Sentences with phrase «frankenthaler woodcuts»

It is a paradox because the cracking - open of the pictorial imagination is exactly what Frankenthaler's post-stain career was about, and these two exhibitions, As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts, move deftly across the decades, offering a potent overview of the artist's ever - shifting concerns.

As in Nature: Helen Frankenthaler Paintings continues at the Clark Institute (225 South Street, Williamstown, Massachusetts) through October 9, and No Rules: Helen Frankenthaler Woodcuts continues through September 24.

A related exhibition, «No Rules: Helen Frankenthaler Woodcuts,» curated by Jay A. Clark, is also on view at the institution through September 24, 2017.

In the Manton Research Center, the works in the exhibit «No Rules: Helen Frankenthaler Woodcuts» have a much more pastel look.

No Rules: Helen Frankenthaler Woodcuts Through Sept. 24 As in Nature: Helen Frankenthaler Paintings Through Oct. 9; both at the Clark Art Institute, Williamstown, Mass.; 413-458-2303, clarkart.edu.

A second, and equally engaging exhibition at The Clark, No Rules: Helen Frankenthaler Woodcuts, traces her groundbreaking work in woodblock printing back to 1973, when Frankenthaler made her first woodcuts.

As in Nature: Helen Frankenthaler Paintingsand No Rules: Helen Frankenthaler Woodcuts open Saturday, July 1, continuing through September 24.

Her work continues to be featured regularly in solo and group exhibitions, with recent examples including Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013), Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014), Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, 2014 - 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, both summer 2017), and Helen Frankenthaler: After Abstract Expressionism, 1959 - 1962 (Gagosian Gallery, Paris, summer 2017).

Williamstown, Massachusetts — No Rules: Helen Frankenthaler Woodcuts, on view exclusively at the Clark Art Institute July 1 — September 24, explores Helen Frankenthaler's (American, 1928 — 2011) inventive and groundbreaking approach to the woodcut.

The Clark renews its association with the artist this summer through two exhibitions: in addition to As in Nature, the Institute presents No Rules: Helen Frankenthaler Woodcuts (July 1 — September 24), which explores the artist's inventive and groundbreaking approach to the woodcut over four decades of her career.

No Rules: Helen Frankenthaler Woodcuts at the Clark Art Institute, MA.

During her tenure there, she has organized twelve exhibitions, including: «The Impressionist Line from Degas to Toulouse - Lautrec» (2013), «Machine Age Modernism» (2015), «No Rules: Helen Frankenthaler Woodcuts» (2017), and «Picasso Encounters» (2017).

In addition to the lecture, there is a series of musical events honoring Helen Frankenthaler, in celebration of the exhibitions No Rules: Helen Frankenthaler Woodcuts and As in Nature: Helen Frankenthaler Paintings.

Recent major exhibitions have included Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 (Gagosian Gallery, NY, 2013); Making Painting: Helen Frankenthaler and JMW Turner (Turner Contemporary, Margate, UK, 2014); Helen Frankenthaler: Composing with Color: Paintings 1962 — 1963 (Gagosian Gallery, NY, 2014); Giving Up One's Mark: Helen Frankenthaler in the 1960s and 1970s (Albright - Knox Art Gallery, Buffalo, NY, in cooperation with the Helen Frankenthaler Foundation, 2014 — 2015); Pretty Raw: After and Around Helen Frankenthaler (Rose Art Museum at Brandeis University, 2015); Line into Color, Color into Line: Helen Frankenthaler, Paintings, 1962 — 1987 (Gagosian Gallery, Beverly Hills, 2016); As in Nature: Helen Frankenthaler Paintings and No Rules: Helen Frankenthaler Woodcuts (The Clark Art Institute, Williamstown, MA, 2017); and Helen Frankenthaler: After Abstract Expressionism, 1959 — 1962 (Gagosian Gallery, Paris, 2017).

Jay A. Clarke, curator of No Rules: Helen Frankenthaler Woodcuts, joins artist Clifford Ross and Olivier Meslay, Felda and Dena Hardymon Director of the Clark, for a public conversation.

Not exact matches

Helen Frankenthaler, Snow Pines, 2004, Thirty - four water based color Ukiyo - e style woodcut (courtesy Leslie Sacks Fine Art)

Besides her paintings, Ms. Frankenthaler is known for her inventive lithographs, etchings and screen prints she produced since 1961, but critics have suggested that her woodcuts have made the most original contribution to printmaking.

Frankenthaler's distinguished and prolific career has been the subject of numerous monographic museum exhibitions, including — in addition to the 1960 Jewish Museum show — major retrospectives at the Whitney Museum of American Art, and European tour (1969); The Solomon R. Guggenheim Museum, and tour (1985, works on paper); the Modern Art Museum of Fort Worth, and tour, including The Museum of Modern Art, New York (1989); the National Gallery of Art, Washington, D.C., and tour (1993, prints); the Naples Museum of Art, Florida, and tour, including the Yale University Art Gallery (2002, woodcuts); and the Museum of Contemporary Art, North Miami, traveled to the Royal Scottish Academy, Edinburgh (2003, works on paper).

Frankenthaler: The Woodcuts.

Image: Helen Frankenthaler, Freefall, 1993, Hand - dyed paper in 15 colors and 12 color woodcut from 1 plate of 21 woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).

One of the most ambitious of Frankenthaler's prints is the triptych Book of Clouds (2007) that involved a combination of several printing techniques, employing Ukiyo - e style woodcut, aquatint, and pochoir.

