
Francine Tint Is Finally ‘Having Her Time'
But as the pigments splashed all over her 'painting garb,' as Tint calls her attire, attest, the journey is here, in this workshop, before canvases the size of standard school buses and colors so luscious you want to ingest them. This work — her work — is 'my travel, my marriage and my children,' Tint said.
And now, at 82, some 50 years after launching a career as an Abstract Expressionist painter in New York City, Tint is finally receiving the recognition she craved as a youngster growing up in the Williamsburg section of Brooklyn, longing for an artist's life on the other side of the river.
She's had successes — her paintings, which range in size from 10 inches to 20 feet, have been exhibited in more than 30 solo shows in the United States and Europe, and housed in permanent collections including the Krannert Art Museum in Champaign, Ill., and the Clement Greenberg Collection at the Portland Museum of Art. She received a Pollock-Krasner award in 2004, 2017 and 2023, along with a $25,000 grant from the Gottlieb Foundation in 2003.
Still, her dance card has never been as full as it is now. To wit: A solo show in November at the Upsilon Gallery in Manhattan, which featured eight of her pieces along with works from Helen Frankenthaler, one of Tint's inspirations. Not long after, Snap Collective published a monograph of her work from 1975 to the present.
'The book provides valuable context for her role as a key figure in the third generation of American postwar abstract colorist painters,' said Beatrice Caprioli, the book's editor and Tint's studio manager.
In February, Upsilon's London outpost held a show of Tint's work; a forthcoming short film about her, 'Panoramic View,' by the filmmaker Pola Rapaport, will be released later this spring. Then there is her show at 68 Prince Street, a new gallery in Kingston, N.Y., from April 26 to June 26.
'I was looking for an artist that really was going to make a statement for our inaugural show,' said the gallery's curator, Alan Goolman. Tint came to mind. 'This woman is having her time right this very minute.'
Tint is not sure why her time did not come sooner, though she suspects it might have something to do with being a woman in a male-dominated field.
'It was very, very sexist,' she said of the 1960s art scene and beyond. 'I can toot my horn now, 52 years later: I was better than most of them. If I was ever in a group show, my work would shine. But I was kept down. There was jealousy.'
Tint came to Manhattan at 16, crashing with a friend in the Village. In the early 1960s, she married a painter, and she moved into his enormous Soho loft for which they paid $90 a month. The relationship was tumultuous; they competed, literally, for space. 'Men couldn't deal with women's talent; there was only room for theirs,' she said. 'A friend told me to 'Take his work down and put yours up instead.'' So she did. The marriage failed, but her confidence flourished.
She did freelance work as a stylist and costume designer for the likes of David Bowie, Andy Warhol and Ridley Scott, and for 'Saturday Night Live.'
'I decided to make my own money in fashion and costume so I would not be dependent on the men, or any man,' she said.
At night, she took classes at the Brooklyn Museum and the Pratt Institute. She painted nonstop. She hung out at Max's Kansas City, the famed night spot on Park Avenue South in Manhattan, where she befriended artists like Larry Poons, Brice Marden and Dan Christensen. The critic Clement Greenberg became a pal. For the next 13 years, the two spent hours in her studio analyzing her work, which also included figurative sculpture. Around the same time, she began experimenting more with color, which 'should be a delicious shock to the eye,' she said. 'I wanted colors to layer, melt and dissolve into each other, to do unpredictable things.'
'Her sense of color is very, very strong,' said Robert S. Mattison, an art historian and professor emeritus of art history at Lafayette College in Easton, Pa. 'It's based on her sense of light, and that's really one of the characteristics and spatial qualities of the work.
'They suggest a kind of infinite space, which is quite interesting. In my view, she's making some of the best paintings of her career.'
Tint typically works on four or five canvases of various sizes at a time, wrapping them across her studio's walls and ceiling or plopping them on the floor for a bird's-eye view. Brushes are not her only tool of choice: She stains, sponges, splashes, smears, streaks, drips, drizzles and glops paint onto the canvas, often adding sand, mesh or gel for texture. It's a messy business (hence, the hazmat suit).
She has no idea why certain colors or textures speak to her; she lets her intuition guide her. The ultimate goal is for the viewer to interpret the work through their own lens.
