Gazelli Art House is delighted to announce its debut at the Dallas Art Fair 2025, presenting a selection of works by pioneering artists Derek Boshier (1937—2024), Pauline Boty (1938—1966), Harold Cohen (1928—2016) and Jann Haworth (b. 1942). This significant display brings together rare and historically important pieces that showcase the groundbreaking contributions these artists have made across painting, drawing, and sculpture.
A key highlight will be Harold Cohen’s rarely exhibited large-scale figurative paintings, presented alongside early AARON drawings and a work from his Painting Machine series. These works offer a unique perspective on Cohen’s groundbreaking fusion of art and code, tracing his transition from traditional painting to computational creativity. Developed in the 1970s at Stanford’s Artificial Intelligence Laboratory, AARON is one of the earliest AI programs for autonomous art-making, capable of making intricate compositions without direct human intervention. Cohen’s research into machine-generated imagery established him as a foundational figure in generative art, influencing subsequent waves of artists working at the intersection of technology and aesthetics. His legacy continues to shape contemporary digital art, with recent institutional recognition including exhibitions at LACMA, the Whitney Museum, and Tate Modern’s Electric Dreams: Art and Technology Before the Internet (On view until June 2025).
Pauline Boty’s Untitled (Red Yellow Blue Abstract) (1961) is one of only four abstract paintings the charismatic artist made in a career that was tragically cut short. Executed just after her graduation from the Royal College of Art, the work captures the dynamism of the Swinging Sixties through its bold colour interplay and shows a dialogue with the work of friends and peers such as David Hockney and Derek Boshier. Complementing this is Boty’s rarely exhibited portrait of mafia boss Big Jim Colosimo (c.1963), rendered in her signature photorealistic black-and-white style and framed within a playful fairground-inspired border. The resurgence of interest in Pauline Boty’s work is evident in exhibitions such as Pauline Boty, A Portrait at Gazelli Art House (2023/4), Capturing the Moment at Tate Modern (2023), and the landmark solo show Pauline Boty: Pop Artist and Woman at Wolverhampton Art Gallery (2013), reaffirming her significance within the Pop Art movement and beyond.
An intimate selection of works by Derek Boshier also features. Taken from his Texas series, painted during his years living in Houston in the 1980s and early 1990s, these include pieces such as Fashion Victim in the Snow (1987) and Sea Visitor (Boat) (1987) which reflect Boshier’s engagement with pop culture iconography, filtered through his sharp wit and European perspective. The thick impasto and exaggerated gestures create a sense of both physical and conceptual tension, and are indicative of Boshier’s critical yet playful commentary on identity, spectacle, and cultural mythmaking.
The booth will also showcase several key works by Pop Art icon Jann Haworth, including the delicate work on paper The Bead (1964), a study for her celebrated Beads and Background (1963—64) sculpture, which is in the collection of Tate. Alongside this will sit an early ‘soft sculpture’ piece titled Dog (1962), first exhibited at the Institute of Contemporary Art in London in 1963. Haworth’s works during this period recontextualised craft as a means of challenging the masculine aesthetics of the Pop Art movement. Throughout the 1960s, she developed a series of cloth-based works which disrupted and complicated depictions of the female form in much of the art of the time, positioning her among the leading figures of British Pop alongside Richard Hamilton and her then-husband, Peter Blake. Haworth’s impact on contemporary art continues to be recognised globally, with several major institutional exhibitions currently on view. Pop Forever at the Fondation Louis Vuitton in Paris, Counterpoint at the BYU Museum of Art in Utah, Pattern: Rhythm and Repetition at Pallant House Gallery in the UK, Iconic: Portraiture from Francis Bacon to Andy Warhol at the Holburne Museum, UK, and Mapping the 60s at mumok, Austria all prominently feature her work. Earlier this year she presented her Work in Progress mural—co-created with collage artist Liberty Blake—as part of the Arts and Culture Programme at the World Economic Forum in Davos, reinforcing her ongoing engagement with themes of representation and social history.
Marking an exciting milestone for Gazelli Art House, this inaugural participation at Dallas Art Fair underscores the gallery’s commitment to championing artists who have challenged artistic boundaries and shaped contemporary discourse from the 1960s to the present day.
