Critics’ Picks

View of “Pretty Raw: After and Around Helen Frankenthaler,” 2015.

View of “Pretty Raw: After and Around Helen Frankenthaler,” 2015.


“Pretty Raw: After and Around Helen Frankenthaler”

Rose Art Museum
415 South Street Brandeis University
February 11–June 7, 2015

Curating a show to posit the idea of artists following in another’s footsteps is always a difficult feat that runs the risk of facile didacticism. Yet Katy Siegel steers clear of such a fate here, tracing a legacy of Helen Frankenthaler that is consistently surprising. Anchored by her 1962 canvas Hommage à M. L., the show divides into a variety of media and styles. Ulrike Müller’s miniature paintings–turned-jewelry, from 2011 to 2014, are wonderfully unexpected, as is Cheryl Donegan’s classic video Head, 1993; they seamlessly enter the conversation and amplify Frankenthaler’s voice rather than distracting from it. Marilyn Minter and Andy Warhol collide with Judy Chicago, and the result is a visual treat.

The most striking addition to the show, however, is one of Felix Gonzalez-Torres’s trademark beaded curtains. Untitled (Beginning), 1994, is installed at the entrance to what Siegel deems the “Men’s Room,” which also includes contributions from Carroll Dunham, Christopher Wool, and Mike Kelley. This green membrane that one must pass through to enter the room bisects the exhibition; it acts as a threshold. Industrially produced, glittering, and cold on the skin, Gonzalez-Torres’s work is far from the warm exuberance of Frankenthaler’s painting. Yet both artists point to a productively tenuous life, a shifting between presence and absence: The penetrating, stained, vertical blue hues of Hommage are reminiscent of the capacity of Untitled (Beginning) to surround and invade the body. These surprising and aptly observed affiliations expand our understanding of the legacy of the ever-multivalent Frankenthaler and inspire unexpected curatorial possibilities in a time of increasingly univocal exhibitions.