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 44 Hannah Traore The art world's next big thing is a gallerist. Arts & Culture Issue 43 Space Invaders Room dividers from a Roman studio. Arts & Culture Issue 43 The Sellout On the moral maze of art and money. Arts & Culture Issue 43 Peer Review: Edward Krasinski Curator Kasia Redzisz on the surreal wit of the avant-garde artist. Arts & Culture Issue 42 Dream House The rise of renderporn. Arts & Culture Films Music Issue 42 Peer Review Iranian artist and filmmaker Shirin Neshat pays homage to the iconic Egyptian singer Oum Kulthum.
Arts & Culture Issue 43 Peer Review: Edward Krasinski Curator Kasia Redzisz on the surreal wit of the avant-garde artist.
Arts & Culture Films Music Issue 42 Peer Review Iranian artist and filmmaker Shirin Neshat pays homage to the iconic Egyptian singer Oum Kulthum.
