Podcasts about frankenthaler

Discover the transformative journey of Helen Frankenthaler (in her own words), a pioneering artist whose mantra "Let Her Rip" symbolizes a fearless approach to creativity. In this episode, we unpack Frankenthaler's innovative philosophy, where she blends the past and present to achieve a fluid, emotionally rich conversation with her art. From her early encounters with Jackson Pollock's radical drip paintings to her evolution within the Color Field movement, we explore the monumental influences that shaped her six-decade-long career.Find out how achieving a flow state can revolutionize your creative process, guided by insights from Steven Kotler's "The Rise of Superman." We'll discuss how fear can stifle artistic expression and share techniques for letting go of control to engage in a genuine dialogue with your work. Through personal stories and practical advice, we tackle common challenges like overcoming perfectionism, balancing spontaneity with intentionality, and learning to embrace mistakes as opportunities for growth.The episode also highlights the importance of artistic competition and influence in fostering creativity. From Frankenthaler's rebellious use of unconventional materials to the dynamic environment she shared with contemporaries like Grace Hartigan, we shed light on how healthy rivalry and shared inspiration can propel artists to new heights. Join us as we celebrate the courage it takes to push boundaries and the enduring impact of Frankenthaler's legacy on future generations of artists.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

פרק 14# הלן פרנקנטלר עם אביטל כנעני. אנחנו מוצאות את עצמנו בשנות החמישים של ניו יורק עם הלן שמביאה משהו רענן וחלוצי אל תוך האקספרסיוניזם המופשט. לצד חבורה של אמנים רדיקלים, היא גם עובדת בטכניקה חדשה ומפתחת וכבר בגיל 21 היא כוכבת בעולם האומנות הניו יורקי! הלן הביאה עבורנו את כוחות הכניעה לכוחות בריאה, את שבתאי והשבת, את השמש בקשת והצמידות לאוטוריטה נסתרת. אביטל כנעני שבחרה בה מדברת איתנו על עומק וגובה על אופק והר, על יצירה בתוך מקום שזקוק לשקט וקצה בו זמנית. רשימת מקורות: Fierce PoiseHelen Frankenthaler and 1950s New YorkBy Alexander Nemerov · 2021Vettius Valens, anthologies - Saturn

