Bridging continents: expanding access to Frank Bowling's artwork with Mapping Frank Bowling
Black and white photograph of Frank Bowling in his 535 Broadway studio in front of a map painting, taken by Tina Tranter 1967. Photo: Tina Tranter ©Estate of Tina Tranter. Courtesy Frank Bowling Archive.
The Frank Bowling Studio has launched Mapping Frank Bowling, a digital catalogue raisonné of the influential artist that initially includes 70 works held in public collections. These works span from 1961 to 2020, representing a remarkable evolution from early figurative pieces through to celebrated abstract paintings that synthesize personal geography with formal innovation.
Bowling's art consistently interrogates questions of identity, place, and the possibilities of painting itself. His rich canvases incorporate map fragments, newspaper clippings, and other collaged elements that speak to memory and displacement, while demonstrating sophisticated color relationships and painterly gesture. These works function as both personal chronicles and broader meditations on post-colonial experience.
The artist's transnational life informs this achievement. Born in Guyana in 1934, Bowling attended London's Royal College of Art in the 1960s, participated in New York's vibrant art scene of the 1970s, and has spent the majority of the past fifty years in London. This geographic mobility becomes embedded in his artistic practice, creating a unique visual language that transcends traditional boundaries.
Recognized as one of Britain's most important painters, Bowling remains a singular voice in contemporary art whose influence extends to celebrated artists working today, making him a crucial reference point for understanding current artistic developments. Sir Frank says: “I am totally preoccupied with making paintings, so I’m extremely grateful to the team cataloguing my work and to the museum collections who have been so supportive.”
A strategic approach to digital cataloguing
This innovative project prioritizes accessibility and engagement while maintaining rigorous scholarly standards. Rather than attempting a comprehensive print publication that might take years to complete, the studio has opted for a modular, expandable digital platform that serves immediate needs while building toward long-term goals.
The decision to focus initially on publicly held works reflects both strategic and practical considerations. These 70 pieces — a deliberately manageable starting point — are accessible to researchers and the public, making the catalogue immediately useful for exhibition planning, educational visits, and scholarly research. As senior researcher Matthew Cheale explains, "We wanted to look beyond the traditional model and have a purpose where people could search and look for artworks that were in public institutions."
This methodology treats the catalogue raisonné as a living document rather than a fixed publication. The digital format allows for continuous refinement and expansion as new information becomes available, while establishing a foundation that can grow systematically without compromising quality or accuracy.
Frank Bowling, Looking West Again, 2020, acrylic, acrylic gel and found objects on canvas with marouflage, 249.5 x 165.6 cm. Courtesy the artist and Hauser and Wirth. Photographed by Damian Griffiths.
Collaborative research methodology
The project's collaborative nature reflects both the international scope of Bowling's work and a methodical approach to data verification. Each artwork entry requires corroboration between institutional records and the artist's studio archive, creating what Cheale describes as "a collaboration in terms of sharing of information, research, and corroboration." This collaboration extends beyond simple data collection to encompass ongoing research partnerships with institutions contributing specialized knowledge about conservation histories, exhibition contexts, and acquisition circumstances.
The studio has engaged directly with major institutions including the Tate, the Metropolitan Museum of Art, MoMA, the Pinault Collection in Paris, and the Fondation Louis Vuitton, among more than 50 museums and public collections worldwide. This extensive institutional network enables comprehensive coverage while ensuring accuracy through rigorous cross-referencing.
Scholarly rigor and expanding access
Mapping Frank Bowling maintains the scholarly standards expected from a definitive catalogue raisonné. Each artwork entry includes complete tombstone information (title, title variations, dimensions, date, and medium) alongside comprehensive exhibition and bibliographic histories. All information has been verified by materials within the artist's archives, ensuring the integrity that researchers and institutions require.
The digital format addresses limitations that have historically constrained access to catalogue raisonnés while enabling new forms of scholarly engagement. Curators can efficiently identify works for potential loans, comparing availability across institutions and accessing detailed technical information necessary for exhibition planning. Educators can plan institutional visits with specific knowledge of which museums house Bowling's works. Scholars can conduct comparative research without the traditional constraints of geographic proximity or limited publication availability. The digital approach also allows for multimedia integration that would be impossible in traditional print formats.
The publication’s clean design prioritizes user experience, which results from the understanding that contemporary audiences, including scholars, expect digital resources to be both comprehensive and intuitive.
Photograph of Frank Bowling in front of Polish Rebecca, 1971 by unknown photographer. Photo: unknown photographer. Courtesy Frank Bowling Archive
Global reach, cultural impact, and new audiences
While Bowling’s career and importance are well understood in the United States and the United Kingdom, the project specifically aims to expand awareness in Europe and Asia through the global reach of digital platforms. This geographic expansion reflects both the transnational nature of Bowling's practice and the widening impact of digital scholarship.
The project serves audiences "beyond the traditional model," functioning simultaneously as a scholarly resource and a tool for public engagement. The studio plans to integrate the publication with expanded social media outreach, using the catalogue as a research tool for promoting works in public collections through digital channels. This integration demonstrates how digital catalogue raisonnés can function as both authoritative scholarly resources and accessible public education tools.
Future development and expandable architecture
The current version of Mapping Frank Bowling represents the foundation for a more comprehensive catalogue raisonné designed with systematic expansion in mind. The initial 70 works serve as both a complete resource of his works in public collections and the structural basis for future additions. Subsequent additions of works will expand chronologically and thematically. The modular approach allows for responsive development based on user feedback and scholarly needs, with the platform evolving to meet emerging research requirements and technological possibilities.
Additional future developments aim to include enhanced provenance information, individual artwork essays commissioned from writers, art historians, and conservators, and potentially a collector's list. The project also anticipates incorporating extensive archival materials, with plans to digitize and publish exhibition checklists, installation photographs, and other documentation related to specific artworks. This archival integration will transform individual artwork entries into comprehensive research resources that document not only the works themselves but their cultural trajectories and institutional histories.
Implications for future art historical scholarship
Beyond its function as a research tool, Mapping Frank Bowling signals broader changes in how catalogue raisonnés are conceived and used. Its modular approach moves away from static publication toward living resources that evolve with new scholarship and discoveries. Ben Bowling, studio co-director says: “Our work is driven by scholarship so it’s wonderful to be publishing a resource that is accessible globally to art historians, curators, students and the general public. It opens new lines of inquiry about my father‘s artworks and represents a step change in accessibility to the paintings and information about them.”
The project's success may influence how future catalogue raisonnés are conceived, funded, and executed, particularly for artists whose work spans multiple continents and cultural contexts. As art professionals grapple with questions of accessibility, global reach, and digital scholarship, Mapping Frank Bowling offers a practical model for reimagining traditional art historical tools for contemporary needs without sacrificing scholarly integrity.