Frankenthaler has worked with Pace Prints to create four Ukiyo - e plus woodcuts, including «Geisha» (2003), a twenty - three color Ukiyo - e woodcut printed from 15 woodblocks on Torinoko paper and mounted onto Fabriano Classico, as well as «Book of Clouds,» a large - scale print using a combination of aquatint, woodcut and pochoir techniques.

Helen Frankenthaler, Snow Pines, 2004, thirty - four color woodcut from sixteen woodblocks on handmade paper.

In 1976, Frankenthaler expanded her art a step forward by practicing the medium of woodcuts.

A comprehensive selection of lithographs, etchings, aquatints, woodcuts and never - before - displayed proofs illustrate the artist's working method and demonstrate Frankenthaler's unwavering passion for printmaking.

Helen Frankenthaler, Freefall, 1993, hand - dyed paper in 15 colors and 12 color woodcut from 1 plate of 21 woodblocks, 78 1/2 x 60 1/2 inches (199.4 x 153.7 cm).

Helen Frankenthaler The Clearing, 1991, (3/28) woodcut 16.75 x 21 in Image size: 16 x 21 inches Frame Size: 33 x 41 inches published and printed by Garner Tullis Workshop, New York

A lithograph and woodcut in colors, on triple layered Kozo by Post War / AbEx artist Helen Frankenthaler.

Elizabeth Smith will discuss Frankenthaler's pioneering work in printmaking — specifically in woodcuts — considering an example in the museum's collection.

This is also true of the titles of Frankenthaler's final woodcuts, which refer to different types of trees found and observed through the seasons on her property in Darien, Connecticut.

No Rules celebrates the pioneering spirit that expanded the possibilities of the woodcut and established Frankenthaler as one of the medium's great innovators.

Although Frankenthaler made only two woodcuts in the 1980s, Cameo (1980) and Cedar Hill (1983), they remain among her most significant woodcuts.

«Frankenthaler experimented with the woodcut until the end of her career, creating a body of work that both engages with printmaking and challenges a conventional understanding of the medium.

We hope that showing her paintings and woodcuts in tandem will serve as a reminder and a reaffirmation of Frankenthaler's status as an artist of enduring value ---- and introduce her exceptional works to new audiences as well.»

Down south, the Amon Carter Museum of American Art in Fort Worth, TX, is exhibiting Frankenthaler prints more expansive in their techniques: lithographs, etchings, aquatints, screen prints, and woodcuts.

Helen Frankenthaler, Tales of Genji IV, 1998, twenty - one - color woodcut from twelve woodblocks and one stencil on handmade paper, 47 × 42 inches (119.4 × 106.7 cm)

Woodcut is the oldest printmaking process and it continues to be relevant today — artists such as Robert Mangold, Frank Stella and Helen Frankenthaler have all used it.

In the 1970s, Tatyana Grosman, of Universal Limited Art Editions, invited Frankenthaler, then in her mid-forties, to make her first woodcut.

Helen Frankenthaler and the Ukiyo - e woodcut technique Jacob Lewis, Director of Pace Prints talks about Helen Frankenthaler's Ukiyo - e style woodcuts.

Referencing Japan, Frankenthaler called her first woodcut East and Beyond.

Acknowledging the important role that the paper was assuming, Frankenthaler left the lower portion of the fourth woodcut she created practically bare.

«Cameo» a color woodcut by Helen Frankenthaler (1928 - 2011).

He not only fondly recalls working with Frankenthaler, but also describes in detail the collaborative process involved in creating her large - scale woodcut prints.

«There are no rules,» Frankenthaler proclaimed, in a statement about the importance of risk - taking that gave the woodcut show at the Clark its title.

HELEN FRANKENTHALER (B. 1928) Cameo (Harrison 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, in very good condition, framed S. 42 1/8 x 31 7/8 in.

HELEN FRANKENTHALER Madame Butterfly woodcut in colors, 2000, on three sheets of wove paper, signed in pencil, numbered 31/33 (there were also 14 artist's proofs), published by Tyler Graphics, LTD., Mount Kisco, New York, the full sheets, each sheet hinged in places at the reverse of the sheet to the support (with associated soft rippling), otherwise apparently in very good condition, not examined out of the frame Overall: 41 x 79 in.

Framed color woodcut, «Cameo,» 1980, by Helen Frankenthaler (American, 1928 - 2011), pencil signed lower right, pencil numbered edition of 51, published by Tyler Graphics, paper: 42.1 «h x 31.9 «w, overall: 45.25 «h x 35.25 «w. Catalogue Reference: Harrison, 75

Signed and inscribed «Frankenthaler (Woodcut, mulberry juice, and crayon)» in pencil l.l., identified on labels from The Morris Museum, Morristown, New Jersey, and the André Emmerich Gallery, New York, on the backing.

HELEN FRANKENTHALER (B. 1928) Cameo (Harrison 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, the colors attenuated, otherwise in good condition, framed S. 42 1/8 x 31 7/8 (1070 x 810 mm.)

HELEN FRANKENTHALER Cameo (H. 75) woodcut in colors, 1980, on TGL handmade, signed in pencil, numbered 10/51 (there were also 10 artist's proofs), with the Tyler Graphics, Ltd. blindstamp, Mount Kisco, New York, the full sheet, a minute abrasion with associated ink loss in the lower left quadrant, otherwise in very good condition, framed S. 42 1/8 x 31 7/8 in.