Student Artwork Guide
Copyright This work is treated as still under copyright. Audrey Flack was born in 1931 and has no recorded death date; copyright lasts 70 years after the artist’s death. The image is shown here for classroom reference; rights remain with the rights holder.
In context
Untitled (503) — Audrey Flack
Shaded: the lifetime of Audrey Flack (1931–?)
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Measured from the image
Main colour
Gray #707a73
Catalogued palette
Artist and museum
Born in New York, United States of America
Audrey Flack, born in New York City on May 30, 1931, and recently passing on June 28, 2024, was a transformative figure in American art. Her journey reflects a restless spirit constantly seeking new ways to engage with the world and challenge artistic conventions. Initially drawn to the expressive freedom of Abstract Expressionism in the 1950s – influenced by masters like Franz Kline – Flack quickly realized that this path didn’t fully satisfy her desire for direct communication with viewers. She yearned for a style that could bridge the gap between personal vision and shared experience, leading her toward a revolutionary shift in the 1960s: photorealism. This wasn't merely a technical exercise; it was a deliberate choice to confront reality head-on, meticulously recreating the world around her with an almost unsettling precision. Flack’s early education at institutions like Cooper Union and Yale University – where she studied under Josef Albers – provided a strong foundation in artistic principles, but it was her willingness to break from established norms that truly defined her career.
Flack’s emergence as a leading photorealist painter coincided with a period of significant cultural change. Her large-scale paintings, based on photographs, weren't simply replications of reality; they were carefully constructed narratives filled with symbolic weight. A pivotal work from this era, Kennedy Motorcade, November 22, 1963, stands as a powerful testament to her ability to capture both historical events and the collective emotions surrounding them. However, Flack’s artistic exploration didn't stop at mere representation. In the late 1970s, she embarked on a series of vanitas paintings – compositions steeped in symbolism referencing mortality and the fleeting nature of life. Marilyn, for example, is a poignant meditation on fame, beauty, and the inevitable passage of time, drawing parallels between the iconic image of Marilyn Monroe and traditional still-life motifs representing transience. This series demonstrated Flack’s profound engagement with art history, revitalizing a genre that had largely fallen out of favor while imbuing it with contemporary relevance. She wasn't simply painting objects; she was constructing visual allegories about the human condition.
The 1980s marked another significant turning point in Flack’s artistic trajectory as she transitioned to sculpture. Rejecting the two-dimensional constraints of painting, she began creating bronze figures of goddesses and heroic women, often drawing inspiration from mythology and Egyptian iconography. These sculptures weren't merely representations of female forms; they were powerful statements about feminine strength, resilience, and empowerment. Flack sought to reclaim narratives traditionally dominated by male figures, offering alternative visions of heroism and beauty. This exploration continued into the 2010s with a return to painting, which she termed her “Post Pop Baroque” period. In these works, historical references seamlessly blended with contemporary imagery, creating a dynamic interplay between past and present. It was a synthesis of all her previous explorations – photorealism’s meticulous detail, vanitas’ symbolic depth, and sculpture’s monumental presence – resulting in paintings that were both visually stunning and intellectually stimulating.
Audrey Flack's contributions to the art world are undeniable. She was one of the first photorealist painters to be included in the collection of the Museum of Modern Art (MoMA), a landmark achievement that solidified her place in art history. Her work has been exhibited in numerous prestigious museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Guggenheim Museum, demonstrating its enduring appeal and critical acclaim. Beyond her artistic achievements, Flack was also a dedicated educator, holding visiting professorships at institutions like the University of Pennsylvania and sharing her knowledge with generations of aspiring artists. She authored Art & Soul: Notes on Creating (1986), offering insights into her creative process and artistic philosophy. Her influence extends far beyond her immediate circle, inspiring countless American and international artists to explore new possibilities in representation, symbolism, and the intersection of art and life. Flack’s fearless experimentation, coupled with her unwavering commitment to feminist themes, has left an indelible mark on the landscape of contemporary art, ensuring her legacy will continue to resonate for years to come.
Throughout her illustrious career, Audrey Flack received numerous accolades recognizing her significant contributions to the arts. These include a St. Gaudens Medal from Cooper Union and an Honorary Albert Dome Professorship from Bridgeport University. She was also featured in H.W. Janson’s influential History of Art, cementing her status as a major figure in the canon of Western art. Her work continues to be celebrated for its technical brilliance, intellectual depth, and enduring relevance, solidifying her position as a true pioneer and visionary artist.
St. Gaudens Medal from Cooper Union
Honorary Albert Dome Professorship from Bridgeport University
Visiting Professor at the University of Pennsylvania
Featured in H.W. Janson’s History of Art
Doctorate from Clark University (2015)
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Look closely
Untitled (503) — Audrey Flack
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