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Shaw Ruddock GallerySelected Works
Passeggiata Romana, 1973, Edition 24/32, sugar-lift etching and aquatint on paper, by Helen Frankenthaler, American, 1928-2011. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, Brunswick, Maine, Gift of the Helen Frankenthaler Foundation, 2019.28.3 © 2022 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / 2RC Editrice, Rome. Photography by Tim Pyle, Blue Light Studio
Deep Sun, 1983, Artist Proof 7/16, color etching, soft-ground etching, aquatint, spitbite aquatint, drypoint, engraving, and mezzotint by Helen Frankenthaler, American, 1928-2011. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, Brunswick, Maine, Gift of the Helen Frankenthaler Foundation, 2019.28.6 © 2022 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / Tyler Graphics Ltd., Bedford Village, NY. Photography by Tim Pyle, Blue Light Studio.
Sanguine Mood, 1971, Edition 17/75 Pochoir and screenprint on paper, by Helen Frankenthaler, American, 1928-2011. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, Brunswick, Maine, Gift of the Helen Frankenthaler Foundation, 2019.28.2.9 © 2022 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / Women's Board Commission, San Francisco Museum of Art (SFMOMA). Photography by Tim Pyle, Blue Light Studio
Guadalupe, 1989, Edition 8/74, Mixografia on paper, by Helen Frankenthaler, American 1928-2011. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, Brunswick, Maine, Gift of the Helen Frankenthaler Foundation, 2019.28.7 © 2022 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York / Mixografia, Los Angeles. Photography by Tim Pyle, Blue Light Studio
Untitled [Folded Drawing], ca. 1970–1971, folded fabric drawing, white duck, by Jo Sandman, American, born 1931. Gift of the Artist. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, 2020.36.9. © Jo Sandman/Sandman Legacy Project. Photography by Luc Demers
Untitled [from Removals], 1976, collage, interior insulation foil, by Jo Sandman, American, born 1931. Gift of the Artist. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, 2020.36.1. © Jo Sandman/Sandman Legacy Project. Photography by Luc Demers
Untitled [from Tarpaulin Series], 1981, collage, found painter’s dropcloth mounted on museum board, by Jo Sandman, American, born 1931. Gift of the Artist. 2020.36.2. © Jo Sandman/Sandman Legacy Project. Photography by Luc Demers.
Compressed Drawing, 1982, cooper wire, painted wooden pedestal, nails, by Jo Sandman, American, born 1931. Gift of the Artist. º¬Ðß²ÝÑо¿ÊÒ Museum of Art, 2020.36.3. © Jo Sandman/Sandman Legacy Project. Photography by Luc Demers
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Born three years apart, Helen Frankenthaler (1928–2011) and Jo Sandman (b. 1931) matured absorbing the lessons of Abstract Expressionism. In the early 1960s both artists expanded beyond their painting practices (though never abandoned them) to explore new modes of expression. Frankenthaler began a robust five-decade engagement with printmaking, consistently exploring new media and processes. Jo Sandman moved toward minimalism, simultaneously experimenting with new materials and techniques. Although working independently of one another, the artists, as a pair, point toward new modes of conceptualizing art practice and the important role of printmaking in that revolution.