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Alan Uglow was born in Luton\, England\, in 1941 and died in New York in 2011 (at the age of 69). The son of a master carpenter\, he at tended art school from a young age and became increasingly drawn towards no n-figuration during the 1960s\, at a time when abstract art was still relat ively unpopular in Britain. Following a visit to New York in 1968\, Uglow m ade a permanent move across the Atlantic in 1969\, and settled in the then burgeoning artist neighborhood of SoHo.

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Uglow quickly gained a repu tation as an “artist’s artist.” He sustained himself as a printmaker for ar tists including Jim Dine\, while working slowly and patiently on his own pa intings. Characterized by a meticulous\, even intuitive\, attention to scal e and composition\, these are often monochromatic or chromatically neutral. Piet Mondrian was a great inspiration for Uglow throughout his career\, as were Alberto Giacometti\, Barnett Newman\, and Ad Reinhardt.

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Worki ng in series that evolved slowly over decades\, Uglow always remained faith ful to his central vision and his practice was unaffected by the increasing ly commercial demands of the art scene in the 1980s and 1990s. His painting s 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.

\n< p>Writing for the exhibition catalogue accompanying Uglow’s 1992 exhibition at the Kölnischer Kunstverein\, curated by Marianne Stockebrand\, Saul Ost row notes:

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“His work constitutes a praxis\, a unity of theory and p ractice which allows each element of painting to interrogate the other as w ell as itself. Uglow has used the conflicting\, often contradictory traditi ons of geometric abstract art as a means to re-establish painting’s critica l functions\, and the artist’s self-criticality….The resulting paintings ar e eloquently silent\, indicating that painting is a trope from which we may learn to question the manner in which we have learned to see the world.”1< /p>\n

 

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1 Saul Ostrow\, “Getting it Right: Once More with Meaning \,” Alan Uglow. Exh. cat. (Cologne: Kölnischer Kunstverein\, 1992) \, pp. 49-50.

DTEND:20130323 DTSTAMP:20140419T023243 DTSTART:20130219 GEO:40.7456795;-74.0069918 LOCATION:David Zwirner- 519 W. 19th\,519 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alan Uglow UID:258858 END:VEVENT BEGIN:VEVENT DTEND:20130219T200000 DTSTAMP:20140419T023243 DTSTART:20130219T180000 GEO:40.7456795;-74.0069918 LOCATION:David Zwirner- 519 W. 19th\,519 W. 19th Street \nNew York\, NY 100 11 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alan Uglow UID:258859 END:VEVENT END:VCALENDAR