Frank Bowling

Map Paintings

1967—1971

Texas Louise, 1971
Acrylic on canvas
111.1 x 261.75 in
For Edvins, 1972–73
Acrylic on canvas
107.6h x 190.5w x 1.25d in
Penumbra, 1970
acrylic and spray paint on canvas
89.75h x 276.3w in (228h x 702w cm)

Marcia H Travels, 1970
Acrylic on canvas
111.25h × 213w in (282.58h × 541w cm)
Collection of Dallas Museum of Art, TX

Australia to Africa, 1971
Acrylic and spray paint on canvas
110.25h x 280.25w in (280h x 712w cm)

 

Description

After moving to New York in 1966, Frank Bowling began to create his Map Paintings (1967—71). Featuring continental landmasses spray-painted with stencils, these works marked a dramatic evolution in his pictorial language, reorienting his critical approach as he strived to combine an investment in abstract painting with political and personal concerns. The curator Okwui Enwezor expands, “by staking a ground around the idea that abstraction need not be disunited from content, especially as it intersects cultural experience and historical subject matter, Bowling boldly experimented with diverse modes of building a painted surface.”

Rejecting the graphic formalism of pure abstraction, Bowling structured the Map Paintings around references to post-colonialism and his own Afro-Caribbean roots. As a result, the art historian Kobena Mercer argues that these works “began to decolonize the entire archive of the imperial world picture.” As Mercer explains, through their combination of personal history and geography, a symbol of both home and exile, “[Bowling’s Map Paintings] brushed against the grain of postwar movements that decried oppression in the name of universal Man, opening instead onto a decolonial space of decentering.” Presenting painting as subjective, the series highlights the fallacy of formalism’s structural autonomy and universalism while constructing a political cartography centered on social and artistic identity.