Dallas Art Fair: Booth A5

10 - 13 April 2025

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.

  • Derek Boshier, 1937 – 2024
    Derek Boshier, 2021 © Dhiren Dasu 

    Derek Boshier

    1937 – 2024

    The variegated practice of Los Angeles-based, English artist Derek Boshier is coined by astute and wry observations of popular culture. Among the first exponents of British Pop Art, what distinguished Boshier from contemporaries — including Peter Blake, Patrick Caulfield, and Pauline Boty — was his trademark brand of satirical social commentary.

     

    Together with fellow RCA students David Hockney, Allen Jones, Peter Philips, and R. B. Kitaj, he participated in the landmark 1962 Young Contemporaries exhibition that brought Pop Art to the attention of the wider public. Boshier worked in a variety of media, including painting, drawing, collage, and sculpture. In the 1970s, he expanded from painting to photography, film, video, assemblage, and installations, yet he returned to painting by the end of the decade. On what shapes his work, Boshier commented: “Most important is life itself, my sources tend to be current events, personal events, social and political situations, and a sense of place and places”.

     

    Boshier’s work has appeared in many museum exhibitions, including: the Walker Art Center, Minneapolis; Tate Britain and British Museum, London; Brooklyn Museum, New York; Centre Pompidou, Paris. In 2016 Boshier was the recipient of the Honorary Fellowship of the RCA as well as receiving the Guggenheim fellowship and NEA award for the arts. Notably too, he was an accomplished teacher and lecturer.

  • 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.

  • Pauline Boty, 1938 – 1966
    Untitled (Pauline Boty on a Bed) © Michael Ward

    Pauline Boty

    1938 – 1966

    Pauline Boty was was born in South London, and embarked on her artistic journey with a scholarship to Wimbledon School of Art in 1954. In 1958, she continued her studies at the Royal College of Art. Boty’s diverse body of work, encompassing paintings, collages, and stained glass, often depicted individuals she deeply admired, celebrated her unapologetic femininity, and explored themes of female sexuality. As her career progressed, her paintings began to incorporate more overt or implicit critiques of the male-dominated societal norms she confronted, thus shedding light on the inequalities of the “man’s world” in which she navigated. Boty’s artwork is held in the collections of: The National Portrait Gallery, London; Tate Britain, London; Wolverhampton Art Gallery, Wolverhampton; Stained Glass Museum, Ely; Pallant House Gallery, Chichester; Muzeum Sztuki Łódź, Portugal; Museu Coleção Berardo, Lisboa; Smithsonian American Art Museum, Washington.

  • 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. 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.

  • Harold Cohen, 1928 – 2016
    Harold Cohen with SGI System, Boston Computer Museum, 1995 © Hank Morgan & Harold Cohen Trust

    Harold Cohen

    1928 – 2016

    Harold Cohen was a British artist whose innovations at the forefront of technology changed the face of computer art. Working at the intersection of art and artificial intelligence since the late 1960s, Harold Cohen was the creator of AARON, one of the earliest AI computer programs designed to produce paintings and drawings autonomously. His work was exhibited extensively throughout his life at major institutions including Tate London, Institute of Contemporary Arts, Whitechapel Gallery, LACMA and SFMOMA. 

     

    Having graduated from Slade School of Fine Art, Cohen’s first solo exhibition was held at Ashmolean Museum, Oxford in 1951 and by the mid-1960s he was recognized as one of Britain’s best regarded painters. In 1966, he was selected to represent Great Britain at the Venice Biennale. Two years later at the height of his career as a painter, he decided to relocate to the United States as a visiting lecturer at the University of California in San Diego. He learned the programming language FORTRAN and in 1971 was invited to spend two years at the Stanford University’s Artificial Intelligence Laboratory (SAIL) where he developed his ideas about machine-generated art which would eventually lead to the development of AARON, the AA drawing program that he continued to work on for the rest of his life.

     

    The first major exhibition of his early work with computer-generated art was at LACMA in 1972 and throughout that decade his work was exhibited at Documenta 6 in Kassel, the Stedelijk Museum in Amsterdam and San Francisco Museum of Modern Art. He continued his work at UC San Diego as professor, Chairman of the Visual Arts Department and eventually in 1992, Director of the Centre for Research in Computing and the Arts. 

     

    Following his retirement in 1994 from the university, he continued to work on AARON and produce new artwork in his studio in Encinitas, California. In 2014, Cohen received the ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Art. Harold Cohen regarded artificial intelligence as a tool to better understand his own ways of perception and meaning and his work with algorithms and plotters inspired multiple generations of artists who use code in their practice.

  • 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. 

  • Harold Cohen, Machine Painting Series TCM#21, 1990-2000 Harold Cohen, Machine Painting Series TCM#21, 1990-2000
  • Jann Haworth, B. 1942
    Jann Haworth, 2021 © Chad Kirkland.

    Jann Haworth

    B. 1942

    Among the defining Pop artists, Jann Haworth’s distinctive and restless artistic individuality is infused with wit and material sensitivity. Haworth is recognised as an advocate for female representation in the art world and uses innovative mediums to respond to contemporary culture. A pioneer in soft sculpture, Haworth has extended the reach of what has traditionally been deemed craft into the realm of fine art. 

     

    Born in Hollywood California, Haworth is closely associated with the 60’s pop art movement in the UK. Her work is in permanent collections of Tate Britain in London, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., Walker Art Center in Minneapolis, Sintra Museum of Modern Art de Belem, Lisbon and Le Delta Museum, Namur. Recent museum acquisitions include Scottish National Gallery of Modern Art, mumok, Vienna, Moderna Museet Stockholm, and the Nora Eccles Harrison Museum of Art, Utah.

  • 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.

  • Additionally Available Artworks

  • Lilly Fenichel, 1927 – 2016
    Lilly Fenichel © Lilly Fenichel Foundation

    Lilly Fenichel

    1927 – 2016

    Lilly Fenichel was born in Vienna, Austria, to a Jewish family. She fled the Nazi invasion in 1939 and eventually settled in Hollywood, where she studied at the Chouinard Art Institute and the California School of Fine Arts under Hassel Smith, Edward Corbett, David Park and Elmer Bischoff. In 1952, Fenichel moved to New York, shared a studio with Harland Jackson and taught art classes at the Museum of Modern Art. Her contemporaries included Mark Rothko, Jackson Pollock, and Franz Kline.

     

    She returned to California and spent many years in Los Angeles, notably showing at the Santa Barbara Museum of Art in 1968. Following a move to New Mexico, she became a member of the Taos Moderns. She was the recipient of three Pollock Krasner grants. 

     

    Fenichel had exhibitions and is in the permanent collection of major museums including LACMA, the Crocker Museum, the Denver Art Museum, the Santa Barbara Museum of Art and the Albuquerque Museum of Art. Fenichel’s work was recently featured in Action, Gesture, Paint: Women Artists and Global Abstraction 1940-70 at the Whitechapel Gallery in London.

  • Lilly Fenichel, Lil Peep, 2014 Lilly Fenichel, Lil Peep, 2014