David Ebony, a curator and former managing editor of Art in America, got to know Tint's work through Poons, a mutual friend. Ebony considers her work a bridge between Abstract Expressionism and Color Field painting, which entails throwing diluted paint onto an unprimed canvas. 'Chance is a very important essential theme for the Color Field painters,' he said. 'She'll throw paint on a canvas, and that's the moment of chance. But then she manipulates that chance and creates forms and unites colors without those chance moments.'
The accolades Tint has received are welcome, but she has been taking it in stride — or in as much stride as she can.
'Artists are pretty crazy, and I am,' Tint said. She meditates daily, has been in a healthy relationship for the last decade and takes great solace in her work. Getting older isn't fun. 'It's hard opening the cans of paint,' she said. 'But I do it. I'm OK. I'm happy. I'm a product of doing what I want to do in life.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Business Wire
an hour ago
- Business Wire
Bardstown Bourbon Company Launches Bold New Campaign: 'Nowhere We Won't Go'
BARDSTOWN, Ky.--(BUSINESS WIRE)--Bardstown Bourbon Company today unveiled its new brand campaign, ' Nowhere We Won't Go,' a bold and dynamic creative platform that captures the ambition, innovation, and relentless pursuit of quality that defines the modern bourbon leader. Developed in partnership with creative agency Forsman & Bodenfors, the campaign is a visual and auditory journey that reinforces Bardstown Bourbon's unwavering commitment to quality that includes pushing the boundaries of bourbon through exceptional whiskies, unexpected finishes, global collaborations and unmatched transparency. Anchored by a 30-second hero film, the campaign blends Bardstown brand footage with energetic visuals, animated typography, and a custom jazz-meets-electronic soundtrack. 'We've always believed great bourbon starts with curiosity, whether on our core expressions or our innovations,' said Pete Marino, President, Lofted Spirits (the parent company of Bardstown Bourbon and Green River Whiskey). 'This campaign brings to life how far we're willing to go, from the lab to the barrel house to the furthest corners of the world.' Shorter :15 and :06 cutdowns, digital placements, out-of-home visuals, and a Rolling Stone magazine feature further extend the reach of the national campaign. Bardstown Bourbon has built a reputation as one of the fastest growing and most forward-thinking producers in American whiskey. With Dan Callaway, a sommelier-turned-master blender, at the helm of its innovation strategy and partnerships that span from Kentucky to Japan and beyond, the company continues to chart a course that redefines what bourbon looks and tastes like in the modern era. The campaign launches nationally across digital and social beginning today, July 23. For more information, visit About Bardstown Bourbon Company Bardstown Bourbon Company is pushing the boundaries of innovation while honoring the traditional art of making great whiskey. With the most modern, technically advanced whiskey distillery, Bardstown Bourbon combines the highest quality distillation and spirited hospitality into a modern, authentic bourbon experience unlike any other on the Kentucky Bourbon Trail™. Bardstown Bourbon Co. is working to push the entire industry in a direction that is more innovative, more transparent and more collaborative. Bardstown Bourbon was named Icons of Whisky Global Brand Innovator of the Year (2025), IWSC's Worldwide Whisky Producer of the Year (2023), and the brand's Amrut Indian Whisky collaboration, the first of its kind, was honored as the highest-rated American Whiskey by Whisky Advocate (2024). Bardstown Bourbon Co. is part of Lofted Spirits, one of the largest American Whiskey distillers in the U.S. For more information visit


Elle
an hour ago
- Elle
Imogen Waterhouse Reflects on Jinny's ‘Impactful' Episode in 'The Buccaneers'
Spoilers below. From the beginning, the AppleTV+ period drama The Buccaneers, which follows a group of American women who arrive in England with plans to marry into British nobility, hasn't shied away from depicting marital abuse and domestic violence via the relationship between Jinny St. George (Imogen Waterhouse) and Lord James Seadown (Barney Fishwick). Season 1 portrayed the ugly physical abuse Jinny endured, but it's the sixth episode of the second season 'Every Single Piece of My Heart,' that highlights the harrowing emotional consequences of their toxic relationship—especially in Victorian times. After escaping from James in the season 1 finale, season 2 finds Jinny slowly allowing him back into her orbit. James tracks her and Guy (Matthew Broome) down in Italy and, over secretive meetings at his hotel, he butters her up with false promises about his changed behavior. Jinny is eager to believe him, both for the sake of her son Freddie as well as for her sister Nan (Kristine Froseth) and her true love Guy who sacrificed their future together to ensure Jinny's safety. 