The Bay was painted in 1963 as Frankenthaler had refined her soak and stain process. While Mountains and Sea was made with diluted oil paints, The Bay is acrylic on unprimed canvas. She had found that using acrylics gave her greater control over the viscosity or how fluid the paint was. As I look at The Bay, the title indicates a landscape and the brightness, the organic shapes of blue and green give me a sense of a Bay, but it feels like it is more about a happy, contented sort of tone. There is movement, but it seems gentle like sitting out on a boat drifting in calm waters. The Bay represents a different sort of take on Abstract Expressionism. While many followed Jackson Pollock's and Willem de Kooning's aggressive and agsty style, Helen Frankenthaler's color fields are more gentle and at peace. Her work was a breath of fresh air showing that painting could reduce art to fundamental elements in line with esoteric modernist philosophy and still be beautiful and joyous.  Related episodes: Jackson Pollock Diego Rivera The Bay from 1963 is one of the required artworks for AP Art History. Check out my Spotify playlist, AP Art History Cram Session to learn about other artists and artworks from that curriculum. Check out my other podcasts Art Smart and Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode I have the pleasure of speaking with Hiroki Morinoue, an artist who resides and creates on the Big Island in Hawai'i. Together, we delve into his personal journey with mokuhanga, reflecting on his experiences at MI Lab, exploring his unique color palette, and gaining insights into his meticulous process in crafting mokuhanga prints. Additionally, we uncover Hiroki's life in Hawai'i, his ventures, and his relationships with prominent galleries such as Studio 7 Fine Arts, print studio's like Shark's Ink, and the arts center at Anderson Ranch. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Hiroki Morinoue - Pure Water (2001) 18.5"x38.5" High Tide (2012) 22"x30" Earth Cycle (2007) 37.5"x37" MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga.    Verse R - black and white (2017)  13"x11"   Jaqueline Gribbin - is a printmaker who focuses on mokuhanga and intaglio printing techniques. She lives and works in Humpty Doo, New Territory, Australia.    Kisaragi (2012) 18.9" x 25"   pochoir - is a stencilling technique used in printmaking and decorative arts. The term "pochoir" is French for "stencil." In this method, a design is created by cutting or punching holes in a sheet of paper or other material, and then paint or ink is applied through the openings onto a surface below. Pochoir allows for precise and intricate patterns, making it particularly popular in the creation of fine art prints, illustrations, and decorative designs. It has been historically employed in various art movements, including Art Nouveau and Art Deco. More info, here.   Helen Frankenthaler (1928–2011) was a prominent American abstract expressionist painter known for her role in the Color Field painting movement. Her innovative technique involved staining unprimed canvas with thinned oil paint, creating a distinctive luminous effect. "Mountains and Sea" (1952) is a notable example of her influential work. Frankenthaler's contributions have left a lasting impact on postwar American art. Frankenthaler began to make woodcut prints in 1973 and was influenced by Utagawa Hiroshige (1797–1858).  More info about her prints can be found at  the Frankenthaler Foundation, here.      Tale of Genji V (1998) 42"x47"   Donkey Mill Art Center - is a community art center located in Holualoa, Hawaii. It serves as a hub for various artistic activities, workshops, and events, fostering creative expression and engagement with the arts. The center often offers classes and programs in a variety of artistic disciplines, including painting, ceramics, printmaking, and more. More info, here.    Mauna Kea - is the highest peak in the Hawaiian Islands, located on the Big Island. A dormant volcano, it stands at 13,796 feet (4,205 meters) above sea level. The mountain holds cultural significance for Native Hawaiians and is home to unique ecosystems.    Mauna Loa - is an active shield volcano on the Big Island of Hawaii, standing at 13,678 feet (4,169 meters) above sea level. It is the Earth's most massive subaerial volcano, known for frequent non-explosive eruptions and its broad, gently sloping shape. The volcano holds scientific and cultural significance and is closely monitored due to its potential impact on nearby communities. Deepwater Horizon Oil Spill  - occurred in 2010 in the Gulf of Mexico. It was one of the largest environmental disasters in history. The spill resulted from the explosion of the Deepwater Horizon offshore drilling rig, releasing millions of barrels of oil into the Gulf. The incident had severe ecological and economic consequences, impacting marine life, coastal ecosystems, and local economies along the Gulf Coast. Thai mulberry paper - also known as "saa paper" or "kozo paper," is a traditional handmade paper originating from Thailand. It is crafted from the bark of the mulberry tree, specifically the Broussonetia papyrifera tree.  Shark's Ink - established in 1976 as Shark's Lithography Ltd, the studio has partnered with over 160 distinguished artists from the United States and Europe. These artists, known for their strong personal visions, engage in ongoing collaborations, often returning for multiple projects. The resulting prints, marked by inventive techniques, encompass a wide range of artistic approaches. The studio employs various processes, including lithography, monotype, metal leaf, chine collé, embossing, collage, and innovative methods for woodblocks and relief prints, including three-dimensional lithographs. More info, here.  nori - is a type of paste made from starch. It is used when making mokuhanga. You can make nori from any type of material made from starch. For instance, paste can be made with tapioca,  rice, corn, even potato. You can purchase nori pretty much anywhere but making it is more environmentally friendly. Laura Boswell has a great recipe, here.  embossing - refers to a technique where the paper is pressed into the carved woodblocks, creating a raised or textured effect on the printed surface. This technique adds a three-dimensional quality to the print by making certain areas of the paper slightly elevated. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren.  Window (2011) 15"x12" gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints.  Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Winter in Aizu (1969) 18"x23.5" Richard Notkin - is an American ceramic artist known for his pottery and distinctive style that often incorporates political and social commentary.  Notkin has gained recognition for his work in the field of ceramics, particularly his teapots. Meltdown of Reason: Helena MT. (1987) stoneware and porcelain. 10.5"x5.5"x4.5" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Hands of Compassion  (1986) screen print 37"x25" Andrew Wyeth (1917-2009) - was a renowned American realist painter, known for his detailed and emotive depictions of the rural American landscape. Born in Pennsylvania, he spent much of his life capturing the subtleties of nature, particularly in the Brandywine Valley and coastal Maine.  Christina's World (1948) 32 1/4 x 47 3/4"   © Popular Wheat Productions opening and closing musical credit - The September Of My Years (1965) from the album The September Of My Years released on Reprise Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                                        

