
2058:"Peter Sedgley (1930)"
967:Bowness, Alan (1968).
661:Manchester Art Gallery
481:10 year retrospective
191:Trinity College Dublin
185:
1979:Birmingham Daily Post
1252:Berlin Art 1961- 1987
1225:Osborne, Roy (1980).
1200:Osborne, Roy (1980).
1109:Railwa World Magazine
1057:Dyson, James (2003).
826:Birmingham Daily Post
807:New Tendencies in Art
714:Minister of Education
542:The Sixties Art Scene
183:
2227:Contemporary Artists
2098:Contemporary Artists
1891:Bristol Evening Post
1862:Contemporary Artists
984:Contemporary Artists
944:Contemporary Artists
866:Contemporary Artists
841:Contemporary Artists
649:Arts Council England
547:Barbican Art Gallery
514:42nd Venice Biennale
457:London Now In Berlin
431:Museum of Modern Art
314:Selected exhibitions
308:Tottenham Court Road
275:which also included
151:Byam Shaw Art School
89:www.petersedgley.com
2022:oxfordartonline-com
1785:oxfordartonline-com
1514:"The life of Riley"
624:The Redfern Gallery
468:One-man exhibition
461:Messehalle, Berlin
402:One-man exhibition
392:9th Tokyo Biennale
382:One-man exhibition
374:, Riley and Stella
348:One-man exhibition
338:One-man exhibition
197:, London, in 1970.
683:, St Louis (USA),
359:The Responsive Eye
253:The Responsive Eye
195:Camden Arts Centre
186:
2024:. 31 October 2011
1787:. 31 October 2011
1034:The Young Meteors
701:Walker Art Center
685:Dartmouth College
633:
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557:Ready, Steady, Go
501:Arnolfini gallery
257:St Katharine Dock
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20:
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2065:. Retrieved
2061:
2052:
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2042:"Calender".
2037:
2026:. Retrieved
2021:
2012:
2001:. Retrieved
1998:The Guardian
1997:
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1968:
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1736:The Guardian
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1714:. Retrieved
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1607:Daily Mirror
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1518:The Guardian
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289:Gillian Wise
285:Jean Spencer
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202:Frank Stella
199:
187:
166:Jack Pollock
163:
147:
140:
132:
121:
95:
94:
2320:1930 births
681:City Museum
636:Collections
443:Light Show
433:, New York
324:Exhibition
300:John Latham
296:Bruce Lacey
209:West Berlin
159:James Dyson
104:Kinetic art
80:Kinetic art
48:Nationality
2314:Categories
2299:2024-01-31
2260:2024-01-31
2236:0312166435
2156:2024-01-31
2107:0312166435
2067:2024-01-31
2028:2024-01-31
2003:2024-01-31
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1741:2024-01-31
1716:2024-03-03
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1588:3791307983
1523:2024-01-31
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1339:2024-01-05
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1186:2024-01-05
1093:0747507392
1043:3928342177
993:0333226720
953:0333226720
928:2024-01-05
875:0333226720
850:0333226720
792:References
695:(Brazil),
528:Sculpture
503:, Bristol
281:Peter Loew
193:, and the
155:Kensington
149:taught at
137:Art career
64:Occupation
42:London, UK
35:1930-03-19
1672:192995192
1493:192995192
1440:192995192
1387:192995192
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923:192948956
626:, London
549:, London
327:Location
114:in 1968.
56:Education
1644:Leonardo
1465:Leonardo
1412:Leonardo
1359:Leonardo
1306:Leonardo
1153:Leonardo
895:Leonardo
573:Colorama
561:Touring
372:Vasarely
249:New York
72:Movement
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1485:1574675
1432:1574675
1379:1574675
1326:1574675
1173:1574675
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712:1967 –
691:(USA),
518:Venice
330:Detail
86:Website
51:English
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703:(USA)
395:Tokyo
368:Albers
304:Whscht
100:Op art
76:Op art
67:Artist
1668:S2CID
1660:JSTOR
1489:S2CID
1481:JSTOR
1436:S2CID
1428:JSTOR
1383:S2CID
1375:JSTOR
1330:S2CID
1322:JSTOR
1177:S2CID
1169:JSTOR
919:S2CID
911:JSTOR
772:Notes
617:2009
603:2004
585:1998
569:1997
538:1993
525:1988
510:1986
494:1974
478:1973
453:1971
440:1969
424:1968
379:1967
335:1965
321:Year
251:for “
108:SPACE
2231:ISBN
2206:ISBN
2127:ISBN
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1954:ISBN
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1866:ISBN
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1128:ISBN
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1038:ISBN
1013:ISBN
988:ISBN
948:ISBN
870:ISBN
845:ISBN
767:site
665:Tate
287:and
102:and
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1652:doi
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