Van Gogh’s renowned painting Starry Night (1888) will be the focus of an exhibition shedding light on the sources and considerable influence of this nocturnal scene.  The Foundation’s loan of Frankenthaler’s painting Star Gazing (1989) will be included alongside works by such artists as Edvard Munch, Kasimir Malevich, Georgia O’Keeffe, Yves Klein, Lee Bontecou, Tony Cragg, and Anselm Kiefer.

fondation-vincentvangogh-arles.org

STPI’s Annual Special Exhibition brings together a substantial collection of Helen Frankenthaler’s print works with a spotlight on her woodcuts – one of the largest such presentations to be shown in Singapore to date. Loans from the Foundation will be included.

stpi.com

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From its heyday in the 1940s and ’50s, abstract art gained momentum in the postwar United States and remains a touchstone for artists working today. Tracing Lineage: Abstraction and its Aftermath addresses key art-historical movements, including Abstract Expressionism and its various permutations—from Action Painting and Color Field to Minimalism and Postminimalism—while also showcasing work by contemporary artists whose investigations of color, form, and material elucidate the ongoing legacies of painterly abstraction.

BruceMuseum.org

This major exhibition of 130 paintings from an overlooked generation of 70 international women artists arrives at its third venue following the Whitechapel Gallery in London and Fondation Vincent Van Gogh Arles, France. Reaching beyond the predominantly white, male painters whose names are synonymous with the Abstract Expressionist movement, this exhibition celebrates the practices of the numerous international women artists working with gestural abstraction in the aftermath of the Second World War.

kunsthalle-bielefeld.de

Connecticut Modern aims to highlight the state's role in the history of 20th century modernism as an important site of contemporary art making. The exhibition draws together many artists and collectors who lived and worked in Connecticut in the 1930s and 1940s. Helen Frankenthaler's Shippan October will be on loan from the Foundation.

BruceMuseum.org

This exhibition features artwork by Saito and the close circle of artists that he was associated with for over 20 years, including Helen Frankenthaler.  The Foundation's loan of Bistre I, painted during the period when Saito worked as a studio assistance for Frankenthaler, is included. 

kinosaito.org

With more than 80 works by 50 artists, this exhibition explores the idea of inner landscapes and interior worlds—a concept inspired by the island setting of the Villa Carmignac. The Foundation’s loan of Frankenthaler’s painting Overture will be included.

fondationcarmignac.com

The Fondation Vincent van Gogh Arles presents a major exhibition of 130 paintings from an overlooked generation of 70 international women artists. Reaching beyond the predominantly white, male painters whose names are synonymous with the Abstract Expressionist movement, this exhibition celebrates the practices of the numerous international women artists working with gestural abstraction in the aftermath of the Second World War.

fondation-vincentvangogh-arles.org

Creative Exchanges focuses on three surviving address books kept by Jackson Pollock and Lee Krasner. The books themselves will be on view alongside more than twenty works by artists whose names, addresses, and telephone numbers appear in them, including Helen Frankenthaler.  The Foundation's loan of Frankenthaler's early painting Cloudscape, 1950, is included.

stony brook.edu

The Shape of Freedom examines the creative interplay between Abstract Expressionism and Art Informel in transatlantic exchange and dialogue, from the mid-1940s to the end of the Cold War. It includes more than ninety works by around fifty artists, amongst them Sam Francis, Helen Frankenthaler, Lee Krasner, Joan Mitchell, Ernst Wilhelm Nay, Barnett Newman, Jackson Pollock, Georges Mathieu, Mark Rothko, Hedda Sterne and Clyfford Still. This exhibition was previously presented at the Albertina Modern in Vienna and the Museum Barberini in Potsdam, Germany.

munchmseet.no

Featuring works from the museum's collection in addition to loans from public and private collections, Art, Music & Feminism in the 1950s brings together a diverse collection of works produced by women of the era. This group exhibition explores how these artists played a pivotal role in opening new pathways for women in subsequent decades. The Foundation’s loan of Frankenthaler’s painting Break-through is included.

kiarts.org

This exhibition features twelve paintings and three large-scale works on paper by Helen Frankenthaler dating from 1990 through 1995. Several works on canvas and paper, on loan from the Frankenthaler Foundation's collection, are included. This will be the first time in almost two decades that a group of the artist’s paintings from this era have been presented in New York, with some that have never previously been exhibited. 

