Helen Frankenthaler: Sea Change: A Decade of Paintings, 1974–1983, Gagosian, Rome, March 13–July 19, 2019; artwork © 2019 Helen Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; video by Pushpin Films; interviews by Alison McDonald and Lauren Mahony; archival photographs: © Timothy Greenfield-Sanders, all rights reserved; © Inge Morath/Magnum Photos; Cora Kelley Ward; and Edward Youkilis
March 12, 2019
helen frankenthaler: sea changeA Decade of Paintings, 1974–1983
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.
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 and High Water
John Elderfield shares part of his lecture, prepared on the occasion of the exhibition Abstract Climates: Helen Frankenthaler in Provincetown.
Helen Frankenthaler at the Clark Art Institute
Phyllis Tuchman on the critical role of scale in Frankenthaler’s art practice.
John Elderfield and Lauren Mahony discuss Helen Frankenthaler and her work from 1959 to 1962.
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.
After Frankenthaler: An Interview with Katy Siegel
Art historian Katy Siegel discusses her recent exhibition at the Rose Art Museum and publication “The heroine Paint”: After Frankenthaler with Gagosian’s Alison McDonald.
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.
Theaster Gates: Amalgam
Theaster Gates’s exhibition Amalgam explores the social histories of migration and interracial relations by highlighting the specific history of the Maine island of Malaga. Here, William Whitney considers the exhibition in relation to Gates’s ongoing art practices and social commitments.
Albert Oehlen: Maximum Chance Maximum Control
The artist met with art historian Christian Malycha to discuss his newest paintings.