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This gorgeously illustrated volume offers new perspectives on Helen Frankenthaler’s art, taking a detailed look at her large-scale paintings that allude to landscapes, both real and imagined. Helen Frankenthaler (1928–2011) has long been recognized as one of the great American artists of the twentieth century. A member of the second generation of postwar American abstract painters, she is widely credited with expanding the possibilities of abstraction through her invention of the soak-stain technique, while at times referencing figuration and landscape in highly personal ways. This volume explores references to landscape in Frankenthaler’s paintings over a period spanning more than two decades, beginning in 1952, just prior to her breakthrough to stain painting. Focusing on fourteen works, it examines an extraordinary variety of gesture, from linear drawing to areas of lush, stained color and flatter, more opaque applications of paint. An essay by art historian Robert Slifkin considers the complex evocations of space in Frankenthaler’s works of this period. Richly illustrated with full-color plates, details, and documentary photographs, Imagining Landscapes offers a close and detailed look at the artist’s approach to painting over this twenty-five-year period.
This striking new book features 18 paintings by the renowned American abstract painter Helen Frankenthaler. Showcasing eighteen of Frankenthaler’s paintings, dating from 1962 to 1987, this beautiful book highlights the diverse relationship between drawing and painting evident in the artist’s work. The book includes color plates of all 18 works, as well as nine double-page spread details. Never-before-published documentary material appears throughout new and insightful texts by John Elderfield, Francine Prose, and Carol Armstrong. This book accompanies the 2016 exhibition of Frankenthaler’s work at Gagosian Gallery Beverly Hills.
A National Book Critics Circle finalist • One of Vogue's Best Books of the Year A dazzling biography of one of the twentieth century's most respected painters, Helen Frankenthaler, as she came of age as an artist in postwar New York “The magic of Alexander Nemerov's portrait of Helen Frankenthaler in Fierce Poise is that it reads like one of Helen's paintings. His poetic descriptions of her work and his rich insights into the years when Helen made her first artistic breakthroughs are both light and lush, seemingly easy and yet profound. His book is an ode to a truly great artist who, some seventy years after this story begins, we are only now beginning to understand.” ―Mary Gabriel, author of Ninth Street Women At the dawn of the 1950s, a promising and dedicated young painter named Helen Frankenthaler, fresh out of college, moved back home to New York City to make her name. By the decade's end, she had succeeded in establishing herself as an important American artist of the postwar period. In the years in between, she made some of the most daring, head-turning paintings of her day and also came into her own as a woman: traveling the world, falling in and out of love, and engaging in an ongoing artistic education. She also experienced anew―and left her mark on―the city in which she had been raised in privilege as the daughter of a judge, even as she left the security of that world to pursue her artistic ambitions. Brought to vivid life by acclaimed art historian Alexander Nemerov, these defining moments--from her first awed encounter with Jackson Pollock's drip paintings to her first solo gallery show to her tumultuous breakup with eminent art critic Clement Greenberg―comprise a portrait as bold and distinctive as the painter herself. Inspired by Pollock and the other male titans of abstract expressionism but committed to charting her own course, Frankenthaler was an artist whose talent was matched only by her unapologetic determination to distinguish herself in a man's world. Fierce Poise is an exhilarating ride through New York's 1950s art scene and a brilliant portrait of a young artist through the moments that shaped her.
This exhibition catalogue offers an in-depth look at a brief but critical period in Helen Frankenthaler's career, the years 1962 and 1963, when she "composed with color" rather than with line, resulting in the freer compositions that would become the hallmark of her long and prolific career. These years are notable not only for her development of a personal vocabulary of abstraction, but also for her early experiments with acrylic, rather than oil, paint. The marked new direction of her painting is evident in these vivid canvases, presented beautifully as full-page plates.
Published to accompany the exhibition Jackson Pollock held the Museum of Modern Art, New York, from 1 November 1998 to 2 February 1999.
Catalog of an exhibition held at Gagosian Gallery, New York, Mar. 8-Apr. 13, 2013.
This lavishly illustrated book offers a detailed look at the evolution of Helen Frankenthaler's sumptuous evocations of the natural world in paintings spanning forty years. Famous as the inventor of the "soak-stain" technique that ushered in Color Field painting in the mid-twentieth century, Helen Frankenthaler (1928-2011) continued to create powerful, original abstractions throughout her lifetime. This volume focuses on a selection of paintings that reveal the relationship between the pittura and the panorama in her work over the course of four decades. As Frankenthaler scholar John Elderfield notes, this interplay between works that are reminiscent of easel paintings, though made on the floor, and large, horizontal canvases that open onto shallow but expansive spaces, as panoramas do, was intrinsic to the artist's development. In an original essay, Pepe Karmel traces connections between Frankenthaler's sumptuous evocations of what she called "the atmosphere of landscape" and inspirations ranging from sixteenth-century Venetian paintings to works by Lucio Fontana, as well as her influence on successors including Mary Weatherford. Published to accompany an exhibition organized by the Helen Frankenthaler Foundation and Venetian Heritage, in association with Gagosian, at the Museo di Palazzo Grimani, Venice, this generously illustrated volume offers a close look at a key aspect of Frankenthaler's long pursuit of painting as a means to convey experiences and effects.
The Optical Unconscious is a pointed protest against the official story of modernism and against the critical tradition that attempted to define modern art according to certain sacred commandments and self-fulfilling truths. The account of modernism presented here challenges the vaunted principle of "vision itself." And it is a very different story than we have ever read, not only because its insurgent plot and characters rise from below the calm surface of the known and law-like field of modernist painting, but because the voice is unlike anything we have heard before. Just as the artists of the optical unconscious assaulted the idea of autonomy and visual mastery, Rosalind Krauss abandons the historian's voice of objective detachment and forges a new style of writing in this book: art history that insinuates diary and art theory, and that has the gait and tone of fiction. The Optical Unconscious will be deeply vexing to modernism's standard-bearers, and to readers who have accepted the foundational principles on which their aesthetic is based. Krauss also gives us the story that Alfred Barr, Meyer Shapiro, and Clement Greenberg repressed, the story of a small, disparate group of artists who defied modernism's most cherished self-descriptions, giving rise to an unruly, disruptive force that persistently haunted the field of modernism from the 1920s to the 1950s and continues to disrupt it today. In order to understand why modernism had to repress the optical unconscious, Krauss eavesdrops on Roger Fry in the salons of Bloomsbury, and spies on the toddler John Ruskin as he amuses himself with the patterns of a rug; we find her in the living room of Clement Greenberg as he complains about "smart Jewish girls with their typewriters" in the 1960s, and in colloquy with Michael Fried about Frank Stella's love of baseball. Along the way, there are also narrative encounters with Freud, Jacques Lacan, Georges Bataille, Roger Caillois, Gilles Deleuze, and Jean-François Lyotard. To embody this optical unconscious, Krauss turns to the pages of Max Ernst's collage novels, to Marcel Duchamp's hypnotic Rotoreliefs, to Eva Hesse's luminous sculptures, and to Cy Twombly's, Andy Warhol's, and Robert Morris's scandalous decoding of Jackson Pollock's drip pictures as "Anti-Form." These artists introduced a new set of values into the field of twentieth-century art, offering ready-made images of obsessional fantasy in place of modernism's intentionality and unexamined compulsions.