Gagosian.com

For the first time in more than 20 years in Germany, the Museum Folkwang is showcasing the powerful oeuvre of Helen Frankenthaler, known as a trailblazer for her role in the transition from Abstract Expressionism to Color Field Painting. Focusing on Frankenthaler's works on paper, the exhibition was previously presented at the Kunshalle Krems in Austria.

museum-folkwang.de

This exhibition explores what can be learned by juxtaposing the work of two pioneering artists: Helen Frankenthaler and Jo Sandman (b. 1931). Frankenthaler, the elder artist, is more closely identified with image-making, and Sandman, the younger, with process and conceptualism. This exhibition highlights 10 prints and 8 proofs by Frankenthaler that were gifted to the museum through the Frankenthaler Prints Initiative for university-affiliated museums.

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Bowdoin.edu

During the 1990s, Frankenthaler naturally transitioned from tackling canvases on the floor to using larger sheets of paper laid out on the floor or tabletops for easier accessibility. The continuity between the late work and what came before is striking—the fruits of an intuitive journey graced by mood, imagination, and technical facility. This exhibition, organized by Douglas Dreishpoon, was previously presented at New Britain Museum of American Art, the Weatherspoon Art Museum, and the Palm Springs Art Museum. A publication documenting Frankenthaler’s late period, with essays by Dreishpoon and Suzanne Boorsch, and a roundtable conversation with Katharina Grosse, Pepe Karmel, and Mary Weatherford, has been recently published by Radius Books.

artisnaples.org

Albertina Modern's autumn exhibition is dedicated to the abstract expressionism of the New York School. After 1945, hard-edge painting and color field painting celebrated a brilliant triumph in Europe and reestablished art’s freedom following the end of the Second World War. The exhibition includes over 100 artworks by international artists and examines the creative interplay between abstract expressionism and informalism in the context of transatlantic dialog from the mid-1940s to the end of the Cold War. 

A version of this exhibition was presented at the Museum Barberini in 2022, the show will travel to a third venue, the Munch Museum in Oslo, Norway in 2023.

www.albertina.at

This exhibition traces “the monochrome” as a fundamental if surprisingly expansive artistic practice. Revisiting classic modernist ideas about flatness, idealized form, and colors, Monochrome Multitudes opens up this seemingly reductive art to reveal its global resonance and creative possibilities while working toward a more expansive narrative of 20th and 21st century art.

smartmuseum.uchicago.edu

This group show spotlights five female artists whose pioneering explorations of color greatly expanded the frontiers of Abstract Expressionism. The first of its kind in Asia, the exhibition showcases important works by key women who experimented, probed, and eventually triumphed in launching abstract painting beyond what had been established by the male-dominated New York School. The show takes its title from Helen Frankenthaler’s Shatter (1953), lent by the Foundation.

artintelligenceglobal.com

The exhibition Helen Frankenthaler: Painterly Constellations features 74 works on paper alongside a selection of paintings from the individual phases in Frankenthaler’s artistic career. Frankenthaler’s work has rarely been shown extensively in German-speaking countries. The exhibition at Kunsthalle Krems is the artist's first monographic show in Austria and is co-organized with the Museum Folkwang in Essen, Germany, which is dedicating a show to the artist under the same title from December 2, 2022 to March 5, 2023.

kunsthalle.at

The Shape of Freedom examines the creative interplay between Abstract Expressionism and Art Informel in transatlantic exchange and dialogue, from the mid-1940s to the end of the Cold War. It includes more than ninety works by around fifty artists, amongst them Sam Francis, Helen Frankenthaler, K. O. Götz, Lee Krasner, Georges Mathieu, Joan Mitchell, Ernst-Wilhelm Nay, Barnett Newman, Jackson Pollock, Judit Reigl, Mark Rothko, and Clyfford Still.

This exhibition will travel to the Albertina Modern, Vienna in October, 2022 as well as to the Munch Museum in Oslo, Norway in 2023.

museum-barberini.de

This Frankenthaler Prints Initiative exhibition champions the significance of printmaking within Frankenthaler’s artistic practice. It explores the cooperative, exploratory process through which the artist worked and highlights the six proofs and final edition print of Un Poco Más (1987), completed during a period of time the artist spent in Barcelona, Spain. 

nasher.duke.edu

Taking as a starting point a gift from the Foundation's Frankenthaler Prints Initiative to USFCAM, the museum has organized an exhibition that features elegant, hand-processed paintings and prints by pioneering artist Helen Frankenthaler and digitally-informed, pop-inflected canvases and works on paper by contemporary Los Angeles painter Heather Gwen Martin. The exhibition brings together the work of two important women artists from two different generations.

