East And Beyond Helen Frankenthaler. From rago/wright/lama, helen frankenthaler, east and beyond (1973), woodcut on buff laminated nepalese handmade paper, 23 1/2 × 17 3/4 in Ranging from frankenthaler’s first ever woodcut in 1973, to her last work published in 2009, this major print retrospective will bring together 30 works on loan from the helen frankenthaler foundation, including madame butterfly (2000) and east and beyond (1973) to reveal the enormous diversity in scale and technique in her oeuvre.
Helen frankenthaler, aside from being one of the most important american painters of the 20th century, produced an extraordinary set of woodcuts in the 1970’s that approached woodcut, the. Helen frankenthaler and david smith. Essence mulberry, 1977 helen frankenthaler;
By Karen Wilkin, Art & Antiques.
23 3/4 x 17 15/16 (60.4 x 45.6 cm); Her early work was as much a part of this movement as a departure from it, and as morris louis once posited, created a “bridge between pollock and what was possible” (john yau, ‘on her own’, in helen frankenthaler: Tales of genji iii, 1998.
Ranging From Frankenthaler’s First Ever Woodcut In 1973, To Her Last Work Published In 2009, This Major Print Retrospective Will Bring Together 30 Works On Loan From The Helen Frankenthaler Foundation, Including Madame Butterfly (2000) And East And Beyond (1973) To Reveal The Enormous Diversity In Scale And Technique In Her Oeuvre.
Exhibition highlights include east and beyond (1973), created by printing onto multiple blocks to avoid negative space and cameo (1980) in which frankenthaler introduced a new layered approach to colour using her ‘guzzying’ technique where she worked surfaces with sandpaper and dentist drills to achieve different effects. Prints and proofs of the 1960s from the artist’s archive 2010 craig f. Prints and proofs brings together 23 of her groundbreaking works from 1973 to 2009, as well as 25 proofs and original paintings on wood used to make several of the images.
Starr Gallery, New York, Ny New Edition:
She was hungrily drawn to the coast of the eastern seaboard, and beyond. Highlights of the exhibition include east and beyond (1973), created by printing onto multiple blocks to avoid negative space, and cameo (1980), in which frankenthaler introduced a new layered approach to color using her “guzzying” technique, where she worked surfaces with sandpaper and dental tools to achieve different effects. Madame butterfly, 2000 by helen frankenthaler.
Universal Limited Art Editions (Ulae), West Islip, New York, Edition:
Frankenthaler’s discontent with the notion that japanese art and culture influenced her practice is a baffling prospect while taking into consideration her volume of works on paper. Exhibition highlights include east and beyond (1973), created by printing onto multiple blocks to avoid negative space and cameo (1980) in which frankenthaler introduced a new layered approach to colour using her ‘guzzying’ technique where she worked surfaces with sandpaper and dentist drills to achieve different effects. Exhibition highlights include east and beyond (1973), created by printing onto multiple blocks to avoid negative space and cameo (1980) in which frankenthaler introduced a new layered approach to colour using her ‘guzzying’ technique where she worked surfaces with sandpaper and dentist drills to achieve different affects.
'In Many Ways East And Beyond Is A Premonition,' Says Findlay.
Her earliest woodcut, 1973’s east and beyond, is a “blob of beige ringed with slivers of black, blue, red and green” that “delivers almost nothing in the way of a memorable image”. After her death in 2011, the art critic grace glueck wrote that east and beyond ‘became to contemporary printmaking in the 1970s what ms frankenthaler’s paint staining in mountains and sea had been to the development of colour field painting twenty years earlier’. Her extended and distinguished career was the subject of many large exhibitions at the museum of modern art in new york, the national gallery of art in washington, amongst many others.
