Audrey Flack

Audrey Flack (born May 30, 1931) is an American artist. Her work pioneered the art genre of photorealism and encompasses painting, printmaking, sculpture, and photography.

Audrey Flack
Artist's signature on bronze
Born (1931-05-30) May 30, 1931
New York City, U.S.
NationalityAmerican
EducationThe High School of Music & Art
New York University Institute of Fine Arts
Yale University
Cooper Union
Known forPainting, Sculpture
MovementPhotorealism
SpouseH.Robert Marcus
Websitehttp://www.audreyflack.com

Flack has numerous academic degrees, including both a graduate and an honorary doctorate degree from Cooper Union in New York City. Additionally she has a bachelor's degree in Fine Arts from Yale University and attended New York University Institute of Fine Arts where she studied art history. In May 2015, Flack received an honorary Doctor of Fine Arts degree from Clark University, where she also gave a commencement address.

Flack's work is displayed in several major museums, including the Museum of Modern Art, the Metropolitan Museum of Art, Smithsonian American Art Museum, the Whitney Museum of American Art, and the Solomon R. Guggenheim Museum. Flack's photorealistic paintings were the first such paintings to be purchased for the Museum of Modern Art's permanent collection, and her legacy as a photorealist lives on to influence many American and International artists today. J. B. Speed Art Museum in Louisville, Kentucky, organized a retrospective of her work, and Flack's pioneering efforts into the world of photorealism popularized the genre to the extent that it remains today.[1]

Early life and education

Flack attended New York's High School of Music & Art.[2] She studied fine arts in New York from 1948 to 1953, studying under Josef Albers among others.[3] She earned a graduate degree and received an honorary doctorate from Cooper Union in New York City, and a Bachelor of Fine Arts from Yale University. She studied art history at the Institute of Fine Arts, New York University.[4]

Career
Audrey Flack, Banana Split Sundae, 1981. Minneapolis Institute of Art

Flack's early work in the 1950s was abstract expressionist; one such painting paid tribute to Franz Kline. The ironic kitsch themes in her early work influenced Jeff Koons.[5] 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.[6] She was the first photorealist painter to be added to the collection of the Museum of Modern Art in 1966.[7] Between 1976 and 1978 she painted her Vanitas series, including the iconic piece Marilyn.[8]

The critic Graham Thompson wrote, "One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism, radical realism, or hyper-realism and painters like Richard Estes, Denis Peterson, Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs."[9]

Art critic Robert C. Morgan writes in The Brooklyn Rail about Flack's 2010 exhibition at Gary Snyder Project Space, Audrey Flack Paints a Picture, "She has taken the signs of indulgence, beauty, and excess and transformed them into deeply moving symbols of desire, futility, and emancipation."[10] In the early 1980s Flack's artistic medium shifted from painting to sculpture.[6] She describes this shift as a desire for "something solid, real, tangible. Something to hold and to hold on to."[11]

Flack has claimed to have found the photorealist movement too restricting, and now gains much of her inspiration from Baroque art.

Her work is held in the collections of museums around the world, including the Metropolitan Museum of Art,[12] The Museum of Modern Art,[13] the Whitney Museum of American Art,[14] the Allen Memorial Art Museum,[15] Smithsonian American Art Museum,[16] and the National Gallery of Australia in Canberra, Australia.[17]

In 1986 Flack published Art & Soul: Notes on Creating, a book expressing some of her thoughts on being an artist.[11]

Her image is included in the iconic 1972 poster Some Living American Women Artists by Mary Beth Edelson.[18]

In 2023 her work was included in the exhibition Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970 at the Whitechapel Gallery in London.[19]

Photorealism

Audrey Flack is best known for her photo-realist paintings and was one of the first artists to use photographs as the basis for painting.[6] The genre, taking its cues from Pop Art, incorporates depictions of the real and the regular, from advertisements to cars to cosmetics. Flack's work brings in everyday household items like tubes of lipstick, perfume bottles, Hispanic Madonnas, and fruit.[6] These inanimate objects often disturb or crowd the pictorial space, which are often composed as table-top still lives. Flack often brings 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 photo-realist paintings.[6]

Sculpture
Sculpture by Audrey Flack in New Orleans.
Statue of Catherine of Braganza, in Lisbon — scale model for a much larger one planned for Queens NYC, never built.

