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A Time & Place

East and West Coast Abstraction from the ’60s and ’70s

July 21–August 27, 2005
Beverly Hills

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Installation view

Works Exhibited

Sam Francis, Untitled No. 11, 1973 Acrylic and oil on canvas, 96 × 120 inches (243.8 × 304.8 cm)Photo by Douglas M. Parker Studio

Sam Francis, Untitled No. 11, 1973

Acrylic and oil on canvas, 96 × 120 inches (243.8 × 304.8 cm)
Photo by Douglas M. Parker Studio

Morris Louis, Gamma Omicron, 1960 Magna on canvas, 102 × 155 ½ inches (259.1 × 395 cm)Photo by Douglas M. Parker Studio

Morris Louis, Gamma Omicron, 1960

Magna on canvas, 102 × 155 ½ inches (259.1 × 395 cm)
Photo by Douglas M. Parker Studio

About

Gagosian is pleased to present A Time & Place: East and West Coast Abstraction from the ’60s and ’70s, featuring works by Sam Francis, Helen Frankenthaler, Hans Hofmann, Morris Louis, Kenneth Noland, Mark Rothko, and Frank Stella.

Carol Armstrong and John Elderfield seated in front of a painting by Helen Frankenthaler

In Conversation
Carol Armstrong and John Elderfield

In conjunction with the exhibition Drawing within Nature: Paintings from the 1990s at Gagosian in New York, Carol Armstrong and John Elderfield discuss Helen Frankenthaler’s paintings and large-scale works on paper dating from 1990 to 1995.

Helen Frankenthaler, Madame Butterfly, 102 color woodcut from 46 woodblocks

The Romance of a New Medium: Helen Frankenthaler and the Art of Collaboration

Inspired by the recent retrospective of Helen Frankenthaler’s woodcuts at the Dulwich Picture Gallery, London, William Davie writes about the artist’s innovative journey with printmaking. Davie illuminates Frankenthaler’s formative collaborations with master printers Tatyana Grosman and Kenneth Tyler.

Katy Hessel, Matthew Holman, and Eleanor Nairne

In Conversation
Katy Hessel, Matthew Holman, and Eleanor Nairne on Helen Frankenthaler

Broadcaster and art historian Katy Hessel; Matthew Holman, associate lecturer in English at University College London; and Eleanor Nairne, curator at the Barbican Art Gallery, London, discuss Helen Frankenthaler’s early training, the development of her signature soak-stain technique and subsequent shifts in style, and her connections to the London art world.

Helen Frankenthaler, Heart of London Map, steel sculpture

Helen Frankenthaler: A Painter’s Sculptures

On the occasion of four exhibitions in London exploring different aspects of Helen Frankenthaler’s work, Lauren Mahony introduces texts by the sculptor Anthony Caro and by the artist herself on her relatively unfamiliar first body of sculpture, made in the summer of 1972 in Caro’s London studio.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

Augurs of Spring

Augurs of Spring

As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.