The heroine Paint: After Frankenthaler

ISBN 13: 9780847847051

The heroine Paint: After Frankenthaler

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9780847847051: The heroine Paint: After Frankenthaler
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Taking Helen Frankenthaler's 1950s New York debut as its starting point, "The heroine Paint": After Frankenthaler, a new publication edited by Katy Siegel, follows Frankenthaler's own painting as well as the immediate influence of Frankenthaler's work on other artists, tracing artistic currents gathered under her name as they move outwards in different directions over time. The book collects scholarly essays, texts from contemporary artists, reprints of historical writing, and interweaves these voices with a visual chronology that locates key works from performances, publications, and cultural ephemera for over seven decades.

“The heroine Paint”: After Frankenthaler will offer a wealth of historical information and promises to be an important resource for young artists, as well as critics, curators, and art historians of modern and contemporary art. The wealth of archival imagery from cultural as well as artistic sources, and the elegance of the writing promise to make the book accessible and compelling as well to a general art audience.

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About the Author:

Katy Siegel is an art historian based in New York. As Curator-At-Large for the Rose Art Museum, her recent exhibition Pretty Raw: After and Around Helen Frankenthaler serves as a companion to The Heroine Paint.  In fall 2015 she will join the faculty of Stony Brook University as the inaugural Eugene V. and Clare E. Thaw Endowed Chair in Modern American Art.

Review:

"'Pretty Raw' has occasioned an excellent book, The heroine Paint: After Frankenthaler, overseen by Ms. Siegel and just published by Gagosian Gallery. The title — taken from a 1960 poem by her close friend Barbara Guest — sharpens the idea that Frankenthaler altered painting’s gender balance irrevocably, and to an extent that we are only beginning to appreciate." - Roberta Smith, The New York Times

"How gratifying—and long overdue—to see a woman artist presented as a starting point of art history rather than an afterthought, an add-on, or a footnote to the usual male-centered narrative." -Judy Chicago, artist
 
"Helen Frankenthaler and her descendants remind us that our art is never just what we make—it’s how we make it, what we wear, how we pose, what we say, who we know. This staggering, complex book is a required reading for every woman artist who has hoped (and labored) to be taken seriously." -Miranda July, filmmaker, artist, and writer
 
“Helen Frankenthaler’s talent, skill, perseverance, grit, and idiosyncratic approach to her work continue to inspire artistic souls of all genders to this very day. She is proof that nothing is ever impossible and talent is sexless.” -Jack McCollough & Lazaro Hernandez, founders and designers at Proenza Schouler
 
"It’s great to have a history of painting that doesn’t erase identity. In this book, bodies tell the story, they embody the knowledge and the feeling—a way of communicating that we could call female, or queer, or just more open. This history makes room, a kind of historical community, for contemporary artists working with humor, color, pleasure, and everyday life; a really welcome corrective to purely formalist accounts." -Nicole Eisenman, artist
 
"A juicy, wildly necessary book that formidably and playfully decenters the 'recent' history of painting by dropping the stylish Helen Frankenthaler right on center stage as painting’s true abstract heroine of nextness. This flagrant and righteous vision gets backed up by a wyrd chorus that includes Marilyn Minter, Mike Kelley, Carrie Moyer, Polly Apfelbaum, Carroll Dunham, Cecily Brown, K8 Hardy, Amy Sillman, and Kara Walker, the tome itself ending with the exquisite language: Hello, bitches." -Eileen Myles, poet
 
"A brilliant, revisionary act of bringing forward The heroine Paint, this groundbreaking collection on Helen Frankenthaler, her world, and her wide-ranging influence is not just restorative, but regenerative. An inspiration for anyone seeing or making art from the mid-twentieth century until now — and onward, alive and well, into the future." -Jorie Graham, poet

"Katy Siegel's The heroine Paint is revisionist in the best sense. This fresh account offers a double reward: you encounter fascinating artists you never before knew, while being released from the critical paradigms and clichés that have kept their work out of the standard art histories." -Richard Shiff, Effie Marie Cain Regents Chair in Art at The University of Texas at Austin
   

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