Helen C. Frederick
Helen C. Frederick
|Alma mater||Rhode Island School of Design|
|Known for||printmaking, paper making|
Helen C. Frederick (born 1945 in Pennsylvania) is an American artist, known mainly for printed media and large-scale works created by hand papermaking as a medium of expression that often incorporate the use of language. She has curated exhibitions such as Ten Years After 9/11, which respond to issues about the human condition.
Frederick received her undergraduate degree and her Master of Fine Arts degrees from the Rhode Island School of Design, where she met German artist Dieter Roth, who introduced her to innovative printed media techniques.
Frederick's interest in paper as a medium began in 1976, when she visited Ahmedebad, India, where Robert Rauschenberg had completed a papermaking project. She continued her study of paper-making during travels to the Netherlands, Japan and China.
Frederick specializes in hand-driven media such as custom-formed paper, artist's books, paintings, drawings, and prints, and she is recognized as the D.C. area's “most knowledgeable paper artist." Her work has also incorporated electronic media, video, digital prints, photography, “video books,” and sculpture.
Her video work “Dislocations” (2011) has been compared to Andy Warhol by curator Jeffry Cudlin; Critic Paul Ryan described her work in “Hungry Ghosts” (2011) as "drawing us closer to victims as they linger within the beyond – a liminal space conceptually akin to that described by post-colonial theorist Homi K. Bhabha as a physical space and occurrences where …there is a sense of disorientation, a disturbance of direction..an exploratory, restless movement….”  Ryan also noted that "Hungry Ghosts" was influenced by Frederick's interest in Buddhist teachings and meditation practices.
In her 2010 solo exhibition, Dissonance at Hollins University’s Eleanor D. Wilson Art Museum, Frederick referenced the atomic bomb and the Cold War, themes that have often surfaced in her work. Her 1996 installation Caution: Appearance (Dis)appearance explored the significance of the atomic bomb fifty years after its first detonation. In this installation, Frederick, who was born shortly before the first testing of the atomic bomb, examined her own personal connection with the bomb and how it has impacted her life, as well as its implications for the natural world. She explored similar themes in her 1995 collaborative book with Bridget Lambert, Abracadabra, which used fifty images to “represent the 50 years of Frederick's life from 1945 to 1995.” 
Frederick's Masse Ici, exhibited at Texann Ivy Fine Arts in 1998, “delve[d] deeply into issues of our technological age and the landscape of memory."
Major exhibitions of Frederick's work have been held at the Eleanor D. Wilson Museum at Hollins University (2011), Dieu Donne’ Gallery, New York (1996), Henie Onstad Museum, Norway (1979), Harvard's Fogg Museum (Davidson), and traveling museum exhibitions in Japan, Scandinavia, Europe, the United States and South America.
Frederick's work is included in the Whitney Museum of Art in New York; the National Gallery of Art, Library of Congress, and the Smithsonian American Art Museum in Washington, D.C.; and many other national and international collections.
Frederick has received numerous awards for her work, including a Fulbright (1973) and Mid-Atlantic Arts Award (1988), the Maryland Governor's Award for leadership in the Arts (2000) and the Southern Graphic Council Printmaker Emeritus Award, (2008). She was 2011 Frances Niederer Artist-in-Residence at Hollins University.
- Tharrington, Mary Rand. “An Artist’s Fire, Reminding Us of the Last 50 Years.” The Connection, October 1995
- Artists in Residence.” Hollins University. http://www.hollins.edu/academics/art/artres.shtml
- Boscov, Rema. “Giving Weight to Paper.” The Washington Post. Jan 15, 1985. p. C7.
- “Craft Schools Have Increased And Flourished.” The Washington Post. April 14, 1988. p. HO29.
- “Helen Frederick.” George Mason University. http://eagle.gmu.edu/faculty_experts/?id=98
- Tyndall, Kate. “Helen Frederick, Paper Tiger.” Museum and Arts Magazine, Cover Story, July/August, 1988.
- Rice, Robin. “Helen C. Frederick; Caution: Appearance (Dis)appearance.” Philadelphia City Paper, April 12–19, 1996.
- McWilliams, Martha. “Bombs Away.” The Washington Post, 1996.
- Cudlin, Jeffry. Helen Frederick: Mechanisms for Metamorphosis p. 12
- Ryan, Paul."A Deliberate Sorrow: Helen Frederick's Incorporeal Other," Helen Frederick, Eleanor D. Wilson Museum, Hollins University, Roanoke, VA, p. 21.
- Protzman, Ferdinand. “A fusion of nuclear reactions.” The Washington Post. Oct 21, 1995. p. H2.
- Wooten, Anita. “Helen Frederick: Land and body: corporeal metaphors in current landscape painting.” Art Papers. Texann Fine Arts Gallery, Orlando, FL. March/April, 1998.
- The Arts of the Book, Clive Phillpot, The University of the Arts, Philadelphia, PA, 1988
- The Complete Printmaker (revised), John Ross and Clare Romano, Prentice Hall, 1989
- Paper Art 4, Internationale der Papierkunst, Leopold Hoesch Museum, Duren, Germany, 1992
- Graphic Legacy, Susan Fisher Sterling, The National Museum for Woman in the Arts, 1995
- Evolving Forms/Emerging Faces, Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, New Brunswick, New Jersey, 1997
- Dieter Roth in America, Dieter Roth Foundation, Hamburg, Germany, 2004
- Printmaking: A Contemporary Perspective, Paul Coldwell, Black Dog Publishing, London, UK, 2010
- "Collaboration as a Medium: 25 Years of Pyramid Atlantic," Jane M. Farmer, Pyramid Atlantic Art Center, Silver Spring, MD, 2005.
- "The Creation at Pyramid Atlantic," Andrea Pollan and Milena Kalinovska, Kreeger Museum of Art, Washington, D.C., 2004.
- Helen Frederick, Eleanor D. Wilson Museum, Hollins University, Roanoke, VA, 2011.
- Helen Frederick website
- Artist Page at Smithsonian American Art Museum
- Exhibition info at Chazin Art Museum
- ARTTABLE Oral History Project, Smithsonian American Art Museum
- Brooklyn Museum Feminist Art Base Profile