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Audrey Flack
Time to Save
1979

Name: Time to Save
Brand: Audrey Flack
Price: 2956.45 CHF
Availability: InStock
Rating: 5 (98 reviews)

About the Item

Time to Save From: 12 Photographs: 1973-1983, Plate 8 of 12 Dye transfer photograph, 1979 Signed in ink Edition: 50, this example an Artist's Proof (7/10) Printer: Guy Stricherz Publisher: Prestige Art Ltd, 1984 Condition: Mint Image size: 20 x 18 1/2 inches Sheet size: 24 x 20 inches Frame size: 27 x 25 1/2 inches Note: “One of the first photorealist painters to be included in the Museum of Modern Art’s permanent collection, Audrey Flack focused the early years of her career on large-scale paintings of still lifes that drew from 17th-century Dutch vanitas painting—updated through a contemporary lens—and brought feminine identities under scrutiny. In meticulous, complex arrangements of fruit, flowers, candles, makeup, and ladies’ accouterments, Flack’s loaded symbolic tableaus address stereotypes of the female ideal. Since the 1980s, Flack has turned her focus to monumental sculpture: “Making sculpture attracted me because of its substantiality,” she has said. In her Neoclassical public sculptures of gilded bronze angels, muses, and goddesses, Flack mines Greek mythology, presenting the female in an array of archetypal guises. Though some critics have condemned her focus on the classical white female, Flack is an avowed feminist, and many of her sculptures seek to reinvent their subjects and source material.“ Courtesy of Artsy A pioneer of Photorealism and a nationally recognized painter and sculptor, Ms. Flack's work is in the collections of major museums around the world, including the Metropolitan Museum of Art, The Museum of Modern Art, the Solomon R. Guggenheim Museum, and Whitney Museum of American Art and the National Museum of Art in Canberra, Australia. She was the first photorealist painter to have work purchased by the Museum of Modern Art. Public Collections (Partial) ` Museum of Modern Art, New York, New York Solomon R. Guggenheim Museum, New York, New York Whitney Museum of American Art, New York, New York Metropolitan Museum of Art, New York, New York St. Louis Museum of Art, St. Louis, Missouri Dallas Museum of Fine Art, Dallas, Texas University of Arizona, Phoenix, Arizona Albright-Knox Art Gallery, Buffalo, New York Walker Art Center, Minneapolis, Minnesota Mint Museum of Art, Charlotte, North Carolina Rose Art Museum, Brandeis University, Waltham, Massachusetts Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio Stuart M. Speiser Collection, Smithsonian Institution, Washington, DC HHK Foundation for Contemporary Art, Inc., New York, New York Australian National Gallery, Canberra, Australia National Gallery of Victoria, Melbourne, Australia San Francisco Museum of Fine Art, San Francisco, California National Museum of American Art, Washington, DC University of Texas at Austin, Austin, Texas Wadsworth Athenaeum, Hartford, Connecticut Capricorn Gallery, Baltimore, Maryland Akron Art Museum, Akron, Ohio National Museum of Women in the Arts, Washington, DC New York University Collections, New York, New York Reynolda House Museum, Winston-Salem, North Carolina Art Museum of Western Virginia, Roanoke, Virginia Speed Museum of Art, Louisville, Kentucky Cornell Fine Arts Museum, Winter Park, Florida Butler Institute of American Art, Youngstown, Ohio Cameron Art Museum, Wilmington North Carolina The Tampa Museum of Art, Tampa Florida. Audrey Flack, A Feminist Pioneer of Photorealism, Dies at 93 Audrey Flack: May 30, 1931 – June 28, 2024 New York – Audrey Flack, a premier artist of the Photorealist movement known for her oversized vanitas paintings, died on June 28th in Southampton, New York. She was 93. Her death was announced by her longtime friend Louis K. Meisel. A founder of the Photorealist movement that emerged in the late 1960s, Audrey Flack is internationally recognized for her oversized still life paintings and her monumental bronze sculptures of female deities. She is the first woman artist, along with Mary Cassatt, to be recognized in an updated version of H.W. Janson’s iconic textbook—History of Art. Her artistic career spanned over 7 decades and explored feminist and religious iconography during periods that were dominated by masculine imagery. “As the only [prominent] woman artist in the groundbreaking Photorealist movement, I broke the unwritten code of acceptable subject matter,” said Flack in a statement to the Brooklyn Museum. “Photorealists painted cars, motorcycles and empty street scenes. Cool, unemotional and banal were the terms used to describe the movement. My work, however, was humanist, emotional and filled with referential symbolic imagery.” A first-wave Feminist, Flack was born in New York in 1931. She attended Cooper Union in the early 1950s, and she was recruited by Josef Albers to attend the Yale School of Art on a scholarship. There she explored and immersed herself in Abstract Expressionism, pursuing it for years, before turning her back on the genre, in part, because of the debauchery affiliated with the scene. Seeking stability, Flack married her first husband and began a family, becoming a mother to 2 daughters—Melissa and Hannah. It was through motherhood that Flack’s passion for realism was kindled; she began photographing her children and painting their portraits. This evolved into painting imagery from news clippings, which led to her first Photorealist works. In 1964, she completed Kennedy Motorcade, November 22, 1963, a painting that captured President Kennedy prior to his assassination; this work foreshadowed her paintings to come and has been referred to by critics as the first Photorealist painting of the genre. At the time, her peers found her use of photographs as source material to be “divisive”, and yet she persevered, shifting from commercially sourced images to her own photography as source material in the mid 1960s. In the early 1970s, Flack began painting imagery of ornate historic architecture and then notable religious artifacts. By 1972, Flack was painting still lifes, not from life, but from her own photography. Assembling items of historic and symbolic significance, Flack began to create complex compositions filled with what Lawrence Alloway would refer to as “speaking objects”. Each item, carefully arranged and styled, contributed to the greater narrative of the still life as a whole, imbuing compositions with layered references. Saturated with brilliant colors and softened airbrushed lines, Flack’s work garnered attention, and by the end of the 1985, her work was included in all 4 major museums in the New York City, including the Museum of Modern Art. By the 1980s, Flack’s career was strong, she had divorced her first husband and was happily remarried to Robert Marcus; yet, she felt directionless. After a 2-year creative block, Flack reinvented herself as a sculptor. For the next 3 decades, Flack sculpted. She created figures of powerful women and goddesses, drawing from mythology and Egyptian iconography. She won competitions, and she created public sculptures in numerous cities in the United States, including Rock Hill, South Carolina and Nashville, Tennessee. In recent years, Flack has returned to the canvas, during what she deemed her “Post-Pop Baroque” period. No longer creating Photorealist works, her latest body of work further explored themes of female empowerment, tinged with religious, political and pop commentary. In 2024, she published a memoir entitled “With Darkness Came Stars”. This memoir followed a full-length documentary about her life by Deborah Shaffer titled “Queen of Hearts: Audrey Flack” (2019). Jointly, these releases unveiled a more personal side of Flack’s life—exploring themes of misogyny in the art world, abuse on the part of her first husband, and her struggle as a mother to 2 young girls, one of whom was non-verbal and autistic. Audrey Flack’s work has been highly celebrated. Of the 50 Photorealist paintings that she created, 32 paintings are presently in museum collections. During the course of her career, she had dozens of solo exhibitions, in addition to the hundreds of group shows which took place both domestically and internationally. Her work is in numerous museum collections, including the Smithsonian American Art Museum, the Solomon R. Guggenheim Museum, the Metropolitan Museum of Art, amongst others. She is currently represented by Hollis Taggart Gallery, New York. In October 2024, the Parrish Art Museum in Water Mill, New York will present Audrey Flack NOW, an exhibition that presents work from the last four years of her career. Audrey Flack lived and worked in New York and East Hampton, NY. She is preceded in death by her husband, Robert Marcus, and leaves behind her 2 daughters Hannah and Melissa. Courtesy Louis K. Meisel Gallery

