The pioneering Photorealist painter, sculptor and feminist image-maker Audrey Flack died on 28 June in Southhampton, New York. Her loss of life was confirmed to the general public by her former supplier and buddy, Louis Ok. Meisel, in addition to Hollis Taggart, the gallery that has represented her since 2015.
Flack is survived by her two daughters from her first marriage, Melissa and Hannah, and stepchildren Mitchell and Leslie. Her second husband and highschool sweetheart, Robert Marcus, preceded her in loss of life in Could of this yr.
Audrey Flack, Jolie Madame, 1972, Oil on Canvas, 71in x 96in, Nationwide Gallery of Australia Hollis Taggart
Flack was born in New York in 1931. She attended New York’s Excessive Faculty of Music and Artwork earlier than learning on the Cooper Union; later Josef Albers, the luminary of geometric abstraction, recruited her to the Yale Faculty of Artwork. Quickly, Flack was immersed within the downtown New York arts scene, chopping her tooth at New York’s Artwork College students League and socialising with Summary Expressionist giants like Willem de Kooning and Jackson Pollock (the latter of whom she romantically rejected).
Through the Nineteen Sixties, Flack’s growth of a definite Photorealist language all her personal constituted a visible sea change each within the style and within the evolution of her observe, guiding her hand away from the masculine bravura of Summary Expressionism and right into a extra susceptible, explicitly feminist realm. Her seven-decade profession included numerous exhibitions and has seen her work acquired for a lot of essential institutional collections together with the Metropolitan Museum of Artwork, the Solomon R. Guggenheim Museum and the Los Angeles County Museum of Artwork. Her private papers will quickly be included in Smithsonian Establishment’s Archives of American Artwork.
Audrey Flack, Marilyn (Vanitas), 1977, College of Arizona Museum of Artwork Hollis Taggart
Flack is finest recognized for her huge, vivid, busy still-lives, depicting private tableaus imbued with the gravity of non secular altars. Juxtaposing artwork historic symbols like memento mori skulls with tarot playing cards, jewelry and tubes of lipstick, her self-consciously female compositions ruffled feathers within the artwork essential sphere, incomes her the moniker “the Barbra Streisand of Photorealism” from Hilton Kramer in a 1976 assessment for The New York Instances that railed towards the Museum of Trendy Artwork’s resolution to incorporate her as the primary Photorealist artist in its everlasting assortment. Whereas different titans of the motion like Richard Estes and Robert Cottingham most popular hard-lined city and industrial material, Flack’s emotive, intimate items elevated her voice past the confines of the motion she helped create.
By the late Nineteen Eighties, Flack had began experimenting with three-dimensional work, producing large-scale bronze sculptures of feminine goddesses. In a 2012 assessment of a bronze-centric exhibition of Flack’s at Gary Snyder Advantageous Artwork for Artnews, Cynthia Nadelman referred to as her sculptures “enjoyable and awe-inspiring”, lauding her “defiant and generally winking appropriation of the ups and downs of figurative sculpture”.
Audrey Flack, Beloved Lady of Justice, 2000 Hollis Taggart
“Audrey’s boundless creativity outlined her profession, spanning seven a long time, always innovating and looking for new methods of expression, from early years of Summary Expressionism, to mid-century figuration, to Photorealism and culminating in her ultimate chapter of ‘Pop Baroque’,” Hollis Taggart mentioned in an announcement. “Her acclaimed memoir, revealed solely months earlier than her passing, reveals her true spirit and her capability to beat all obstacles and obtain her formidable targets. She will likely be dearly missed.”
In Could, Flack revealed With Darkness Got here Stars, a memoir reflecting with humor and rhetorical aptitude on her lengthy profession, her abusive ex-husband and the challenges of elevating a nonverbal daughter with autism. She described her patchwork visible report of her life experiences as “timestream”, attributing the signature luminous high quality of her work to her eyesight, writing: “My eyes had been nice, I had unbelievable imaginative and prescient. One eye noticed with blue hues and the opposite eye noticed with hotter. I used to be a colourist. […] What’s surreal for me is what’s occurred to the way in which I see the world. My colors have gotten brighter and lighter. That’s shocking.”
Chloe Pickoff, Flack’s studio supervisor, instructed The Artwork Newspaper in an announcement: “In 4 phrases, Audrey described herself as artist, mom, trainer, insurgent. She was really all of that, however moreover, she was endlessly an explorer, and I’m proud to say a pricey buddy. There are only a few individuals I’ve been in a position to converse so deeply about artwork with and discover alongside so collaboratively—and I witnessed so many different individuals she made really feel this fashion, from her college students to fellow artists and different members of the artistic neighborhood. I used to be lucky to have skilled so many of those conversations over the time we discovered and labored collectively.”
This autumn the Parrish Artwork Museum in Water Mill, New York, will open a survey of her latest work, Audrey Flack: Mid-Century to Put up-Pop Baroque (13 October-6 April 2025).