The Bay was painted in 1963 as Frankenthaler had refined her soak and stain process. While Mountains and Sea was made with diluted oil paints, The Bay is acrylic on unprimed canvas. She had found that using acrylics gave her greater control over the viscosity or how fluid the paint was. As I look at The Bay, the title indicates a landscape and the brightness, the organic shapes of blue and green give me a sense of a Bay, but it feels like it is more about a happy, contented sort of tone. There is movement, but it seems gentle like sitting out on a boat drifting in calm waters. The Bay represents a different sort of take on Abstract Expressionism. While many followed Jackson Pollock's and Willem de Kooning's aggressive and agsty style, Helen Frankenthaler's color fields are more gentle and at peace. Her work was a breath of fresh air showing that painting could reduce art to fundamental elements in line with esoteric modernist philosophy and still be beautiful and joyous.  Related episodes: Jackson Pollock Diego Rivera The Bay from 1963 is one of the required artworks for AP Art History. Check out my Spotify playlist, AP Art History Cram Session to learn about other artists and artworks from that curriculum. Check out my other podcasts Art Smart and Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

A conversation with Helen Frankenthaler Foundation Executive Director Elizabeth Smith about a new exhibit of Frankethaler's work currently on display at Gagosian's 24th Street gallery in New York. “Drawing within Nature: Paintings from the 1990s” features more than a dozen works by Frankenthaler made during a period when she took inspiration from the environment near her Connecticut studio on Long Island Sound. The conversation touches on Frankenthaler's life, career and this latest exhibit.https://gagosian.com/exhibitions/2023/helen-frankenthaler-drawing-within-nature-paintings-from-the-1990s/https://www.frankenthalerfoundation.org/

Der 1. FC Kaiserslautern spielt eine wahnsinnig gute Hinrunde in der 2. Bundesliga. Nach dem 17. Spieltag liegen die Pfälzer auf Rang 4 mit 4 Punkten Rückstand auf den Aufstiegsrelegationsplatz. Da kommt man gerne mal ins Träumen. Träumen darf auch der heutige Gast Ronald Senft. Er ist im BZBM tätig, Bassist in einer Band, war im Frankenthaler Männerchor und ist durch und durch Lautrer! Wie sieht sein Fazit für die Hinrunde aus? Und warum hat der FCK verdammt viel mit Heavy Metal zu tun? Antworten liefert er im Gespräch mit die beste aller Zweiten-Moderator Dominic Köstler.  Linkliste: Old Mother Hell 1. Frankenthaler ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten.

Der 1. FC Kaiserslautern spielt eine wahnsinnig gute Hinrunde in der 2. Bundesliga. Nach dem 17. Spieltag liegen die Pfälzer auf Rang 4 mit 4 Punkten Rückstand auf den Aufstiegsrelegationsplatz. Da kommt man gerne mal ins Träumen. Träumen darf auch der heutige Gast Ronald Senft. Er ist im BZBM tätig, Bassist in einer Band, war im Frankenthaler Männerchor und ist durch und durch Lautrer! Wie sieht sein Fazit für die Hinrunde aus? Und warum hat der FCK verdammt viel mit Heavy Metal zu tun? Antworten liefert er im Gespräch mit die beste aller Zweiten-Moderator Dominic Köstler.  Linkliste: Old Mother Hell 1. Frankenthaler ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten.

