Although her studies would lead her away from abstraction toward realism, the principles of structure and form in her early paintings would stay with her throughout her career. 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. Most influential amongst her early supporters was the Bauhaus artist Josef Albers. Her expressive, yet ordered, paintings captured the movement's zeitgeist and the brave creative spirit that lay behind her early paintings was widely acclaimed. While still a student at New York's Cooper Union, Flack joined the Artists Club in Greenwich Village, becoming one of a select group of women to become directly involved in the Abstract Expressionist scene. Her sculptures contested the idea of mythical and archetypal representations of women by making her figures instantly relatable for contemporary spectators.ġ951 Abstract Force: Homage to Franz KlineĪt the start of her career, Flack became immersed in the Abstract Expressionist movement. She brought her figures into the contemporary sphere through many self-conscious and kitsch allusions to pop culture. Her new female icons were typically based on ancient mythology - Medusa (1989) and Sofia (1995) for instance - only reimagined by Flack for the post-modern age. Turning her attentions to three-dimensions, Flack used sculpture as a means of exploring ideas around the politics of female representation.Flack would often use an airbrush as a means of bringing the burnished gleam of advertising to her subject matter thus lending her art a dramatic, hyperrealistic quality. She also produced Vanitas works - traditionally still-life paintings featuring religious and moral symbolism - through which she brought iconic photographic images from the past into new relationships with everyday perishables and chattels. She achieved the photo-real effect by projecting, tracing, and re-coloring real historical events onto over-size canvases. As she moved into Photorealism, Flack turned her gaze onto the outside world. ![]() Having formally studied anatomical art, Flack took her lead from no less a figure than Rembrandt, producing what were unadorned self-examinations typically realized, like Rembrandt, through sombre, earthy tones. Moving away from the large-scale gestural abstractions that marked the very beginnings of her career, Flack turned to narrative subject matter via a series of authentic self-portraits.
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