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A Time & Place

East and West Coast Abstraction from the ’60s and ’70s

July 21–August 27, 2005
Beverly Hills

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Works Exhibited

Sam Francis, Untitled No. 11, 1973 Acrylic and oil on canvas, 96 × 120 inches (243.8 × 304.8 cm)Photo by Douglas M. Parker Studio

Sam Francis, Untitled No. 11, 1973

Acrylic and oil on canvas, 96 × 120 inches (243.8 × 304.8 cm)
Photo by Douglas M. Parker Studio

Morris Louis, Gamma Omicron, 1960 Magna on canvas, 102 × 155 ½ inches (259.1 × 395 cm)Photo by Douglas M. Parker Studio

Morris Louis, Gamma Omicron, 1960

Magna on canvas, 102 × 155 ½ inches (259.1 × 395 cm)
Photo by Douglas M. Parker Studio

About

Gagosian is pleased to present A Time & Place: East and West Coast Abstraction from the ’60s and ’70s, featuring works by Sam Francis, Helen Frankenthaler, Hans Hofmann, Morris Louis, Kenneth Noland, Mark Rothko, and Frank Stella.

Helen Frankenthaler, Cool Summer, 1962, oil on canvas, 69 ¾ × 120 inches (177.2 × 304.8 cm), Collection Helen Frankenthaler Foundation.

Building a Legacy
The Helen Frankenthaler Foundation on COVID-19 Relief Funding

The Quarterly’s Alison McDonald speaks with Clifford Ross, Frederick J. Iseman, and Dr. Lise Motherwell, members of the board of directors of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director, about the foundation’s decision to establish a multiyear initiative dedicated to providing $5 million in covid-19 relief for artists and arts professionals.

A portrait of Betty Parsons surrounded by art.

Game Changer
Betty Parsons

Wyatt Allgeier pays homage to the renowned gallerist and artist Betty Parsons (1900–1982).

Helen Frankenthaler in her studio in Provincetown. Black and white image.

Abstract Climates: Helen Frankenthaler in Provincetown

Lise Motherwell, a stepdaughter of Helen Frankenthaler and vice president of the Helen Frankenthaler Foundation, and Elizabeth Smith, executive director of the Foundation, recently cocurated an exhibition of the artist’s work entitled Abstract Climates: Helen Frankenthaler in Provincetown. Here they discuss the origin of the exhibition, the relationship between the artist’s work and her summers spent in Provincetown, and the presentations at the Provincetown Art Association and Museum, in 2018, and the Parrish Art Museum, Water Mill, New York, in 2019.

Helen Frankenthaler, Riverhead, 1963 (detail).

Frankenthaler

On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.

Helen Frankenthaler in gondola with various friends, Venice, June 1966

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992

Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992 marks the first time that Frankenthaler’s paintings have been exhibited in Venice since her inclusion in the 1966 Biennale as part of the US Pavilion. This video, including interviews with the show’s curator, John Elderfield; the chairman of the Helen Frankenthaler Foundation, Clifford Ross; and the Foundation’s executive director, Elizabeth Smith, provides viewers with an in-depth look at the fourteen paintings included in the exhibition.

Gagosian Quarterly Summer 2019

Now available
Gagosian Quarterly Summer 2019

The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.