OUT NOW! Utopia, Delirium and Infatuation by @danbaldwinart original limited edition silkscreen prints using Tru-grain. Also available to buy in sets of 3, 6 or 9! @ London, United Kingtom
So excited for the launch! ____________________
#Repost @danbaldwinart with @make_repost
Good to be out in Portugal with @artcatto for a three man print show with @peterblakeartist and @brucemcleanofficial @ben_austin70 @ccagalleries @ccagalleries_international @wortonhallstudios
Happy Birthday 🎁🎈🎂@brucemcleanofficial ____________________ #Repost @danbaldwinart with @make_repost
Celebrating another year alive with artist and legend @brucemcleanofficial @ccagalleries @wortonhallstudios @ccagalleries_international
Available now! The Lord Mayor’s Show 2019 by Nicholas Hely Hutchinson for @lordmayorsshow this Saturday 8th November. Keep an eye out for the CCA Art Bus that will be in the parade! Link in Bio 🔗 @ Lord Mayor Show
New Release by Dan Baldwin Love and Light. Available on our website NOW
#danbaldwin #ccagalleries #screenprint #lightandlove #buyart #newreleases
NEW EDITION COMING SOON by Dan Baldwin printed at Coriander Studios to be released @ccagalleries 💥💥💥💥@danbaldwinart @corianderstudio @wortonhallstudios #screenprint #limitededition #danbaldwin #corianderstudio #wortonhallstudios
Reclaimed Icons: Clown
Edition Size: 50
Image Size: 340 x 610mm
Paper Size: 480 x 776mm
BUY HERE - https://www.ccagalleries.com/artists/peter-blake/other-works/2018/reclaimed-icons--clown.html
Peter Blake also has an incredible exhibition on Paul Stolper Gallery Titled: Reintroducing the clown into Art, which is on until 9th November.
NEW RELEASE - October 2019
'Light Blue Garden Seat with Violet Stalks ' by Bruce Mclean
Bruce Mclean's three latest garden-themed prints were inspired by past paintings of his wife's garden in Spain; his eye drawn to the sculptural nature of the Mediterranean landscape.
Limited Edition Silkscreen Print
Image Size: 830 x 930 mm
Paper Size: 1050 x 1160 mm
Edition of 75
Frank Bowling OBE RA (b. Guyana, 1934) moved to London in 1953, where his artistic career began shortly after his arrival at the Royal College of Art (1959-62). The artist has since established studios in both New York and London.
Bowling began his career as a figurative painter, and was involved in the British Pop Movement of the '50s and '60s. His first solo exhibition, Image in Revolt, was hosted the year Bowling graduated at Grabowski Galleries in London. However, in 1966, Bowling decided to move to New York, aided by his first Guggenheim Fellowship awarded in 1967. Following this move to New York, Bowling’s painting began to turn to abstraction – the field in which his contributions were to be most significant. His pictures, which had always inclined towards a frontal geometric structure of space, became more geometrically complex, guided by principals of mathematics and symmetry. It is during this transitional period in the mid- to late-'60s that Bowling’s seminal body of work, the Map Paintings – a series of quasi-abstract colour fields overlaid with stencilled images of maps of Australia, South America and Africa – was produced.
In 1971, Bowling met Clement Greenberg, who not only became a regular visitor to the artist's studio, but also an important influence to Bowling. Greenberg’s advice and encouragement helped remove any lingering doubts Bowling might have had about his commitment to modernism. The social and political imagery and narrative present in Bowling’s earlier work was replaced by an increasing focus on material, process, and colour. By this time, Bowling had developed a very personal palette for his large, light-filled, lyrical colour abstractions that distinguished his work from that of earlier Colour Field painters working in the USA such as Kenneth Noland, Jules Olitski or Larry Poons. However, never content to stop exploring and experimenting with the possibilities of paint, Bowling continued to innovate with new processes. He subsequently developed a special mechanical apparatus which titled the canvas so he could pour paint onto it, creating the spontaneous fusions of layer and colour now known as the iconic Poured Paintings.
In the early 1980s, the influence of geometry became visible not just in Bowling's paintings, but also in the way he worked with canvas. He started using chunks of Styrofoam to create quasi-sculptural relief, a technique the artist continues to use today. Indeed, Bowling’s recent works produced over the last few years continue to explore the nature and possibilities of abstract painting, the diverse range of principles and processes explored across his career now converging and coalescing in dynamic new configurations of colour and form. This new period of painterly experimentation has received critical acclaim, and has recently been showcased in exhibitions in the UK and US. Bowling continues to orchestrate the emotive potential of colours to communicate a visual experience of uniquely sensuous immediacy.
Bowling's paintings have been exhibited widely and internationally. Selected solo shows include Whitney Museum of American Art, New York (1971); Serpentine Gallery, London (1986); a UK touring retrospective (2003); Royal Academy of Arts, London (2011); Spritmuseum, Stockholm (2014-15); Dallas Museum of Art (2015). In 2017 the Haus der Kunst in Munich presented Frank Bowling: Mappa Mundi, a comprehensive survey of large-scale paintings. Bowling's work can be found in numerous public and private collections including the Metropolitan Museum of Art (New York), Museum of Modern Art (New York), Museum of Fine Arts (Boston), Dallas Museum of Art (Dallas), Royal Academy of Arts (London), Tate Gallery (London), Victoria & Albert Museum (London), and the Whitney Museum of American Art (New York).