'She wasn't the best sister in season 1, but I think now she's realizing what a sacrifice Nan has made,' Waterhouse tells ELLE over a Zoom call. '[Reuniting with James] seems like the easy option. Obviously it's not, but she thinks if this works out, then everything would work out.' Jinny is this close to taking James back when Guy finds out and talks sense into her. They rush to gather their belongings to flee, but it's too late—James kidnaps Freddie from under her nose in retaliation for her disobedience. 'Every Single Piece of My Heart' is a distressing journey back to England for Jinny. With Nan's help, she momentarily wins public opinion by having her side of the story published in the paper, but a confrontation with James at the opera lands her in a mental hospital. When James's family finally gets involved, it's too little too late; James is a loose cannon, and the episode culminates with him murdering his brother, Richard. The emotional episode is a realistic depiction of abuse, which surprised even Waterhouse. 'This is such an impactful way of showing the voicelessness of women, especially in this time,' she says. 'It's a fear of mine to have no one believe you or be sent somewhere and no one's listening to you. I didn't see it coming, but neither did Jinny.' Ahead, Waterhouse discusses the cycle of abuse Jinny finally escapes, what she'd say to fans who are upset with her character's decisions, and what type of love interest she'd want for Jinny moving forward. The writers made a big effort to write it realistically, and they did a lot of research into [abusive] relationships. It's never just 'you're away from them so it's over,' especially now that she's tied to James with her baby. It's hard to watch because as an audience you're like, don't go with him! But there's so much at stake for her and there's always this idea that, actually, maybe he has changed. Maybe things will be different. I think it's important to show that it's never as easy as walking away from someone. Try not to judge her. It's so easy to do as a viewer—I'd be like, what are you doing? But she is just hopeful that actually, this could work. She's got a kid and she is without stability and her life is completely different. She's in a completely isolated, ostracized place, and she's very acutely aware that this experience in Italy can't really last forever. Thinking about what's next for her is really scary. So be patient with her. I found that scene quite hard to shoot because, in the space of a very short amount of time, she goes from one side, and then completely flips to the other side and has this moment of realization. We had to find exactly what it is about what Guy says that changes her mind. The way I approached it was that Guy is now someone that she really, really trusts. There's a lot that we don't see of their relationship: He helped her through a traumatic birth, they've been through a lot together, and he is someone that really knows her now. He trusts her and she trusts him. She's been seeing James secretly because she knows Guy is not gonna feel good about this. We've all done something that we failed to tell our friends about. Suddenly seeing it being voiced from someone else that she really loves, who also loves her and loves her baby—that's what helps her be like, what am I doing? In the Victorian times, women were lobotomized for being moody or 'crazy.' It was a very real and scary idea of, if you go outside of the constraints of what it means to be a Victorian woman, you will face the repercussions for not doing much at all. I looked into that and even watched movies like Girl, Interrupted, which wasn't even that long ago. Bearing all that in mind, and learning about some of the methods that they would use in those times, added this extra fear of, He could easily just say the word and this could happen. You lose your son and you lose yourself, and you're locked up forever. Jinny knows that the only way back to her son is to play this game and be like, I'm fine and I'll do whatever you say. Otherwise, she's not gonna get out of here. There was a fun scene where it was just me and our first camera operator, and we put heavy metal music on and I got to treat the room like a rage room and scream and shout. It was a release for me as an actor, but also for the character: Jinny lets these moments happen privately and then she knows that when a doctor is in the room she has to snap back and play this game. Women are so good at being able to put on a face publicly, but behind her closed doors, she's completely unraveling. We've been in this relationship since season 1, so we know the dynamic of Jinny and James really well, but it's the first time where Jinny's mentality is shifting. She is now seeing him completely differently and doesn't love him anymore, and he hasn't got her in a trap. We were always in conversation about what we were feeling in their relationship. Barney is so good at being so intensely horrible, it's really helpful. The scenes aren't fun to do—it's actually horrible—but he's a great team partner. And at the end of the day, it was important that we were able to laugh together. She's had such a crazy arc. She started as someone who was very goal-oriented and had been brought up in this way where she wasn't going to stop at anything for what she wanted. She threw herself into this relationship