Hales Gallery is proud to announce its participation in the 2018 edition of Dallas Art Fair, presenting historic and recent works united by a fusion of British and American cultural and aesthetic influences.
Frank Bowling, Garth Evans, IAIN BAXTER& and Mary Webb were all born in or spent their formative years in the UK. Embarking on their careers in the 1950s, this group of artists were developing their practice during a shift in focus away from Europe, towards New York. The selection of works presented focus on a key moment in the emergence of a global art world and a confluence of different national art historical trajectories. In Britain in the 1950s, there were several influential exhibitions of American art (most notably ‘Modern Art in the United States’ in 1956 and the European tour of ‘The New American Painting’ in 1959, both held at Tate Gallery) which left a distinct impression on this group of artists, inspiring them to travel to the US either to visit or settle permanently. Their diasporic experience means there are intersecting ideologies that feed into their individual practice.
After moving to New York, Frank Bowling’s work turned towards abstraction, the field in which his contributions were to be most significant. Encouraged by Clement Greenberg, Bowling became committed to modernism, focusing on material, process and colour. Splitting his time between studios in New York and London, his artistic practice throughout his career has been stimulated by both contexts. Presented at Dallas Art Fair for the first time, Untitled (After Hafif) (1969) was made during his formative years in the United States and is part of the seminal Map Paintings series.
IAIN BAXTER& moved from England to Canada at an early age. After studying at university in the US, he returned to Canada where he has become one of the most influential conceptual artists in the country and thought to be as radical as his American counterparts. IAIN BAXTER&’s inflatable sculptures of the late 1960s revise the physically and conceptually weighty artworks of the Minimalist movement with playful humour; transforming iconic works into soft, drooping sculptures and gently mocking the esteem held for these infamous and serious artists.
Central to Garth Evans’ practice is a dedication to process and a painstaking work ethic, creating a personal bond between himself and the inner life of the piece. Early reliefs by Garth Evans see a break from the constructivists in Britain with the inclusion of curved edges. The curves cast shadows, an interplay of light giving the illusion of different shades of colour. This geometric work signifies Evans moving away from the figurative and towards abstraction. In 1979, Evans moved permanently to the United States, working with new vigour. Favouring a life in America at the cost of removing himself from the British art scene.
Mary Webb’s practice was undoubtedly shaped by the exhibition ‘New American Painting’ in 1959, the principles of Abstract Expressionism having a lasting effect. An experienced colourist, she has dedicated her practice to exploring the abstract form. In the Utah Series, Webb makes direct reference to the American landscape. Having visited the Grand Staircase, the grid in the paintings allude to seismic shifts that shaped the land millions of years ago. As she draws inspiration from the places she visits, the work may be abstract but Webb has the sensibility of a landscapist.
Featuring Works By:
- Frank Bowling
- Garth Evans
- IAIN BAXTER&
- Mary Webb
- 7 Bethnal Green Road
- London UK E1 6LA
- 64 Delancey Street
- New York NY 10002