Frank Bowling (b.1934, Bartica, Guyana) is attracting ever-growing international recognition as an abstract painter. This is the first publication to examine Bowling’s art and ideas in relation to sculpture. Lavishly illustrated, it features an extended essay by curator Sam Cornish charting Bowling’s interactions with sculpture since the 1960s. The book asks how seeing Bowling’s sculpture, and thinking about sculpture more broadly, may extend our understanding of his pictorial language. Considering this relationship also highlights the importance of sculpture to High Modernism, from within which Bowling’s mature art emerged. Also included are an in-conversation between Allie Biswas and sculptor Thomas J. Price, and a poem dedicated to Bowling by sculptor and author Barbara Chase-Riboud.

Sam Cornish is a writer and curator. His publications include Bram Bogart (2011), John Panting: Sculpture (2012), Robert Motherwell: Works on Paper (2013), Gary Wragg: Constant Within The Change (2014), Stockwell Depot, 1967–79 (2015) and Mali Morris: Painting (2019). He co-curated the Arts Council touring exhibition Kaleidoscope: Colour and Sequence in 1960s British Art (2017–18). Along with Wiz Patterson-Kelly, he is editor of the catalogue raisonné of John Hoyland’s paintings on canvas.