that was obviously awful. Now we're seeing her for the first time figure out who she is as a mother and as someone without her support system. We get to see a bit of her spark come back, a bit of her joy. Without sounding too cliche, in season 1 she's a girl, and now she's having to become a woman and figure out what that means. She has even more guilt because she blames herself for the fact that James has murdered Richard. Conchita [Alisha Boe] and Richard have one of the most stable, lovely marriages in the whole show, which was quite refreshing. And now he's dead. With that comes a whole new wave of really complex feelings. Jinny is free now, in a way, because James has gone to jail, but the cost of that is huge, and I think she will carry that with her forever. I think forgiveness will be mirrored in Conchita: If Conchita forgives her, she might be able to [forgive herself]. But it's still something that you carry with you. Honestly, I was terrified that they were going to try and put Jinny with Guy. I don't think Jinny could come back from that. She can come back from a secondhand murder, but I don't think people would forgive her for that. Everyone always wants to assume that there's something between people when, actually, a man and woman can coexist and have a friendship and co-parent. They have a huge respect for each other and I think she loves Guy a lot, but even Jinny would not go there. Given who the son's father is, she'd really be trying to make him the opposite of that. I think she'd give him loads of love and tell him that he's loved, and raise him to be a respectful man. It would give her purpose. She obviously wants this kid to not turn out like his father, and now she gets to go home and raise him with her village of women who are freer and loving and show affection. Everyone wants her to be gay. That's what I'm seeing online, because she said she didn't enjoy sex and because she and Lizzy had a cute friendship. In the show, truly anything can happen, so I won't be that surprised. But I think she needs someone who's not in high society. I don't know why, but I see a gardener or someone that's part of the earth. Someone who appreciates the small things and brings her down to earth would be good for her. This interview has been edited and condensed for clarity.


Newsweek
2 hours ago
- Newsweek
Elon Musk Launches Tesla Diner With Robot Servers
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Tesla CEO Elon Musk has launched the company's first Diner & Drive-In in Hollywood, Los Angeles, combining retro Americana with robot servers and synchronized movie screenings. The diner debuted on Santa Monica Boulevard, with hundreds of guests forming lines on opening day. Newsweek contacted Tesla for more information about the event via email. Why It Matters Since departing the White House, Musk has focused more on the tech companies that made him the richest man in the world, spending more time at Tesla, SpaceX and X to restore their reputations after his brands took a hit during his time on the front line of the Trump administration. Tesla, which became a focal point for anti-Musk protests during the first few months of Trump's second presidency, has been one of his main focuses. What To Know Located at 7001 West Santa Monica Boulevard, the Tesla Diner operates 24/7 and features both outdoor and indoor seating for up to 250 guests. The drive-in concept allows customers to order traditional American diner food—including burgers, chicken wings, hot dogs and hand-spun milkshakes—using the Tesla Diner app accessible on the car's touch screen or from pedestrian kiosks. The food is served in Cybertruck-shaped food boxes, and the site doubles as a retail space for Tesla merchandise. The Hollywood venue is not exclusive to Tesla owners. It welcomes pedestrians and tourists, seeking to serve as a pop-culture destination. Two massive LED screens, each about 45 feet wide, show curated short films with synced car audio. Elon Musk's new Tesla Diner & Drive-In, seen while undergoing testing, in Hollywood, California, on July 11. Elon Musk's new Tesla Diner & Drive-In, seen while undergoing testing, in Hollywood, California, on July 11. Getty Images Food is delivered by roller-skating staff and Optimus robots, a new Tesla android that Musk has pitched as the future of automated assistance following its launch in 2024. Musk originally floated the retro-diner concept in 2018, with city construction approvals for the Hollywood location secured in 2023. Prior to the public unveiling, Tesla hosted a soft launch for local first responders and car club members. Who People Are Saying Elon Musk wrote about the event on his social media platform X on Monday: "If our retro-futuristic diner turns out well, which I think it will, Tesla will establish these in major cities around the world, as well as at Supercharger sites on long distance routes. An island of good food, good vibes & entertainment, all while Supercharging!" What Happens Next Musk has indicated that Tesla could expand the Diner & Drive-In format to additional urban centers and select Supercharger locations across the U.S. and globally, if the Hollywood pilot generates enough public interest and income.