Gagosian is pleased to announce Helen Frankenthaler: Painting on Paper, 1990–2002, an exhibition opening at the gallery in Rome on September 30, 2024. It features eighteen large-scale paintings on paper from the later part of Frankenthaler’s career, many of which have never before been exhibited.
Helen Frankenthaler (1928–2011) was one of the most highly regarded American artists of her time. Over her last decade of art making, painting on paper became Frankenthaler’s primary means of expression. “I’ve always worked on paper,” she noted in 1996, “but not conceived on the scale of my canvases. . . . The shift was a tremendous move for me.” The paintings in the exhibition reveal her exploration of the material and compositional possibilities of working on paper: new kinds of chromatic juxtapositions and painterly gestures, often set down on a smoother surface than canvas.
At several earlier moments in her career, Frankenthaler had added more visibly dense brushstrokes and applications of pigment to the revolutionary soak-stain technique she had pioneered in the early 1950s. This approach became a constant in her late compositions. After working directly on the floor during the first four decades of her career, she began painting on large, waist-high tabletops, a concession to her age; the turn to painting on paper also coincided with her increased activity in printmaking.

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## The Umbilical Corridor of the Sky: The Space-Time Corridor of the Pantheon 

When you squeeze into the stone-columned porch from the noisy Coronari Street, you are suddenly swallowed by the 43.3-meter-high dome - this is not a building, but a model of the universe cast by the ancient Romans with concrete. The dust and mist of two thousand years of incense and candles roll in the light column. The whole temple is like a giant bell covering the mortal world, and you are standing at the critical point between God and man. 

**Sky Eye: The Black Hole That Devours Time** (Subverting Cognition) 
Looking up and staring at the 9-meter giant hole in the center of the dome, the rainstorm day turned out to be the most magical moment: the rain curtain poured vertically into the temple and crashed into broken diamonds on the colorful marble floor. In the afternoon with strong sunlight, the light column wandered on the ground like a golden hour hand, accurately sweeping across the emperor&#39;s tomb niche - the &quot;solar calendar&quot; designed by Hadrian, allowing the deceased to receive a solar coronation once a day. At 11:54 on the winter solstice, the light spot will completely cover the copper nail at the entrance (the starting point of the New Year in the ancient Roman calendar), with an error of less than three minutes in two thousand years!

**The Imperial Code in the Drain Hole** (Kneel and Observe) 
Don&rsquo;t be fooled by the iron bars of the central drain. Crouch and look at the 22 concave holes arranged along the edge of the drain&mdash;the base of the bronze rain chain from the Augustan era. Even more shocking is the slightly sloping slope at the bottom of the drain: during heavy rains, the water will swirl clockwise to form a mandala pattern, echoing the 28 ribs of the dome caisson (28 symbolizes the perfect number in the Pythagorean school). Ancient Roman engineers used millimeter-level slope calculations to let the forces of nature dance ballet in the temple for two thousand years. 

**The Geometric Murder on the Sarcophagus** (The Horrifying Truth) 
There are always crowds in front of Raphael&rsquo;s tomb, please turn to the corner of the tomb of Perrin del Vaga. There is a dagger-like scratch on the side of the black marble coffin: in 1547, two enemies dueled here, and the blade accidentally hit the sarcophagus and sparks burst out. A closer look at the cracks extending from the scratches formed an equilateral triangle, which coincided with the inscription on the coffin cover, &quot;ARTEM GEOMETRIAE&quot; (Art of Geometry). The Renaissance master even paid tribute to Euclid in his death. 

**Acoustic trap of the colonnade shadow** (personal experience of the wonder) 
Before sunset, stand behind the bronze monument of Marco Agrippa and recite poems softly. The sound waves were cut and refracted by 16 Corinthian columns, and they actually produced a clear echo in the tomb of Urban VIII 40 meters away! The architect used the difference in sound speed between the front porch and the rotunda to design the &quot;oracle effect&quot;. When the last light spot moved out of the eye of the sky, the entire temple turned into a giant resonance box - a stone column emitted the remnant of cheers when the construction was completed in 125 AD (actually the hallucination of the pigeon whistle in the square vortex in the dome). 

When the museum closed, I stayed by the rose-red giant column. At the moment when the security guards cleared the area and turned off the lights, the moonlight suddenly poured in from the hole in the dome, condensing into an ice-blue light pool on the Pantelic marble floor. At this moment, touch the mottled bronze door - the door is full of palm prints from 24 million pushes, and your palms overlap with the fingerprints of Cicero and Michelangelo in the dark. The most terrifying miracle of the Pantheon is that it gives the concrete body temperature: when the morning light pierces the eye of the sky again, in the rolling dust in the light column, there are Brunelleschi&#39;s exclamation when he stole the master&#39;s skills, the fragments of Galileo&#39;s manuscripts for calculating the curve of the dome, and the dewdrops of time and space condensed from the water vapor you exhaled and the steam of ancient Roman libations.

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The Roman Forum is a vivid reminder of ancient Rome&rsquo;s greatness. Though much of it is in ruins, what remains is enough to spark imagination about its past glory. Walking through the lively, bright city, I realize the forums aren&rsquo;t confined to one spot&mdash;they&rsquo;re spread throughout, giving me a sense of how vast and advanced Rome once was. It&rsquo;s an experience that blends history and atmosphere bringing the ancient world to life. I really love it here~

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Haha, we missed the time perfectly. Everyone, please pay attention to the reserved date. It also gives me a good excuse to go to Rome again. The pictures were taken at the nearby Piazza del Popolo. There weren&#39;t too many people there, so we could go shopping together.

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Time:	Sep 30–Nov 23, 2024 (UTC+1) ENDED
Location:	Rome Via Francesco Crispi 16 00187 Rome

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