Creator:

Audrey Flack (1931, American)

Creation Year:

1979

Dimensions:

Height: 20 in (50.8 cm)Width: 18.5 in (46.99 cm)

Medium:

Dye Transfer

Movement & Style:

Photorealist

Period:

1970-1979

Condition:

Gallery Location:

Fairlawn, OH

Reference Number:

Seller: FA10779_81stDibs: LU14015405272

Shop All Audrey Flack

Audrey Flack

Audrey Flack became known for her Photorealist paintings and was one of the first artists to use photographs as the basis for painting. The genre, taking its cues from Pop art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics.

Flack's photography, prints and paintings bring in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit. These inanimate objects often disturb or crowd the pictorial space, which is often composed as table-top still lives. Flack often brought in actual accounts of history into her Photorealist paintings, such as World War II (“Vanitas”) and Kennedy Motorcade. Women were frequently the subject of her Photorealist paintings.

In her neoclassical public sculpture of gilded bronze angels, muses, and goddesses, Flack mines Greek mythology, presenting the female in an array of archetypal guises. Though some critics have condemned her focus on the classical white female, Flack was an avowed feminist, and many of her sculptures seek to reinvent their subjects and source material.

Flack's early work in the 1950s was Abstract Expressionist; one such painting paid tribute to Franz Kline. Most influential among her early supporters was the Bauhaus artist Josef Albers. It was he who persuaded Flack to take up a scholarship at Yale with the mission of shaking up the institution's stuffy academic reputation.

The ironic kitsch themes in Flack's early work influenced Jeff Koons. But gradually, Flack became a New Realist and then evolved into Photorealism during the 1960s. Her move to the Photorealist style was in part because she wanted her art to communicate to the viewer. Flack was the first Photorealist painter to be added to the collection of the Museum of Modern Art in 1966. Between 1976 and 1978 she painted her “Vanitas” series, including the piece Marilyn.

In the early 1980s, Flack's artistic medium shifted from painting to sculpture. She described this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to."

Flack discussed the fact that she was self-taught in sculpture. She incorporated religion and mythology into her sculpture rather than the historical or everyday subjects of her paintings. Her sculptures often demonstrate a connection to the female form, including a series of diverse, heroic women and goddess figures. These depictions of women differ from those of traditional femininity, but rather are athletic, older, and strong. As Flack described them: "They are real yet idealized... the 'goddesses in everywoman.'"

Flack had claimed to have found the Photorealist movement too restricting and later gained much of her inspiration from Baroque art. She was represented by the Louis K. Meisel Gallery and Hollis Taggart Galleries. Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, the Allen Memorial Art Museum, and the National Gallery of Australia in Canberra, Australia.

Flack was awarded the St. Gaudens Medal from Cooper Union and the honorary Albert Dome professorship from Bridgeport University. She was an honorary professor at George Washington University, a visiting professor at the University of Pennsylvania, and taught and lectured extensively both nationally and internationally.

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