Enrico Riley, ‘Untitled: A Very Old Game Revisited’, 2015, FRED.GIAMPIETRO Gallery
Enrico Riley, ‘Untitled: A Very Old Game Revisited’, 2015, FRED.GIAMPIETRO Gallery
Enrico Riley, ‘Untitled: A Very Old Game Revisited’, 2015, FRED.GIAMPIETRO Gallery
Enrico Riley, ‘Untitled: A Very Old Game Revisited’, 2015, FRED.GIAMPIETRO Gallery

Infinite Receptors

These works are part of an ongoing body of paintings and drawings called Infinite Receptors that explores issues related to lived experiences of black bodies today. Most of works were made in Rome, Italy in 2016-17. Specifically, I am looking at the concept of the black body as having been manipulated into a meta–icon efficient at accepting a variety of stereotypes, misrepresentations and expectations. Infinite Receptors also aims to cast light onto historic and contemporary aspects of the greater human condition and how social manifestations of subjugation are linked to the iconography of race. The work is aimed not at didactic readings of politics or current events but rather at pushing the viewer to think about the deeper consequences of our collective behavior while communicating about the vulnerability and suffering of human beings throughout history.


Sept 2015 Giant Steps displayed as part of permanent collection exhibition at
Virginia Museum of Fine Art, Richmond VA
Aug 2015 Prime Matter, Teckningsmuseet, Laholm, Sweden (group)
Jan 2015 About Face: Contemporary Self-Portraiture, Hood Museum of Art, Hanover, NH (group)
Dec 2014 Fusion: Art of the 21st Century, Virginia Museum of Fine Art, Richmond,VA
Jan 2014 Simply Drawn: Gifts to the Columbus Museum from the Collection of
Wynn Kramarsky, Columbus Museum of Art, Columbus Georgia (group)


Oct 2018 Enrico Riley: Recent Work, Giampietro Gallery, New Haven, CT (Forthcoming)
March 2018 The Receptors, Volta Art Fair, New York, New York (Forthcoming) June 2017 2017 Open Studio, American Academy in Rome, Rome, Italy
Feb 2017 Infinite Receptors, SACI Gallery, Florence, Italy
March 2015 Surfer’s Delight, Giampietro Gallery, New Haven CT
Feb 2014 Enrico Riley: Recent Work, AVA Gallery, Lebanon, NH Feb 2013
Portable Vision, Hampshire College, Amherst, MA
Oct 2012 Portable Vision, Jaffe-Friede and Strauss Galleries, Dartmouth College
July 2012 Nonthropology, Pageant Gallery, Philadelphia, PA
April 2012 The Open Window, Fred Giampietro Gallery, New Haven, CT May 2012 Around The Kitchen Table, The Painting Center, New York, NY
Sept 2011Enrico Riley: Works on Paper, Tarrant County College, Fort Worth, TX
July 2011 Enrico Riley, Southern Vermont Arts Center, Manchester, VT
Sept 2009 Enrico Riley, Strauss Gallery, Dartmouth College
Sept 2009 Stars and Constellations, AVA Gallery, Lebanon, NH
April 2008 Golden Cup, Pageant Gallery, Philadelphia, PA
July 2004 Sounding Silence, The Karl Drerup Art Gallery, Plymouth State
University, Plymouth, NH

Sept 2016 American Academy in Rome Residency/ Fellowship, Rome, Italy
Aug 2013 Fountainhead Residency, Miami Florida
June 2001 Vermont Studio Center Residency, Johnson, Vermont
July 2000 Vermont Studio Center Residency, Johnson, Vermont

