In Memoriam: British Pop Artist Derek Boshier

The art world mourns the loss of Derek Boshier, one of the pioneering figures of British pop art. I was fortunate to know Derek personally through my work as an art critic in Los Angeles. One of my fondest memories is a day spent at the Getty Center, where he introduced me to the idiom “straight from the horse’s mouth.” So, if you ever hear me use it, know that I learned it from Derek. During this visit, I also learned about his battle with tongue cancer—an ordeal he overcame, though it didn’t stop him from enjoying a beer now and then. Derek’s stories about art and life were captivating, not just for me but for everyone around him. I recall an artist from the Bay Area, captivated by Derek’s presence, interrupting our conversation in the Getty Center’s halls, a testament to his magnetic charm and social nature.

Derek’s open-mindedness and youthful spirit were particularly remarkable; he defied his age with boundless energy and dedication to his craft. His passion for art never waned, and he had a unique ability to make me feel valued, despite his many accomplishments. This rare and special trait was something I deeply appreciated.

On another occasion, Derek invited me to his home to meet a friend of his, a professor of art whose name I can’t recall, and his ex-wife, artist Patricia González. Patricia, known for her vibrant and nature-inspired works, has made notable contributions to the art world. Her work is held in prestigious collections, including the Phoenix Art Museum in Arizona, the Museum of Fine Arts in Houston, the San Antonio Museum of Art, and the Rockefeller Foundation. Although Derek had planned to pick me up from West LA, he was too tired to make the long drive. Rather than cancel or reschedule, he and his friend generously paid for a taxi to bring me over, despite living quite far from Los Angeles and my lack of a car. The taxi ride cost over a hundred dollars, a gesture that truly reflects Derek’s generosity and thoughtfulness.

I also remember how Derek once wanted to introduce me to David Hockney while he was still living in Hollywood, but unfortunately, I had another commitment and couldn’t attend. These gestures reflect Derek’s considerate nature and his desire to help others connect with meaningful opportunities.

Our paths sometimes crossed at art exhibitions in galleries and museums in California, such as the “British Invasion” exhibit at the Lancaster Museum of Art and History, where he, photographer Jeremy Kidd, and painter David Eddington were featured. It was there I also met Irish-born artist Mary Little, known for her elegant abstract sculptures, which she refers to as tapestries.

The last time I heard from Derek was in February 2021 while I was in the South of France. I had just visited the Francis Bacon MB Art Foundation in Monaco and read about the upcoming exhibit “Francis Bacon: Man and Beast” at the Royal Academy of Arts. England was on my mind, and I started thinking about the British influence in Nice. I contacted Derek to see how he was doing and wrote a piece about him for my blog ARETE, where I mentioned his upcoming exhibit at Garth Greenan Gallery in New York. Although Hyperallergic in New York rejected it in favor of writer John Yau, Derek graciously thanked me for the blog entry and corrected a few details: he was born in 1937, not 1933. He also mentioned that his show at the Armory in Pasadena was not going to happen but that he had four solo shows lined up for that year in Los Angeles, New York, London, and Shanghai at the Art Fair. Derek shared that the full title of his film about a woman who was blind at birth and saw for the first time at age 30 was “I Never Knew the World Was So Beautiful,” and that he had designed the 48-page second songbook for The Clash. He noted that pop groups had been publishing songbooks before MTV started in 1981. Additionally, he informed me that James Scott’s film shot in his studio was titled “Fragments: Derek Boshier Paintings and Drawings.”

Derek also extended an invitation to exhibit his work in the South of France, suggesting that works could be sourced from the London gallery Gazelli Art House, which had over 300 of his works on consignment and sometimes allocated them to Europe.

In addition to his professional achievements, Derek’s creativity extended to the personal touch he brought to his correspondence. When I lived in West LA, I received several letters from him, and I still have one of the envelopes, which now sits in my friend’s garage in North Hollywood. Each envelope was crafted with great care, turning simple correspondence into something special.

Derek had a deep admiration for David Bowie, and one of his most cherished stories was about his collaboration with Bowie and photographer Duffy on the cover of the 1979 album Lodger. Derek was particularly proud of the inventive solution they devised to capture Bowie in a “falling” pose. They constructed a special table that supported Bowie from underneath, completely obscured by his body, with a washbasin below to create the perfect illusion of the falling effect. Derek also worked on the cover of Bowie’s Let’s Dance album, where one of his paintings was projected across Bowie’s figure in boxing gloves. Derek often recounted an anecdote about how David Bowie acknowledged him from the stage during a concert in Houston, reflecting their long-standing friendship.

Derek’s impact on those around him and his contributions to the art world will be remembered with great admiration and respect. His legacy, along with his personal kindness, leaves a lasting impression on me and all who knew him. My sincere condolences go out to his family and his British friends in LA. Derek, along with Jeremy Kidd and David Eddington, formed a trio akin to the Musketeers, bonded by support and camaraderie as expats in America.

Please visit his website for images, as the ones I have are too large to upload. Additionally, feel free to check out my blog ARETE, where I wrote a piece about him on February 8, 2021.

https://www.derekboshier.com/

This photo was taken at a private exhibit opening at painter David Eddington’s home in Venice, California. It features Derek Boshier on the left, myself, photographer Jeremy Kidd, and art critic Peter Frank.