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Discussed in this essay:
Fierce Poise: Helen Frankenthaler and 1950s New York, by Alexander Nemerov. Penguin Press. 288 pages. $28.
Imagine, if you will, that it’s the year 1990, and you are flipping through the magazine
Art & Antiques. (Why you are doing this, I don’t know maybe you’re an art collector? Just imagine it.) You come across a photograph of a middle-aged white woman in a lemon-yellow sweater and low wedges. She’s perched inside some kind of gigantic wheeled frame, dark eyes cast to the side, laughing at a private joke. Cans of paint, buckets, and brushes, the tools of her trade, are organized on shelves beside her. She seems successful and, what’s more, adjusted to success happy, even carefree. On the floor is a work in progress, soupy reddish paint dotted with black specks. It vaguely resembles an exploded watermelon. “Every canvas is a journey all its own,” the text declares.