John Hoyland: Power Stations
Paintings 1964 –1982
8 OCT 2015 – 3 APR 2016
‘Power Stations’, Newport Street Gallery’s inaugural exhibition, presents a selection of Hoyland’s large-scale works dating from 1964 to 1982, displayed throughout all six of the gallery’s exhibition spaces. The first major survey of the artist to be presented since 2006, ‘Power Stations’ spans a pivotal period in Hoyland’s career, punctuated by his first solo museum show, at the Whitechapel Gallery in 1967, and his defining retrospective at the Serpentine Gallery (1979–80).
Hoyland’s rejection of figurative painting occurred in the late 1950s following his introduction to the work of American abstract expressionists such as Barnett Newman, Robert Motherwell, Jackson Pollock and Mark Rothko. The young artist was also informed by the emergence of formalist theory as a major innovating force within British sculpture, as exemplified by the work of Anthony Caro, with whom Hoyland was to become a collaborator and close friend. Describing abstraction as a ‘revolution of twentieth century art’, Hoyland began making early enquiries into how rational thought and visual perception could be used as the sole basis for pictorial composition….
Exhibitions at Newport Street Gallery will vary between solo and group shows of artists from Hirst’s diverse collection, which contains over 3,000 works. At 37,000 square feet, the gallery includes six gallery spaces, a restaurant and shop, as well as a large-scale LED screen, which has been erected on the outside of the building.
Newport Street Gallery
London, SE11 6AJ
Since posting Emyr Williams has written a review of the exhibition on the ABCRIT website:
…..John Hoyland was very much the transatlantic painter during this period. The works on show are a European /American fusion; a sort of easel meets west. Big, strident fields of highly chromatic, intensely saturated colours, stained into the canvas, greet us as we enter the ground floor gallery spaces. Initially it’s a ‘wow’ moment; so much abstract painting is rustic and dinky these days that the chance to see works like this is a bit of an oasis in the desert. I am more than ever convinced that when it comes to abstract painting, the bigger the better. Moving through the chromatic fields and giant geometries we walk up stylish stairs to the upper floor to see a series of paintings with more awkward junctures of shapes – diamonds which balance on the edges of paintings and squares that jar against forms or clouds of impastoed colour. There’s little or no let up in the colour intensity. It’s all heady stuff and the gallery space is fantastic……