Henry Geldzahler

  • A Conversation

    Charles Cowles is the owner of the Charles Cowles Gallery in New York and serves as chairman of the board of the New York Studio School of Painting, Drawing, and Sculpture. He published Artforum from September 1965 to November 1979.

    HENRY GELDZAHLER: Artforum got started in San Francisco in 1962. When did you get involved?

    CHARLES COWLES: I think Nick Wilder started talking to me about the magazine in the summer of ’64. I was a student at Stanford, majoring in journalism. Wilder was a grad student working part-time at the Lanyon Gallery in Palo Alto, in old Gov. Stanford’s horse barn, and promoting

  • A Preview of the 1966 Venice Biennale

    IDEALLY A BIENNALE IS MORE than an international exhibition of current art events. It is a research laboratory, to which the artists from each participating country bring their latest findings. It has been proven again and again over the years that art movements of real vitality are more than national; they leap borders and often linger abroad with great effect before and after they are valued at home. While the great burden of transmitting the news in the world of art is on the traveling exhibition, the traveling artist and the art magazines, the Biennales also do their part. When they have

  • An Interview with Helen Frankenthaler

    How did you first get into painting?

    When I was fifteen I started going to the Museum (of Modern Art) and a couple of galleries, mostly because of Tamayo, because he was teaching at my high school, Dalton. He was my first friend who was a painter. The first gallery I went into was the one in which he showed (Valentine Dudensing). In my early teens, it was my sister Marge who took me around the Museum; she took me to see Dali’s melting watches. It was the first time I really looked and I was astonished.

    By the time I got to Bennington (March, 1946), I was quite involved in painting because of

  • An Interview with George Segal

    HG: What cause you to move from painting into sculpture?

    G.S.: My dissatisfaction with all the modes of painting that I had been taught that couldn’t express the quality of my own experience.

    HG: Had you done or thought of sculpture previously?

    G.S.: In 1958 I had a combined sculpture and painting show. I had a history of painting life-size figures. I simply made three life-size figures out of wire, plaster and burlap, one sitting, one standing and one lying. They looked to me as if they had stepped out of my paintings.

    HG: Is there much visual connection between those three pieces and your present