Frankenthaler in front of Interior Landscape (in progress, 1964) in her studio at East 83rd Street and Third Avenue, New York, in 1964. Previous: Frankenthaler at her studio in Provincetown, Massachusetts, in the summer of 1968 with the paintings Summer Banner hanging upside down on the wall; Spices, in her hand; and, in the foreground, Summer Core. There’s an early photograph by Life magazine’s Gordon Parks of artist Helen Frankenthaler in a corner of her studio, with the walls and floor covered in her outsized canvases, large washes of blues, grays, pinks and browns. Dressed in a blouse and skirt, legs tucked under her, Frankenthaler has a faraway, dreamy expression and almost looks like a mermaid in an undersea fantasy. It’s an image that symbolizes the intense, immersive quality of Frankenthaler’s paintings, drawing the viewer into an This story is from Kinfolk Issue Thirty-Seven Buy Now Related Stories Arts & Culture Issue 19 Going Incognito We all secretly wonder what mischief we’d make if invisible: When our identity is hidden, everything seems possible. Arts & Culture Issue 19 The Best Policy Sometimes we talk to each other without feeling heard. Honesty—a most intimate interaction—can be just as thrilling as its more devious inverse. Arts & Culture Issue 19 A Sense of Suspense With unhinged imaginations and mountains of cliff-hangers, the filmmakers behind the sci-fi podcast Limetown have all the makings of a scary story. Arts & Culture Issue 19 Like Clockwork In this new column about time, we learn how slipping off our watches makes us feel like deadline-damning renegades. Arts & Culture Music Issue 19 On a Grander Scale Malaysian singer-songwriter Yuna now may live on the opposite side of the globe, but she’s determined to evolve while staying true to her roots. Arts & Culture Issue 19 Neighborhood: Fire Stations The firefighting profession has evolved over time from Ancient Rome’s rudimentary bucket brigades to today’s sleek life-saving departments.