Enhanced descriptions from Syndetics:

A catalogue with comments on 40 paintings from the exhibition.

Reviews provided by Syndetics

Publishers Weekly Review

From her first lyric stain paintings through the color-field experiments and structured improvisations of Scarlatti (1978) and Cassanova (1988), abstract expressionist Frankenthaler has demonstrated great visual versatility. The diversity of her work is on display in this catalogue of a traveling exhibition, billed as the first major retrospective in 20 years. The 40 paintings reproduced here in color reveal Frankenthaler's mystical gropings ( Buddha's Court , Eden ), her flirtation with identifiable imagery ( Winter Hunt , Nude ), and the way her travels and absorption of other artists' work are filtered through her pictures. In facing-page commentaries, Carmean, director of the Modern Art Museum of Fort Worth, discusses the personal history and poetic associations surrounding each picture. Included are the artist's own comments on how each painting should be approached. (June) (c) Copyright PWxyz, LLC. All rights reserved

School Library Journal Review

YA-- A brief, brilliant catalogue for an exhibition which allows viewers to fall in love with a vibrant colorist. Throughout the next year, museum-goers in New York, Fort Worth, Los Angeles, and Detroit will be priviledged to view the work of this major ``abstract expressionist'' painter. Her lyrical use of color and technical experimentation (using fluid oil paint on untreated canvas and working flat on the floor) were directly inspired by Jackson Pollock. Her titles force viewers to look for connections between inspiration and action. Art teachers will delight in showing future painters a different way to interpret art history.-- Jenni Elliot, Episcopal High School, Bellaire, TX (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

CHOICE Review

Two books on Helen Frankenthaler have been published this year--John Elderfield's massive biographical-critical study, Frankenthaler (CH, Jul '89), and this slim catalog of the Frankenthaler exhibition organized by the Modern Art Museum, Fort Worth. The importance of exhibition catalogs is sometimes overlooked by scholars in favor of critical monographs. Both are equally valuable. Elderfield recounts the artistic and critical climate of the 1950s, '60s, and '70s and discusses Frankenthaler's movement and influence within this world. Carmean focuses on a selection of 40 paintings and accompanying commentaries drawn from interviews with the artist as well as from critical reviews. The collaboration of curator and artist in the creation of a retrospective promotes a depth of understanding of each object selected. Carmean's use of Frankenthaler's language and ideas is thoughtful, insightful, and highly readable. Through the 40 objects the viewer comes to feel and know the artist's struggle to resolve problems and create a finished work. Along with commentary, catalog entries give provenance, references, bibliography, interviews, and critical commentary. No attempt is made to elaborate upon the aesthetic discoveries or art historical role of Frankenthaler's work: this is aptly done by Elderfield and B. Rose (CH, Sep '72). Here the particularities of individual objects are well focused. The catalog is arranged in chronological order. Color plates are well done and the bibliography is thorough. Highly recommended. -J. Barter, Amherst College