USFCAM.usf.edu

Named "best exhibition of the year in London" by The Guardian and "a revelation" by The Evening Standard, this exhibition shines a light on the artist’s groundbreaking woodcuts, which appear painterly and spontaneous with expanses of color and fluid forms. The exhibition reveals Frankenthaler as a trailblazer of the printmaking movement, who endlessly pushed possibilities through her experimentation.

dulwichpicturegallery.org.uk

This room of five paintings spanning 1951-1977 includes loans from the Helen Frankenthaler Foundation's collection and a work recently gifted to the Tate by the Foundation.

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Initially presented at Centre Pompidou in Paris, this exhibition traces a lesser-told history of art primarily from the 20th and 21st centuries by focusing on the contribution of women artists to abstraction. It includes over 100 artists working across disciplines. The loan of two major paintings by Helen Frankenthaler from the Foundation’s collection are on view.

www.guggenheim-bilbao.eus

This exhibition features thirteen paintings several of which have never been exhibited before. The references to landscape that are inherent in these paintings shift between subtle and explicit, as critic E. C. Goossen observed in 1958. All are characterized by an extraordinary variety of line and color. 

Read a recent review of the show from the Gaurdian.

Gagosian.com

This exhibition features features a selection of works on paper by Frankenthaler as well as a sculpture by the artist, made during a stint in the London studio of Anthony Caro in July, 1972. As Lauren Mahony notes in “Helen Frankenthaler: A Painter’s Sculptures,” "Frankenthaler worked steadily over a two-week period and took inspiration from her immediate surroundings, a direct and spontaneous approach akin to how she painted. Even as a self-described novice, her choices revealed her confidence and her eye."

Gagosian.com

During the 1990s, Frankenthaler naturally transitioned from tackling canvases on the floor to using larger sheets of paper laid out on the floor or tabletops for easier accessibility. The continuity between the late work and what came before is striking—the fruits of an intuitive journey graced by mood, imagination, and technical facility. This exhibition, organized by Douglas Dreishpoon, was previously presented at New Britain Museum of American Art and the Weatherspoon Art Museum. The Palm Springs presentation includes an additional 10 paintings on canvas. A publication documenting Frankenthaler’s late period, with essays by Dreishpoon and Suzanne Boorsch, and a roundtable conversation with Katharina Grosse, Pepe Karmel, and Mary Weatherford, is forthcoming from Radius Books.

psmuseum.org

This exhibition highlights ten prints and six proofs by the artist that were gifted to the Blanton Museum through the Frankenthaler Prints Initiative. These works span five decades of Frankenthaler’s career. Her work is joined by that of other artists in the Blanton’s collection using the medium of print to capture and translate their own abstract visions.

blantonmuseum.org

During the 1990s, as Frankenthaler's practice continued to evolve through the use of diverse media and processes, she naturally transitioned from tackling canvases on the floor to using larger sheets of paper laid out on the floor or tabletops for easier accessibility. The continuity between the late work and what came before is striking—the fruits of an intuitive journey graced by mood, imagination, and technical facility. The exhibition, organized by Doug Dreishpoon, travels to the Weatherspoon from the New Britain Museum of American Art.

weatherspoonart.org

New Britain Museum of American Art will debut the first museum presentation dedicated to the late work of Helen Frankenthaler. Curated by Douglas Dreishpoon, Director of the Helen Frankenthaler Catalogue Raisonné, it features 22 works on paper on loan from the Foundation and marks the first comprehensive opportunity to see the fruits of Frankenthaler’s late career in depth.

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Deliberate Risks presents works recently acquired for the SCAD Museum of Art Permanent Collection by the pioneering Modernist painter and printmaker Helen Frankenthaler. As part of the Helen Frankenthaler Prints Initiative, the Helen Frankenthaler Foundation gifted the SCAD Museum of Art 10 prints and four proofs from the 1960s through the early 2000s that exemplify the artist’s experimental approach to the medium. 

scadmoa.org

The Foundation gifted PAFA a group of prints and proofs as part of the Frankenthaler Prints Initiative for university-affiliated museums. These works are presented in an exhibition curated by the PAFA Youth Council.

In conjunction with the exhibition, Ruth Fine, a former curator at the National Gallery of Art, explored Helen Frankenthaler’s printmaking accomplishments in conversation with Judith Brodsky, founder of the Brodsky Center at PAFA. 

Listen

PAFA.org

This exhibition presents ten unique paintings on paper and fourteen prints that date from the 1970s to the 1990s. Lent by the Helen Frankenthaler Foundation, these rarely seen paintings on paper reflect the artist's painterly process.

