Working in series that evolved slowly over decades, British-born, New York–based painter Alan Uglow (1941–2011) always remained faithful to his central vision; his practice was unaffected by the increasingly commercial demands of the art scene in the 1980s and 1990s, earning him the “artist’s artist” tag. His paintings revolve around a subtle dialogue between notions of center and edge, and are executed gradually, with several layers of paint. They appear at once calm and dynamic, and simultaneously suggest emptiness and ground. Published to coincide with a 2013 exhibition organized by Bob Nickas at David Zwirner, New York, this indispensable catalogue includes all-new photography of paintings created from the early 1990s through 2011, archival interviews and images, and an exhibition chronology illustrated with images of museum and gallery invitation cards.
Published by Kerber. Edited by Martin Henschel. Text by Donald Alberti, Martin Henschel, John Tremblay.
Towards the end of the 1960s, against the backdrops of Minimalism, Conceptualism and Color Field painting, British artist Alan Uglow (born 1941) began emptying out the pictorial surfaces of his paintings. Stripped to the bare bones, his best-known works are blank canvases outlined in monochromatic bands, works that occupy the space between picture, relief and architectural entity.