Audrey Flack's sculpture is often overlooked in light of her better-known Photorealist paintings. In The New Civic Art: An Interview with Audrey Flack,[20] Flack discusses the fact that she is self-taught in sculpture. She incorporates 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 describes them: "they are real yet idealized... the 'goddesses in everywoman.'"[6]

In the early 1990s, Flack was commissioned by a group called Friends of Queen Catherine to create a monumental bronze statue of Catherine of Braganza, in whose honor the borough of Queens is named. The statue, which would have been roughly the height of a nine-story building, was meant to be installed on the East River shore in the Hunters Point area of Long Island City, across from the United Nations.[21] The project was never fully realized, however, as protestors in the mid-late 1990s objected to Queen Catherine's ties to the Transatlantic Slave Trade. (Others objected to the statue of a monarch overlooking a Revolutionary War battleground.)[22] Flack nevertheless remained dedicated to the project, and notes that she endeavored to depict Catherine as biracial, reflecting her Portuguese background and paying homage to the ethnic diversity of the borough of Queens.[23]

Further reading
  • Baskind, Samantha, Jewish Artists and the Bible in Twentieth-Century America,Philadelphia, PA, Penn State University Press, 2014, ISBN 978-0-271-05983-9
  • Flack, Audrey, Thalia Gouma-Peterson, and Patricia Hills. Breaking the Rules: Audrey Flack, a Retrospective 1950-1990. New York: Harry N. Abrams, 1992.
  • Mattison, Robert S., Audrey Flack: The Abstract Expressionist Years Archived 2017-05-28 at the Wayback Machine, New York, Hollis Taggart Galleries, 2015, ISBN 978-0-988-91397-4.
  • Flack, Audrey, Art & Soul: Notes on Creating, New York, Dutton, 1986, ISBN 0-525-24443-3

References
  1. Meisel, Louis. "Biography of Audrey Flack". Archived from the original on 2008-03-18. Retrieved February 27, 2015.
  2. "Oral history interview with Audrey Flack," Archived November 4, 2016, at the Wayback Machine Smithsonian Institution Archives of American Art website (2009 Feb. 16).
  3. "Audrey Flack papers, circa 1952-2008". Archives of American Art. Smithsonian Institution. Retrieved 9 April 2013.
  4. "Biography". Audrey Flack. audreyflack.com. Archived from the original on 2012-08-01. Retrieved 9 April 2013.
  5. arts, Women in the (2010-05-19). "From NMWA's Vault: Audrey Flack". Broad Strokes: The National Museum of Women in the Arts' Blog. Archived from the original on 2019-03-06. Retrieved 2019-03-02.
  6. Gaze, Delia (1997). Dictionary of Women Artists. Chicago, IL: Fitzroy Dearborn Publishers. pp. 526. ISBN 1-884964-21-4.
  7. "Audrey Flack Biography". Jewish Virtual Library. American-Israeli Cooperative Enterprise. Retrieved 9 April 2013.
  8. "Audrey Flack's Marilyn: Still Life, Vanitas, Trompe l'Oeil". The University of Arizona Museum of Art and Archive of Visual Arts. Retrieved 2018-01-11.
  9. Thompson, Graham: American Culture in the 1980s (Twentieth Century American Culture), Edinburgh University Press, 2007
  10. Morgan, Robert C. (November 2010). "Audrey Flack and the Revolution of Still Life Painting". The Brooklyn Rail.
  11. Flack, Audrey. (1 October 1986). Art & Soul: Notes on Creating. Dutton. ISBN 978-0-525-24443-1. Retrieved 9 April 2013.
  12. "Audrey Flack | Queen". The Metropolitan Museum of Art. Retrieved 19 April 2023.
  13. "Audrey Flack". Museum of Modern Art. Retrieved 19 April 2023.
  14. "Audrey Flack". Whitney Museum of American Art. Retrieved 19 April 2023.
  15. "Strawberry Tart Supreme". Allen Memorial Art Museum, Oberlin College. Retrieved 19 April 2023.
  16. "Audrey Flack | Smithsonian American Art Museum". americanart.si.edu. Retrieved 2023-04-27.
  17. "Some Living American Women Artists/Last Supper". Smithsonian American Art Museum. Retrieved 21 January 2022.
  18. Brigham, David R.; Flack, Audrey (1994). "The New Civic Art: An Interview with Audrey Flack". American Art. 8 (1): 2–21. doi:10.1086/424205. JSTOR 3109159. S2CID 194094910. Retrieved 19 April 2023.
  19. Fried, Joseph P. (1992-07-26). "Catherine of Queens?". The New York Times. ISSN 0362-4331. Retrieved 2019-03-02.
  20. Bearak, Barry (1998-01-09). "The Queen of Ethnic Nightmares; Cultural Politics Mires Statue of Borough's Namesake". The New York Times. ISSN 0362-4331. Retrieved 2019-03-02.
  21. Kilgannon, Corey (2017-11-09). "The Statue That Never Was". The New York Times. ISSN 0362-4331. Retrieved 2019-03-02.
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