Take a virtual audio tour of the exhibition

www.arthurrossgallery.org

The exhibition explores large-scale abstract painting, sculpture, and assemblage, from the 1940s to the twenty-first century, through works from The Met collection and special loans. The Foundation's loan of Western Dream, 1957, remains on view.

metmuseum.org

The exhibition highlights Frankenthaler’s exploration of the relationship between landscape and abstraction through key examples of work the artist produced in Provincetown, MA during more than a decade of summers there.

Read Morewww.parrishart.org

Spanning five decades and featuring approximately fifty works, the exhibition showcases the gift of ten prints and five related trial proofs from the Helen Frankenthaler Foundation to the Princeton University Art Museum. These works represent the continuous and generative role of printmaking in Frankenthaler’s oeuvre.

Read Moreartmuseum.princeton.edu

Women in Abstraction aims to trace a lesser-told history of art primarily from the 20th and 21st centuries by focusing on the contribution of women artists to abstraction. The exhibition includes over 100 artists working across disciplines, Two loans of major paintings by Helen Frankenthaler from the Foundation’s collection are included.

centrepompidou.fr

This group exhibition brings together historical figures and contemporary artists for whom the night and nighttime are an inspiration for their work. With painting as a focus, the show includes photography, video art, and installations, offering conceptual parallels to music and literature.

www.centrepompidou-metz.fr

This exhibition is the first presentation of Helen Frankenthaler’s work in Venice since its appearance in 1966 at the American Pavilion of the 33rd Venice Biennale. Covering a forty-year span of Frankenthaler’s career from the early 1950s to her richly atmospheric canvases of the early 1990s, it features fourteen panoramic paintings, all from the collection of the Foundation.

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This large-scale exhibition displays twenty-three of Helen Frankenthaler’s woodcuts ranging from her earliest, made in 1973, to her last, made in 2009, along with proofs and paintings on wood used in the making of several of the editions. This is the artist’s first solo show in Norway and the most comprehensive presentation of her woodcuts in Europe to date.

http://kodebergen.no/en

Helen Frankenthaler spent more than a decade of summers living and working in Provincetown following her marriage to Robert Motherwell in 1958. This exhibition presents paintings she created there between 1950 and 1969. From intimately scaled works to large canvases that reference the sea and landscape of Provincetown, it offers a new perspective on this aspect of her oeuvre.

Organized by PAAM, the exhibition will travel in an expanded version to the Parrish Art Museum in Water Mill, New York, from August 4 – October 27, 2019.

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This exhibition features over fifty of Frankenthaler’s prints from her two decade collaboration with Universal Limited Art Editions (ULAE), during which she produced images that reveal her enchantment with what she called “the romance of a new medium.” A comprehensive selection of lithographs, etchings, aquatints, woodcuts and never-before-displayed proofs illustrate the artist’s working method and demonstrate Frankenthaler’s unwavering passion for printmaking.

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This group exhibition focuses on the precise moment when the works of Claude Monet were rediscovered and the New York School of Abstract Expressionism was first being recognized abroad. Included is a selection of some of Monet’s later works and around twenty major paintings by American artists including Jackson Pollock, Mark Rothko, Philip Guston, and Helen Frankenthaler.

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The exhibition puts into question the hierarchies and chronologies of art history by grouping classical sculpture, postwar vanguard painting, and key contemporary works, by artists Louise Bourgeois, Joe Bradley, Alberto Burri, Dan Flavin, Helen Frankenthaler, Duane Hanson, Donald Judd, Wassily Kandinsky, Anish Kapoor, Rene Magritte, Paolo Schiavo, Guido Reni, Frank Stella, and Mary Weatherford as a chitcheri sakwa, a clan shrine made in Togo circa 1900, and a Roman sculpture from the second century.

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This international, cross-generational exhibition is a celebration of women artists who have shaped and transformed, and continue to influence and expand, the language and definition of abstract painting. Works from the era of Abstract Expressionism will be represented by artists such as Helen Frankenthaler, Lee Krasner, Joan Mitchell and Hedda Sterne, alongside more recent works by artists ranging from Elizabeth Murray and Mary Heilmann to Rita Ackermann and Mary Weatherford. 

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The exhibition was organized by the Jordan Schnitzer Family Foundation and highlights Frankenthaler’s powerfully evocative print production.

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This exhibition comprises a selection of large paintings by Helen Frankenthaler, focusing on nature as a longstanding inspiration and including the full range of styles and techniques that she explored over five decades of work.

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Throughout her career, Frankenthaler worked with a variety of print publishers to push the medium in new directions. No Rules features work executed over four decades and examines her inventive and groundbreaking approach to the woodcut.

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The first major exhibition of Helen Frankenthaler’s work in Paris in more than fifty years, it includes paintings and works on paper, several of which have not been exhibited since the early 1960s.

