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Richard Lacayo's 'Last Light' looks at six artists in old age

'Last Light,' a recent book by former Time magazine critic Richard Lacayo, draws on six artists' lives to prove that younger isn't always better.

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Review: Stephanie Gangi's novel on nude art, 'Carry the Dog'

In Stephanie Gangi's second novel, a woman on the verge of 60 confronts the legacy of her mother's art: nude child photos of her and her brothers.

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The 30 books we're most anticipating this fall

The 30 books we're most anticipating this fall
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Anthony Chase

Anthony Chase
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Theater Talk: Tony Nominee Alison Fraser on Buffalo, Tennessee Williams, and Helen Frankenthaler

Sit back for an entertaining extended (17 minute) Theater Talk with two-time Tony nominee Alison Fraser who reminisces about Buffalo's Sesquicentennial and

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David and Art - Helen Frankenthaler, Part II

An Artist who helped American painting get past the dominant style of her day get her story told in a new book. Last week I mentioned a new biography of

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David and Art - Helen Frankenthaler, Part I


David and Art #2119 - Helen Frankenthaler, part 1 | May 10, 2021 6:45am
Artist biographies are, for me, a pretty safe bet when it comes to reading material. If it’s about an artist I like, whose work I like, I can get a lot out of a good biography.  There’s a new one out of an artist named Helen Frankenthaler that, while I haven’t got the book yet, is giving me a chance to reflect on her and her work and I’m looking forward to reading it.  She deserves a good 
thorough biography.  It’s called 
Fierce Poise: Helen Frankenthaler and 1950s New York, by an author named Alexander Nemerov.

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With 'Fierce Poise,' Helen Frankenthaler Poured Beauty Onto Canvas

With 'Fierce Poise,' Helen Frankenthaler Poured Beauty Onto Canvas
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With 'Fierce Poise,' Helen Frankenthaler Poured Beauty Onto Canvas

With 'Fierce Poise,' Helen Frankenthaler Poured Beauty Onto Canvas
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Lyrical Helen Frankenthaler biography and Joan Mitchell catalogue make a splash


Walking into a room of Jackson Pollock’s drip-paintings in 1951, Helen Frankenthaler said the experience was like moving to Lisbon with no Portuguese and feeling compelled to put down roots: “I wanted to live in this land, and I had to live there but I just didn’t know the language.” This wild terrain was Abstract Expressionism and, while it may have seemed a far-flung monoglot culture to the precocious 22-year-old Frankenthaler, her own syntax of forms would soon come to express so much of what that language was able to articulate.
Frankenthaler’s immersion did not take long. After completing her art school studies at Bennington College in 1950, she moved back to New York, and by the following spring she was offered her first solo show at Tibor de Nagy Gallery on the strength of her formative abstractions.

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