Studio Visit

Reviews, Papers and Other Press

Miller, Peter Benson, “Essential Forms”, catalog essay, October 2017
Lansdowne, John, “Weapons For Remembering”, catalog essay, October 2017
Rowell, Dr. Charles, Enrico Riley: Paintings, Callaloo, A Literary Journal of African
Diaspora Arts and Letters, (Forthcoming)
Smith, Nicola, “Painter Takes Long View of US”
Valley News, http://www.vnews.com/Enrico-Riley-exhibition-at-Hopkins-Center-12874783, October 5, 2017
Zapp, Molly, “Profile: Enrico Riley”, Art New England, http://artnewengland.com/ed_columns/enrico-riley/, September/October, 2017
Kiers, Olivia, “Summer Reading”, Art New England, http://artnewengland.com/ed_columns/summer-reading-2/, July/August, 2017
Nero, Michele Nero, “Art and Vision of the World at the American Academy”
Artribune, http://www.artribune.com/arti-visive/arte-contemporanea/2017/03/mostra- merican-academy-in-rome/, March, 25th, 2017
Smith, Nicola, “Year in Review”, Valley News,
http://www.vnews.com/Round-Up-of-Art-in-the-Upper-Valley-2016-7103443, December, 29th, 2016
Smith, Nicola, “Painters Get a Space for Conversation at Tip Top”, Valley News, http://www.vnews.com/Art-Notes-3380018, July, 2016
Volpe, Christopher, “About Face: Self-portraiture in Contemporary Art”, Art New England, https://artnewengland.com/ed_review/about-face-self-portraiture-in- contemporary-art/, June , 2015
Stephen Dillon, “Three American Painters Engage in a Dialogue on Primitivism and Expression”, Artsy, March 26, 2015, https://www.artsy.net/post/editorial-three-american- painters-engage-in-a-dialogue
Alexander Schlegel, Prescott Alexander, Sergey V. Fogelson, Xueting Li, ZhengangLu, Peter J. Kohler, Enrico Riley, Peter U. Tse, Ming Meng, “The artist emerges: visual art learning alters neural structure and function”
Neuroimage, Jan 2015, vol. 105:440-451, http://www.sciencedirect.com/science/article/pii/S1053811914009318
Finch, D. Zach, and Riley, Enrico, “Chiamsus”, Fourth and Verse, Ithaca, NY, 2013
Wilkin, Karen, “Portable Vision”, catalog essay, October, 2012
Butler, Sharon, “Quick Study: Geometry, Gesture, and Get Outta Town”, Two Coats of Paint, http://www.twocoatsofpaint.com/2012/05/quick-study-geometry-gesture-and- get.html, May 18, 2012
Kohler, William Eckhardt, “Art Fair Madness Last Weekend: Two Picks”, WordPress, http://williameckhardtkohler.wordpress.com/2012/03/14/art-fair-madness-last-weekend- two-picks/, March 14, 2012,
“NYC Art Fair Recap”, The Ballast NYC, , WordPress, http://theballast.wordpress.com/2012/03/12/nyc-art-fair-recap/, March 12, 2012
Tucker, Mona Lisa, “Art is Whatever You Make of It”, The Collegian, Oct 10, 2011, pp.5
Goode, Joshua, “Enrico Riley: Works on Paper”, catalog essay, September, 2010
Barber, Bonnie, “In the Studio with Professor Enrico Riley ‘95”, Dartmouth Life,
http://now.dartmouth.edu/2010/12/in-the-studio-with-professor-enrico-riley/, December
1, 2010 pp. 4
Panero, James, “Galley Chronicle”, The New Criterion, Volume 29, Number 3, http://www.newcriterion.com/articles.cfm/Gallery-chronicle-6424, November 2010, pp
Wilkin, Karen, “On Paper, Painted, Printed Drawn”, http://www.pagegangster.com/p/rapU6/, catalog essay, September, 2010
Amidon, Catherine, “Enrico Riley: A Journey in Giant Steps”, Music in Art: International Journal for Music Iconography, volume XXXV, http://rcmi.gc.cuny.edu/?page_id=331, 2010,
Hanson, Alex, “Enrico Riley: Taking Inspiration From Music and the Stars”, Valley
News, October 8, 2009, pp. C2
Finch, D. Zachary, “Liner Notes: After Some Paintings by Enrico Riley”, Interval(le)s, II.2-III.1, http://www.cipa.ulg.ac.be/intervalles4/66_riley.pdf Fall/Winter 2008,
Dye, Worthy, “Dartmouth Professor Awarded Guggenheim Fellowship”, The Dartmouth,
http://thedartmouth.com/2008/04/30/arts/riley, April 30, 2008, pp. 10
Hanson, Alex, “Have Guggenheim, Will Travel”, Valley News, April 17, 2008, pp. C2
Coburn, Michael, “Riley Awarded Guggenheim Fellowship”, The Dartmouth, http://thedartmouth.com/2008/04/17/news/riley, April 17, 2008, pp. 1
Wilkin, Karen, “Color as Structure: Structure as Color, Clay Ellis, Jill Nathanson, Enrico
Riley, Ann Walsh”, catalog essay, September, 2006

Rosof, Libby, “Obsessions and Rhythms”, The ArtBlog, http://www.theartblog.org/2005/12/obsessions-and-rhythms/, December 14, 2005
Interview with Shay Zeller, The Front Porch, NHPR, November 16, 2005
Cohen, David, “Gallery Going”, Arts & Letters, The New York Sun, http://www.artcritical.com/DavidCohen/SUN43.htm March 11, 2004
Amidon, Catherine, “Sounding Silence”, catalog essay, July, 2004
Sozanski, Edward, Minimal Attraction”, The Philadelphia Inquirer, May 23, 2003, pp. W24

About Enrico Riley

The work of Vermont-based artist (and visual art professor at Dartmouth College) Enrico Riley seems to vibrate with energetic color and line. In these abstract, almost childlike drawings and paintings of figures and faces, what appears to be spontaneous is actually part of a process of slow and deliberate observation. “I am trying to work with the attitude that many sources and types of subject matter can influence me as I work and that this information can be deployed in a nonlinear fashion,” Riley has said of his works. “There are no set rules about color, composition, style or subject matter. Through the process of making, the works are allowed to find what they need to exist.” Previously, the artist has created abstract works based on musical scores, where color and form stand in for rhythm and tone, as well as figureless monochromatic compositions in white.

American, b. 1973, Waterbury, CT, USA, based in Norwich, Vermont