Frieze London Basil Beattie Carolee Schneemann Anwar Jalal Shemza - - PDF document

Frieze London

Basil Beattie Carolee Schneemann Anwar Jalal Shemza Gladys Nilsson Sunil Gupta

Hales Gallery Booth D2 Regent’s Park, Ulster Place London, NW1 4PJ 2 – 6 October 2019 Private Day (by invitation only): Wednesday 2 October Preview: Thursday 3 October Public Days: 4 – 6 October

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Hales Gallery Frieze London Booth D2 2 – 6 October 2019 Hales is delighted to announce its return to Frieze London for its 2019 edition, with a group presentation of esteemed artists from the gallery’s roster – Basil Beattie, Sunil Gupta, Gladys Nilsson, Carolee Schneemann and Anwar Jalal Shemza. Diverse in perspective and their respective practices, their work is being exhibited globally to much critical acclaim. Basil Beattie RA (b. 1935 West Hartlepool, UK) has, over a practice spanning sixty years, formed a unique lexicon of pictorial imagery and gestural

• abstraction. In the late 1980s Beattie embarked on a new group of paintings

which constituted a visual manifesto – establishing imagery and a painterly style that the artist has since become synonymous with. Legend (1986) was the fjrst painting made in this pivotal series and was shown in a seminal show at Curwen Gallery in 1987. In the monumental painting, Beattie creates a grid of delineated boxes in which energetic brushstrokes threaten to burst

• ut of the structure. In each section simple pictograms read as ladders,

towers or arches – motifs he would return to throughout his career. Legend was included in Beattie’s major retrospective at Middlesbrough Institute of Modern Art, UK (2016). He has had signifjcant solo exhibitions at prestigious institutions such as Royal Academy and at Tate Britain, both UK. Sunil Gupta (b. 1953 New Delhi, India) has maintained a visionary approach to photography, producing a rich body of work that has pioneered a unique social and political commentary. The series Tales of a City: Delhi (2004) developed from research into the historical sites of Delhi, specifjcally the time period 1638-1739, when Delhi was rebuilt as Shahjahanabad by the builder

• f the Taj Mahal. Gupta’s evocative photographs depict important intricate

historical sites in the context of present-day life in India. Gupta is included in group exhibitions: Moving Still: Performative Photography from India at Vancouver Art Gallery, Canada (2019); and Art After Stonewall: 1969- 1989 at Frost Art Museum, Miami (September 2019-January 2020). In 2020, Gupta will be the subject of a touring retrospective, a collaboration between The Photographers’ Gallery (London, UK) and the Ryerson Image Centre (Toronto, Canada). Gladys Nilsson (b. 1940 Chicago, IL, USA) fjrst came to prominence as a member of the Hairy Who – a group of graduates from the Art Institute

• f Chicago - who amassed a cult following through a series of innovative

exhibitions in the late 1960s. A Table (2014) depicts a playful narrative, masterfully executed in vibrant watercolour and characterised by a densely constructed composition, in which fjgures press up against the picture plane. Gladys Nilsson has recently been included in exhibitions: Hairy Who? (Art Institute Chicago, IL, USA), Outliers and American Vanguard Art (National Gallery of Art, D.C., USA, toured to: High Museum of Art, Atlanta, GA, USA; Los Angeles County Museum of Art, CA, USA) and How Chicago! Imagists 1960s & 70s (Goldsmiths Centre for Contemporary Art, University

• f London, London, UK, toured to: De La Warr Pavilion, Bexhill On Sea,

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East Sussex, UK). Carolee Schneemann (b. 1939, Fox Chase, Pennsylvania – d. 2019, New Paltz, NY, USA), winner of 2017 Venice Biennale’s Golden Lion for Lifetime Achievement Award, has reshaped discourse on gender, sexuality and the

• body. Incorporating her physical body and subjective experience, throughout

her career she insisted on her status as both image maker and image. Her work, ranging from painting-constructions and assemblages to kinetic multimedia installations, transcends the boundaries of media and discipline. In Portrait Partials (1970/2007), Schneemann creates a grid out of black and white photographs of intimate body parts. Taking each human feature out of context, standardising the images in a defjnitive structure, removes the body from a cultural framework. In 2019, Schneemann’s work was included in a group exhibition, The Feminist Avant-Garde: Works from the SAMMLUNG VERBUND at The Brno House of Arts, Brno, Czech Republic. In 2015, Schneemann was celebrated in a retrospective, Kinetic Painting at Museum der Moderne Salzburg, Austria, which toured to Museum fur Moderne Kunst, Frankfurt Germany and MoMA PS1, New York, USA in 2017. Anwar Jalal Shemza (b. 1928 Simla, India - d. 1985 Stafford, UK) repeatedly sought to break down the structure of shapes to come to a resolved