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Drawn from the collections of Jordan D. Schnitzer and his family foundation, this exhibition includes more than 25 prints made from a diverse range of techniques, including lithographs, etchings, aquatints, screen prints, and woodcuts.

Travels to: 

The Frances Lehman Loeb Art Center, Poughkeepsie, NY

October 6 — December 10, 2017 

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Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). 

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This is the first exhibition to examine this French master’s profound impact upon the development of American modern art from 1907 to the present.

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Originated: Royal Academy of Arts

September 24, 2016 — January 2, 2017

Organized by the Denver Art Museum, this important project brings together approximately 50 major works of art by twelve of the key women involved with the movement on both the East and West Coasts.

Traveled to:
The Mint Museum, Charlotte, NC
October 22, 2016 — January 22, 2017

Originated:

Denver Art Museum, CO
June 12 — September 25, 2016

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The exhibition positions the work of Hans Hartung with artists of the 1950's such as Georges Mathieu, Gérard Schneider, Hantaï, and international artists from subsequent decades, including Helen Frankenthaler.

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For the first time in recent museum history, this exhibition examines the turbulent and eventful postwar period as a global phenomenon.

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This long-awaited exhibition reveals the full breadth of a movement that will forever be associated with the boundless creative energy of 1950s New York.

Traveling to:
Guggenheim Museum Bilbao, Spain
February 03, 2017 — June 04, 2017

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The exhibition comprises eighteen canvases by Frankenthaler from a twenty-five year time span, selected to reveal how the renowned abstract painter articulated the relationship between drawing and color during this period.

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American and Canadian artists of the 1960s and '70s changed the feel and appearance of abstract painting. They soaked pigment directly into the canvas, which enabled them to move beyond the thickly painted and dramatically brushed work of the previous generation. What resulted are two kinds of pictures: some with flowing, liquid colours and others with crisp, linear designs. Both types of painting are big and flat, and they seem to expand and contract optically with their active, vibrating surfaces.

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In celebration of the acquisition of Helen Frankenthaler's breakthrough color woodblock print, East and Beyond, 1973, the Art Center presents an exhibition contextualizing Frankenthaler's print.

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Curated by Katy Siegel, Pretty Raw took the work of the artist Helen Frankenthaler (1928—2011) as the point of departure for an alternative version of modernist art over the past 50 years, a story usually written as a series of male masters. In this new history, decoration, humor, femininity and masculinity, the everyday, sensual pleasure, artifice and illusion, and authorial control took center stage, as artists from the 1950s through the present explore the personal, social, and political meanings of sheer, gorgeous materiality.

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Curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, “In the Studio: Paintings,” exhibited at 522 West 21st Street, spanned from the mid-sixteenth through the late twentieth centuries and included over 50 paintings and works on paper by nearly 40 artists.

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New York Painting and Sculpture: 1940 — 1970 was the Metropolitan Museum's most exciting exhibition to date under the auspices of director Thomas Hoving, who turned Henry Geldzahler loose to price the art world to alertness.  Curated by Stewart Waltzer, this comprehensive group show reprised Geldzahler's seminal exhibition...

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Organized by Chief Curator Emeritus Douglas Dreishpoon, this twenty-year survey explored how Frankenthaler’s notion of abstraction expanded during the decades, the extent to which landscape persisted as subject matter in her works, how subtle changes of techniques affected the way her images were conceived, and how drawing continued to inform the creative process.

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The exhibition focused on a brief but critical period in Frankenthaler's career during 1962—63, when she “composed with color” rather than with line, resulting in the freer compositions that came to exemplify her long and prolific career. Transitioning from the sparer, more graphic works of 1960—61, Frankenthaler made paintings that more readily filled the space of the canvas, moving toward what critic B. H. Friedman described as the “total color image” that would become a hallmark of her later work.

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Helen Frankenthaler and David Smith celebrated the close friendship between two major American artists of the 20th century: Helen Frankenthaler (1925—2011) and David Smith (1906—1965).  The exhibition will featured ten works by Frankenthaler — one painting and nine works on paper — alongside three sculptures by Smith. 

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Showcasing the work of the celebrated American Abstract Expressionist painter, Helen Frankenthaler, alongside paintings by JMW Turner from the nineteenth century, the exhibition included 24 paintings by Frankenthaler, whose last public gallery exhibition in the UK was at the Whitechapel in 1969.

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Painted on 21st Street: Helen Frankenthaler from 1950 to 1959 was curated by John Elderfield, Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art, New York, and a consultant at Gagosian Gallery, who authored the principal monograph on Frankenthaler’s work in 1989.

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