When most people hear of the Abstract Expressionist movement, the first thought is of Jackson Pollock and his drip paintings. While he was probably the biggest name in the movement, the style was extremely varied and consisted of more than just drips and splatters. Willem de Kooning made figurative works, Rothko and Frankenthaler created color fields, but what tied all of these works together was an emphasis on the expressive qualities of art. The abstract expressionist or ab ex movement was all about the artist making their feelings visible to the outside world. It was spontaneous and highly idiosyncratic with all different artists finding their unique mark making for personal self expression. Learn more about the artists referenced in this episode: Janet Sobel Jackson Pollock Art Smart is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.ArtSmartPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

00:57 - Discussion with J.T. Ravize who has spent the last twenty years fighting to authenticate a collection of Jackson Pollock paintings that could represent a missing period in the artist's work. We discuss the difficult process for authenticating any found piece of art, but especially the work of this particular artist. Regardless of whether or not you are a Pollock fan, it is an interesting story with no easy answers. Visit https://wyomingworkinggroup.com/ to see images and read more about J.T's project.

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

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: Helen Frankenthaler and 1950s New York (Penguin Press, 2021) 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. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Narrator Alison Fraser’s ability to deliver character voices and accents is on display in this biography of mid-twentieth-century painter Helen Frankenthaler. Host Jo Reed and AudioFile’s Alan Minskoff talk about this audiobook by Alexander Nemerov, which is at once an appreciation of a major figure and a close look at the avant-garde scene of 1950s New York City. Fraser narrates with skill, capturing the times with excellent imitations, most notably Frankenthaler’s airy upper-class sounding speech. Read the full review of the audiobook on AudioFile’s website. Published by Penguin Audio. Find more audiobook recommendations at audiofilemagazine.com Support for AudioFile's Behind the Mic comes from PENGUIN RANDOM HOUSE AUDIO, dedicated to producing top-quality fiction and nonfiction audiobooks written and read by the best in the business. Visit penguinrandomhouseaudio.com/audiofile now to start listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

Í Víðsjá í dag verður meðal annars rætt við Óttarr Proppé, verslunarstjóra Bóksölu stúdenta, um japanska rithöfundinn Haruki Murakami en í gær kom út á ensku hans nýjasta bók, sagnasafnið First Person Singular sem hefur að geyma átta sögur eftir þennan virta og vinsæla höfund. Óttarr Proppé hefur lengi verið dyggur lesandi verka Murakamis, og hann svarar meðal annars spurningunni: Hvers konar höfundur er Harurki Murakami? í Víðsjá í dag. Einnig verður í þættinum fjallað um bandaríska listmálarann Helen Frankenthaler, sem var ein af abstrakt-expressionistunum svokölluðu í listalífi Bandaríkjanna um miðja síðustu öld, en ný ævisaga er komin út um hana. Og Ólafur Teitur Guðnason segir að gefnu tilefni frá því hvernig textar og lög Megasar hafa komið við sögu í lífi hans, bæði í gleði og sorg, en Megas á einmitt afmæli í dag.

Í Víðsjá í dag verður meðal annars rætt við Óttarr Proppé, verslunarstjóra Bóksölu stúdenta, um japanska rithöfundinn Haruki Murakami en í gær kom út á ensku hans nýjasta bók, sagnasafnið First Person Singular sem hefur að geyma átta sögur eftir þennan virta og vinsæla höfund. Óttarr Proppé hefur lengi verið dyggur lesandi verka Murakamis, og hann svarar meðal annars spurningunni: Hvers konar höfundur er Harurki Murakami? í Víðsjá í dag. Einnig verður í þættinum fjallað um bandaríska listmálarann Helen Frankenthaler, sem var ein af abstrakt-expressionistunum svokölluðu í listalífi Bandaríkjanna um miðja síðustu öld, en ný ævisaga er komin út um hana. Og Ólafur Teitur Guðnason segir að gefnu tilefni frá því hvernig textar og lög Megasar hafa komið við sögu í lífi hans, bæði í gleði og sorg, en Megas á einmitt afmæli í dag.