• understanding. Parallels can be drawn between a looping structure of

language found in his fjctional writing and the arrangements he developed through painting. In his compositions, layered elements are distilled into an intensive exploration of geometric abstraction and pattern, built up mostly using just two simple forms: the square and the circle. Square Composition 13 (1963) is exemplary of an unwavering dedication to form and process. Through extensive experimentation, the artist cultivated an

• utstanding formalist vocabulary in the tradition of Mondrian or Klee with

the calligraphic strokes of the Arabic alphabet. Key works from Shemza’s

• euvre were recently exhibited at the Sharjah Biennial 14: Leaving the Echo

Chamber (2019), curated by Omar Kholeif. In 2015 a selection of his works were presented in a BP display at Tate Britain, London.

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ABOUT HALES GALLERY Founded by Paul Hedge and Paul Maslin in 1992, for over two decades Hales Gallery has been a focal point for artists, collectors and institutional fjgures alike and has formed an important environment for the development and distribution of artworks and ideas. At the core of the gallery’s principles is the nurturing of emerging talents alongside that of some of the 20th and 21st centuries’ most signifjcant creative fjgures. In 2004 Hales moved to its current space in London’s East End borough of Shoreditch. In March 2016, the gallery opened an exhibition space in New York’s Lower East Side, before expanding to a prime gallery location in Chelsea, New York in October 2018, continuing to present an international, engaging programme. Hales Gallery regularly places its artists’ works in the collections of some of the world’s most signifjcant private and public collections and works closely with respected curators and advisors in doing this. Some examples of the museum collections which have acquired works by Hales Gallery artists include Tate (London), Victoria & Albert Museum (London), The Whitney Museum of American Art (NYC), MoMA (NYC), The Metropolitan Museum

• f Art (NYC) and the Brooklyn Museum (NYC).

ABOUT FRIEZE LONDON One of the world’s most infmuential contemporary art fairs, Frieze London is

• ne of the few to focus only on contemporary art and living artists. Featuring

more than 160 of the world’s leading galleries, the fair represents some of the most exciting artists working today, from the emerging to the iconic; and a team of world-leading independent curators advise on feature sections, making possible performance-based work and ambitious presentations by emerging

• galleries. Frieze takes place at the heart of its host city, forming part of

London’s vibrant cultural fabric and international art scene.

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Basil Beattie, Legend, 1986 Oil on canvas 257.5 x 364.5 cm, 101 3/8 x 143 1/2 in

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Carolee Schneemann, Portrait Partials, 1970/2007 Gelatin silver print in thirty-fjve (35) parts Framed: 95.3 x 97.2 cm, 37 1/2 x 38 1/4 in Edition of 8 (#6/8)

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Anwar Jalal Shemza, Square Composition 13, 1963 Oil on hardboard Framed: 65 x 65 cm, 25 5/8 x 25 5/8 in

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Anwar Jalal Shemza, Square Composition 14, 1963 Oil on hardboard Framed: 65 x 65 cm, 25 5/8 x 25 5/8 in

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Gladys Nilsson, A Table, 2014 Watercolour and gouache on paper Framed: 119.2 x 83.4 x 5 cm, 46 7/8 x 32 7/8 x 2 in

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Gladys Nilsson, Being Beamed, 1984 Watercolour on paper Framed: 93.1 x 124.3 x 5 cm, 36 5/8 x 49 x 2 in

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Gladys Nilsson, A Table, 2008 Watercolour and gouache on paper Framed: 39.6 x 31.9 x 3.8 cm, 15 5/8 x 12 1/2 x 1 1/2 in

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Sunil Gupta, Red Fort, 2004 Inkjet print, unframed Image: 100 x 60 cm, 39 3/8 x 23 5/8 in Edition of 5 (#1/5)

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Sunil Gupta, Red Fort, 2004 Inkjet print, unframed Image: 100 x 60 cm, 39 3/8 x 23 5/8 in Edition of 5 (#1/5)

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Sunil Gupta, Red Fort, 2004 Inkjet print, unframed Image: 100 x 60 cm, 39 3/8 x 23 5/8 in Edition of 5 (#1/5)

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Sunil Gupta, Humayun’s Tomb, 2004 Inkjet print, unframed Image: 100 x 60 cm, 39 3/8 x 23 5/8 in Edition of 5 (#1/5)