Renowned critic and art historian of the New York School Karen Wilkin is thanked in the catalogue accompanying this exhibition, for which she has written the main essay, for instigating the project. On August 4, the exhibition “Abstract Climates: Helen Frankenthaler in Provincetown” will go on view at the Parrish Art Museum in Water Mill, New York, featuring paintings, photographs, and archival materials from a period when Frankenthaler and her then husband, painter Robert Motherwell, would head to Provincetown for the summer.

Of the 29 works included in the show, 16 are by Motherwell and 13 by Frankenthaler. Since the marriage began in 1958, the earliest works included by both are from that year.

Now, this marriage is itself the subject of an exhibition, at the Upper East Side’s Mnuchin Gallery.

Then she populated that space with various shapes. But it is Frankenthaler's evolution that is the more fascinating, perhaps because it seems more entirely a matter of her personal will, while Motherwell's development seems to be more a matter of his understanding the relationships between his intellect and influences, his experience and his artistic expression. A large 70 × 99 inch painting like The disparity is insignificant, because the development of each artist's personal style is fully on view here, and neither possesses the lion's share of wall space. The disparity is insignificant, because the development of each artist's personal style is fully on view here, and neither possesses the lion's share of wall space. As she moves into the ’60s, as we see here in Was it because he'd already been married twice and knew that even marriages seemingly made in heaven like this one can have an expiration date? We stand in solidarity with the uprising unfolding across the country following the murders of George Floyd, Breonna Taylor, Tony McDade, Nina Pop, Jamel Floyd, and those affected by generations of structural violence against Black communities.

Competitive Collaboration: Frankenthaler & Motherwell at MnuchinHelen Frankenthaler and Robert Motherwell: The Art of Marriage Recognizable figures are rare in the works by Frankenthaler shown here—two small collages from 1958 and 1959 contain expressionistic faces, one human, the other a cat. Motherwell, forty-two when their romance began, was the youngest of the First Generation Abstract Expressionists, but one of the most distinguished, connected with the Surrealists, a veteran of Peggy Guggenheim’s gallery, known as a writer and translator, as well as a painter, and someone whose work Frankenthaler admired.

Frankenthaler's problem was the canvas itself: like many painters of the ’50s, she created a space within a space, a delineated area within the framework of the canvas.

Helen Frankenthaler and Robert Motherwell were married from 1958 to 1971. oil and pasted papers on industrial corrugated cardboard We first encounter a small, 12 × 8 inch mixed-media-on-paper piece by Frankenthaler. Henceforth Frankenthaler would allude to places— Her look is all love; Motherwell, averting his gaze from Namuth, has … Her look is all love; Motherwell, averting his gaze from Namuth, has a vacant, slightly ironic expression.

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