WELCOME BACK TO SEASON 5 of the GWA PODCAST! In episode 53 of The Great Women Artists Podcast, Katy Hessel interviews the renowned curator and executive director of the Helen Frankenthaler Foundation, Elizabeth Smith, on the trailblazing and legendary HELEN FRANKENTHALER (1928–2011) !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] With a career spanning six decades, Helen Frankenthaler 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 playing a pivotal role in the transition from Abstract Expressionism to Color Field painting. Through her invention of the soak-stain technique, she expanded the possibilities of abstraction, while at times referencing figuration and landscape in highly personal ways. She produced a body of work whose impact on contemporary art has been profound and continues to grow. Born on December 12, 1928, and raised in New York. She attended the Dalton School, where she received her earliest art instruction from Rufino Tamayo. In 1949 she graduated from Bennington College, and by the early 1950s had entered into the Downtown New York Art Scene. Exhibiting at the infamous Ninth Street Show in 1951 (alongside Krasner, Mitchell, and others), Frankenthaler's breakthrough came in 1952 when she created Mountains and Sea, her first soak-stain painting. She poured thinned paint directly onto raw, unprimed canvas laid on the studio floor, working from all sides to create floating fields of translucent colour. The work catalysed the Colour Field School and was particularly influential for artists of her generation. In 1959, Frankenthaler had won first prize at the Premiere Biennale de Paris, by 1960 had her first major solo exhibition at the Jewish Museum in New York, and by 1969 was one of four artists to represent America at the Venice Biennale. Oh! AND she had a Whitney Museum solo exhibition of the same year. She was invisible. I LOVED recording this episode with Elizabeth Smith about the fascinating life and work of Frankenthaler. ENJOY!!! Works discussed: Nature Abhors a Vacuum, 1973 Cloud Burst, 2002 Pink Lady, 1963 Mountains and Sea, 1952 Jacob's Ladder, 1957 Flood, 1967 FURTHER LINKS! https://www.frankenthalerfoundation.org/artworks/paintings https://www.dulwichpicturegallery.org.uk/whats-on/exhibitions/2021/may/helen-frankenthaler-radical-beauty/ https://www.guggenheim.org/artwork/artist/Helen-Frankenthaler https://www.tate.org.uk/visit/tate-modern/display/studio/helen-frankenthaler https://gagosian.com/news/museum-exhibitions/pittura-panorama-paintings-by-helen-frankenthaler-museo-di-palazzo-grimani-venice/ Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Laura Hendry Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Clips of interviews with Helen interspersed with commentary from me about my own process and resonance with Frankenthaler.

This episode focuses on Helen Frankenthaler (1928–2011). Joining host Helen Molesworth are artist Rodney McMillian and art historian Alexander Nemerov. Frankenthaler made large abstract paintings by pouring thinned paint directly onto the horizontal canvas. In interviews from 1969 and 1971, she discusses the inspiration for this radical innovation as well as other early influences. For … Continue reading "Helen Frankenthaler: Let ‘er Rip"

August 30th, 2019 Avis Berman is a writer, curator, and historian of American art, architecture, and culture. Join us as Berman gives a talk on Helen Frankenthaler with commentary from Frankenthaler herself through the use of archival excerpts.   Our Friday Night programs at the Parrish are made possible, in part, by presenting sponsor Bank of America, with additional support provided by The Corcoran Group and Sandy and Stephen Perlbinder.

August 3rd, 2019 Abstract Climates: Helen Frankenthaler in Provincetown highlights key examples of Helen Frankenthaler's work produced during summers spent in that coastal town and underscores their impact on her development as a painter. Beginning with work from the summer of 1950, the exhibition and accompanying catalogue focus on the artist's output from the late 1950s through 1971. Abstract Climates illuminates Frankenthaler's exploration of the relationship between landscape and abstraction, and offers new insights into the major role her work played in the development of Abstract Expressionism in America.

