A line, color, shapes, spaces, all do one thing for and within themselves, and yet do something else, in relation to everything that is going on within the four sides [of the canvas]. A line is a line, but it is a color.”
Gagosian is pleased to announce an exhibition of paintings by Helen Frankenthaler.
The exhibition comprises seventeen canvases by Frankenthaler from a twenty-five-year time span, selected to reveal how the renowned abstract painter articulated the relationship between drawing and color during this period. In her pioneering work of the 1950s, inspired by Jackson Pollock, Frankenthaler had poured both linear tracks and spreading areas of thinned paint onto unprimed canvas. She continued with this approach in the early 1960s, but with a difference: in paintings like Pink Field (1962), broad areas of color combine with linear elements so narrow as to seem drawn, resulting in canvases with no sense of division between the drawn and the painted. In such works as Parade (1965), she set aside the landscape association that had aided the cohesion of her earlier compositions in favor of an abstract parade of colored lines and areas. The contours of these areas, vividly contrasted against white canvas, look as much drawn as do the narrow, cursively shaped lines of paint.
In 1970, Frankenthaler reintroduced individual elements of drawing into her work. In paintings such as Mornings and Barbizon, she began by setting down large areas with drawn contours, before running slender graphic filaments across them. In later works of that decade, such as Rapunzel (1974), she carried this further by pre-painting the entire canvas with one color before setting down the drawing, together with color patches, on top. Then, in a group of paintings from 1976, which includes Blue Bellows and Sentry, she created the drawn elements by masking out strips of bare canvas close to the vertical edges of the works before applying a single color over them in a looser, more painterly fashion. Later that decade, in works like Mineral Kingdom (1976), she gave prominence to richly varied applications of paint, drawn over the surface with a variety of spreading tools. By the early 1980s, this led to the extraordinarily complex, visually stunning surfaces of Grey Fireworks (1982) and Brother Angel (1983), composed of swathes, areas, and clumps of paint, with drawn elements snaking among them.
The final section of the exhibition presents work from the mid-1980s in which Frankenthaler brought together several of the themes that she had been exploring over the preceding two decades: pre-painted, single-colored grounds, sometimes flatly painted, sometimes varied in application; filaments and broader tracks of drawing juxtaposed with discrete areas, some with cursively drawn contours; clumps of heavier and sometimes very heavy paint; and vertical formats with drawing that echoed the framing edges of the paintings. The exhibition concludes with five paintings from 1985 to 1987 that reflect these themes, conveying the sense of an artist at the height of her powers, consolidating her resources to create extremely original canvases that are both rigorous and sensuous.
The exhibition is accompanied by a fully illustrated catalogue, with a preface by John Elderfield and new essays by Yale University art historian Carol Armstrong and novelist Francine Prose.
This is the third exhibition of Helen Frankenthaler’s art to be presented by Gagosian, following Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (2013) at Gagosian West 21st Street and Helen Frankenthaler: Composing with Color, Paintings 1962–1963 at Gagosian Madison Avenue (2014).
Helen Frankenthaler: Line into Color, Color into Line
To mark the occasion of the exhibition Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962–1987, the Helen Frankenthaler Foundation and Gagosian produced a video of rare archival footage of Frankenthaler on the subject of line and color.
Helen Frankenthaler: A Painter’s Sculptures
On the occasion of four exhibitions in London exploring different aspects of Helen Frankenthaler’s work, Lauren Mahony introduces texts by the sculptor Anthony Caro and by the artist herself on her relatively unfamiliar first body of sculpture, made in the summer of 1972 in Caro’s London studio.
Augurs of Spring
As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.
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.
Wyatt Allgeier pays homage to the renowned gallerist and artist Betty Parsons (1900–1982).
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.
A Sculpture and a Selection of Works on Paper
June 17–August 27, 2021
Davies Street, London
Extended through September 18, 2021
Paintings by Helen Frankenthaler, 1952–1976
June 17–September 18, 2021
Grosvenor Hill, London