American, 1928 - 2011
Enamel, oil, and turpentine on canvas
173.7 x 137.2 cm (68 3/8 x 54 inches)
The Albert Pilavin Memorial Collection of 20th-Century American Art 72.108
(November 7, 2003 – January 25, 2004)(November 12, 2004 – March 5, 2005)(November 9, 2001 – February 17, 2002)(May 4 –December 30, 2018)
In 2002, I wrote to [Frankenthaler’s] home on Contentment Island in Darien, Connecticut, and to her gallery in New York City, requesting an interview. She denied my request, explaining in a three-sentence letter that the painting’s title may only have suggested to her a feeling of “turbulence.” –George M. Goodwin, “Wrestling with Frankenthaler: Her Painting in the RISD Museum”
The meanings of an abstract work will depend on its materiality, its situation, the processes of its making, its composition, its title, its symbolic suggestions and counter-suggestions, its context in a discussion of abstraction, and in the artist’s work. In other words, the way in which a work of abstract art generates meaning can be extremely complicated. Considered in this way, it might seem entirely possible that an abstract work can represent the Holocaust in complex ways. –Mark Godfrey, Abstraction and the Holocaust
Edited ByWoolsey, Ann, ed.
Publisher & DateMuseum of Art, Rhode Island School of Design, 2008
TypeMonographs and CollectionsThe Albert Pilavin CollectionTwentieth-Century American Art, II
Contributions byRobbins, Daniel., and Selma Pilavin
Publisher & DateMuseum of Art, Rhode Island School of Design, 1973
TypeMonographs and Collections
Elderfield, John. “Painted on 21st Street Helen Frankenthaler From 1950-1959”. New York: Gagosian Gallery, 2013.