August 23rd, 2019 Introduced by Alicia G. Longwell, Ph.D. The Lewis B. and Dorothy Cullman Chief Curator, this  conversation brings together art historian Alexander Nemerov, who is working on a new book about Frankenthaler, and multi-media artist Clifford Ross. Nemerov is the Carl and Marilyn Thoma Provostial Professor in the Arts and Humanities as well as Chair of the Department of Art and Art History at Stanford University. Ross is a multi-media artist whose work has been widely exhibited in galleries, museums, and public spaces in the United States and abroad and is the Chairman of the Helen Frankenthaler Foundation.   Our Friday Night programs at the Parrish are made possible, in part, by presenting sponsor Bank of America, with additional support provided by The Corcoran Group and Sandy and Stephen Perlbinder.

August 4th, 2019 Abstract Climates: Helen Frankenthaler in Provincetown highlights key examples of Helen Frankenthaler's work produced during summers spent in that coastal town and underscores their impact on her development as a painter. Beginning with work from the summer of 1950, the exhibition and accompanying catalogue focus on the artist's output from the late 1950s through 1971. Abstract Climates illuminates Frankenthaler's exploration of the relationship between landscape and abstraction, and offers new insights into the major role her work played in the development of Abstract Expressionism in America.  

“One of the first rules is no rules.” - Helen FrankenthalerIn breaking with or disregarding whatever particular rules of her time, Frankenthaler was able to create an entirely different way of painting and thus seeing and experiencing painting. Her soak-stain method (influenced by Jackson Pollock) was pivotal in ushering in what we now know as color-field painting.Get your companion PDF here!- - - - - - - - - - - -SFE began as a personal lo-fi podcast exploring abstract painting, writing and poetry, general creativity, inspiration, and the every day human experience. It continues to evolve over time with the promise of multiple permutations.- - - - - - - - - - - -I believe life needs art. We need dreamers, makers, creators, poets, lovers, and genuine humans of all types to fill up the dark corners of the world with their own brand of amazing. We need the courage to rebel against norms, resist status quos, and vandalize the universe with deep, soulful beauty. So I'm doing my best to brave the void (yikes) and put my self out there in the hopes of inspiring others along the way. So grab a can of metaphorical spray paint and come break some things with me. ♥ Lisa- - - - - - - - - - - -@ LisaBarbero.com. © Lisa Barbero unless otherwise noted. Music © Michael Barbero. All rights reserved.

The 1950s American art movement, Abstract Expressionism, was a hyper-masculine era both in its aesthetic but also in its cast of characters. However, there were a handful of resilient and fiercely talented women who endured the obstacles despite. Join our hosts as they dissect the stories and mark making of Lee Krasner and Helen Frankenthaler.

