Gagosian is pleased to present its first exhibition of Helen Frankenthaler’s work organized in collaboration with the newly established Helen Frankenthaler Foundation. This follows the gallery’s critically acclaimed 2013 exhibition, Painted on 21st Street: Helen Frankenthaler from 1950 to 1959, which was organized with the artist’s estate.
The exhibition focuses on a brief but critical period in Frankenthaler’s career—in 1962 and 1963—when she “composed with color” rather than with line, resulting in the freer compositions that came to exemplify her long and prolific career. Transitioning from the sparer, more graphic works of 1960 and 1961, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the “total color image” that would become a hallmark of her later work. Included in the exhibition are Cloud Bank, Hommage à M.L., and Cool Summer (all 1962), in which she employed a limited number of linear elements, linking them to her innovative stain paintings of the 1950s while marking a new direction with the use of spreading areas of color and a reassessment of the properties of painting materials.
Three paintings in the exhibition—Filter, Gulf Stream, and Moat (all 1963)—belong to a series of works that include imprints of the floorboards of Frankenthaler’s studio. As she recalled of this technique, “I did a whole series of pictures . . . that I reversed; in other words they stained through and then I worked on them again from the other side.” During this period, Frankenthaler also began experimenting with acrylic paint, sometimes employing both acrylic and oil in a single canvas. Gulf Stream, one example of this method, features delicately layered passages of oil paint surrounded by denser expanses of vivid acrylic paint, a framing device that she would continue to explore the following year.
The culmination of Frankenthaler’s experimentation with acrylic paint is represented by two large-scale paintings, Pink Lady and Sun Shapes (both 1963). With their large expanses of intense hues that nearly fill the canvas, both paintings anticipate the development of her abstract vocabulary throughout the remaining years of the 1960s.
The exhibition, curated by John Elderfield, is accompanied by a fully illustrated catalogue with an introductory essay by Elizabeth Smith, executive director of the Helen Frankenthaler Foundation. The essay provides an in-depth examination of Frankenthaler’s development during this critical two-year period and places these works within the context of American art in the early 1960s.
John Elderfield and Elizabeth Smith
John Elderfield and Elizabeth Smith discuss the paintings of Helen Frankenthaler on the occasion of Helen Frankenthaler: Composing with Color, Paintings 1962–1963.
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.
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.
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
The Summer 2019 issue of Gagosian Quarterly is now available, featuring a detail from Afrylic by Ellen Gallagher on its cover.
Helen Frankenthaler: Sea Change
Elizabeth Smith, executive director of the Helen Frankenthaler Foundation, and curator John Elderfield discuss a decade of Frankenthaler’s work on the occasion of her first exhibition of paintings in Rome.
Sea Change: A Decade of Paintings, 1974–1983
March 13–July 19, 2019
After Abstract Expressionism, 1959–1962
June 9–September 16, 2017
Extended through July 13, 2019
June 10–July 13, 2019
In homage to G. Bataille
June 1–July 28, 2018