Frieze London

Frank Bowling | Carolee Schneemann | Anwar Jalal Shemza | Gladys Nilsson | Sunil Gupta
2 - 6 October 2019

Hales at Frieze London 2019 

Stand D2 

Regent’s Park

London, NW1 4NR


Preview days: 2 - 3 October 2019

Public days: 4 - 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 – Frank Bowling, 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. 


Succeeding his major retrospective at Tate Britain (2019), a spectacular recent work by revered British painter Frank Bowling (b. 1934 Guyana) is included in the presentation. A number of recent works formed a dedicated section of the retrospective, which is testament to their significance and demonstrates the artist’s ongoing commitment to abstraction and his ability to continuously challenge the medium. Exploring the nature and possibilities of paint, Bowling still experiments with a diverse range of formal devices and processes, ranging from stitched canvas frames to mixed media collage and poured paint. In recent years Bowling has produced some of the most exciting and challenging compositions of his career, as he continues to orchestrate the emotive potential of colours to communicate a visual experience of uniquely sensuous immediacy. Bowling is included in Tate’s blockbuster touring show Soul of a Nation: Art in the Age of Black Power which opens at de Young Museum, San Francisco, CA in November, 2019. His paintings are also currently on view in prestigious public collections at The Met Museum, NY; The Minneapolis Museum of Art, MN; and Menil Collection, TX, USA.


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, specifically the time period 1638-1739, when Delhi was rebuilt as Shahjahanabad by the builder of 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) first came to prominence as a member of the Hairy Who – a group of graduates from the Art Institute of 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 figures 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 of London, London, UK, toured to: De La Warr Pavilion, Bexhill On Sea, 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 (1970/2004), 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 definitive 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 fictional 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 outstanding formalist vocabulary in the tradition of Mondrian or Klee with the calligraphic strokes of the Arabic alphabet. Key works from Shemza’s oeuvre 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.