Ep. 46 Special: Origin of Roderick on the Line - Roderick on the Line on Huffduffer 5by5 | Back to Work #31: You Can Polish AC/DC All Day Long (August 30, 2011) Hey, gang. Merlin here. One year ago this week, the first episode of Roderick on the Line went up. To commemorate the occasion, I wanted to share a little bit of history with you, as well as just say, “thanks.” Here’s the thing: John and I have been pals for about a decade now. And, as we’ve discussed on the program from time to time, we’ve had a longstanding habit of engaging in very, very long conversations, both in-person and on the phone, about pretty much any topic you can imagine. A fact born out by any of the 40+ episodes of this show so far. Now, in terms of the pre-pre-history of RotL, a seed was planted when I interviewed John for a thing I used to do called, The Merlin Show (n.b.: you can find video and audio of that interview over here). It was a riot to do, and I really recommend checking it out for both Roderick newbies and completists alike. You will find it very helpful. As you do. But, the real impetus for this show arose by accident last Summer, when my Back to Work co-host, Dan Benjamin, was on paternity leave. In Dan’s brief absence, I decided to interview three interesting friends about their life and how they work. One of my victims was, of course, The Great Man himself—the bearded oracle who ended up being the titular co-host of this very program: Mr. John Morgan Roderick. On that episode, John and I talked about lots of different stuff to be sure (full show notes below), but, as a careful listener of the current program will immediately pick up, you will also hear the genesis of what would become numerous leitmotifs from what would soon become the canonical RotL. There’s John’s deep historical pedagogy. There’s John’s perspicacious cultural criticism. There’s John’s first singing my name to the tune of Janet Jackson’s 1986 hit, “Nasty.” There’s John (again) hearing my formal pitch to do a new podcast called, “Roderick on the Line.” And, yes: there is John’s bell. I hope you will enjoy this important cultural document and are able to appreciate its gravitas as the undergirding for this august platform by which John helps so many people each week. And, let it not go without saying, my having the chance to do this show with John every week is one of the joys of my life. I look forward to recording it, I look forward to “editing” it, and, yes, I really look forward to hearing the finished product. I’m proud to be involved, and I’m really grateful to my great pal for making the time to do it. Finally, thanks to all of you for a year of listening and being helped. You are Generation Super Train, and, I hope to God you survive to find a tolerable position in John’s horribly twisted Utopian Dystopia. In any case. Please continue. Original Back to Work Show Notes With Dan on sabbatical, Merlin is joined by John Roderick of The Long Winters to talk about life as a bull in a china closet, craving real-world constraints, making better records, and being banned for life from Interpol’s corn chip bowl. Special guest John Roderick. Original Back to Work Show Links John Roderick: A Night on the Town - a set on Flickr Harvey Danger - Sad Sweetheart of the Rodeo - YouTube reading room | the long winters library & archive Impasto - Wikipedia, the free encyclopedia Helen Frankenthaler - Wikipedia, the free encyclopedia Richard Hugo reads “Degrees of Grey in Philipsburg” Wesley Stace | John Wesley Harding MISSPEAK: “For Those About to Rock We Salute You” (not “Highway to Hell”) Space Shuttle Columbia disaster - Wikipedia, the free encyclopedia [SPONSOR] Email Marketing and Email List Manager | MailChimp [PDF] The Believer: John Roderick Interview (June/July 2005) Venom (band) - Wikipedia, the free encyclopedia Ashcan Rantings: Interview with John Roderick of The Long Winters Harm’s Way by Jeff DeRoche - Seattle News - The Stranger, Seattle’s Only Newspaper The Animals - House of the Rising Sun (1964) High Definition [HD] - YouTube The Long Winters - Through With Love Preview - YouTube The Long Winters: “The Commander Thinks Aloud” - YouTube Van Halen - Hot For Teacher - YouTube Def Leppard- Bringing on the Heartbreak - YouTube Robert John “Mutt” Lange - Wikipedia, the free encyclopedia Highway to Hell - Wikipedia, the free encyclopedia University of Washington - washington.edu The Long Winters john roderick (johnroderick) on Twitter John Roderick (musician) - Wikipedia, the free encyclopedia 012: Interview: John Roderick | The Merlin Show 016: Interview: John Roderick, Part 2 | The Merlin Show 017: Interview: John Roderick, Part 3 | The Merlin Show 018: Interview: John Roderick, Part 4 | The Merlin Show Video: John Roderick on String Art Owls, Copper Pipe, and Bono’s Boss | 43 Folders Flickr: Merlin’s extensive “John Roderick” gallery “Blue Diamonds” - the Long Winters - YouTube Alex Van Halen: Artists: Modern Drummer Magazine Comparative History of Ideas Program Cheer-Accident - Wikipedia, the free encyclopedia John Vanderslice AC/DC - “Back In Black” (1980) kung fu grippe - “Before my heart overflowed.” Air-Raid #60: Hobos of the Future with John Roderick – The Air-Raid Podcast Hanford Site Mr. Show: Gay Son/Grass Valley Greg - YouTube Western State Hurricanes “Car Parts” - YouTube Tampabay: ‘They said they were glad it wasn’t me’ kung fu grippe - Jim? What a horrible, foul-mouthed little man. …

Helen Frankenthaler and Morris Louis worked with methods of staining their canvases, allowing paint and unprimed surface to become one, as can be seen in Frankenthaler’s Canal (1963) and Louis’s Saraband (1959).