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Sara Frankel
Sara Frankel's new work is of this Romantic ilk. This is ok. Ten years ago maybe not. But today it is kosher, when pluralism has replaced rigid theory, when art historians can again discuss surface and content and history and culture and life. When artists can once again express figuratively, and minimalism is more commonly relegated to dining room sets and sculptural memorial projects. Frankel's recent work does not always promote a dialogue of dependency in the Romantic mode but, rather, essays in independence. Many of her subjects, often people close to her and even her family, enter the water with confidence. They are seen at sharp angles, with low horizons, emphasizing their liquid absorption.
read more of Jason Rosenfeld's essay »
Sara Frankel's new work is of this Romantic ilk. This is ok. Ten years ago maybe not. But today it is kosher, when pluralism has replaced rigid theory, when art historians can again discuss surface and content and history and culture and life. When artists can once again express figuratively, and minimalism is more commonly relegated to dining room sets and sculptural memorial projects. Frankel's recent work does not always promote a dialogue of dependency in the Romantic mode but, rather, essays in independence. Many of her subjects, often people close to her and even her family, enter the water with confidence. They are seen at sharp angles, with low horizons, emphasizing their liquid absorption.
read more of Jason Rosenfeld's essay »