His poetic use
of found materials and his
embrace of chance operations (whether dragging a canvas on the ground, allowing a drop cloth to absorb the environmental stains
of the studio, or exposing the paintings to the forces
of weather) can be seen echoed in the work
of a subsequent
generation of artists, including Joe Bradley, Dan Colen, Urs Fischer, Wade Guyton, and Nate Lowman, among
others.
Siegel points to Tibor de Nagy Gallery, which opened in 1950 and represented Frankenthaler along with
other second -
generation New York School
artists, as the nexus
of a taste that
embraced decorative art, campy humor, and exquisite found objects alongside more commercial abstract paintings.
During the following decade, like most
of the
other American
artists of his
generation, he
embraced the avant - garde European movements wholeheartedly while searching for his own unique interpretations.