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Ruth Kligman (January 25, 1930 – March 1, 2010) was an American abstract artist [1] who was romantically involved with two prominent American artists of the mid-20th century, Jackson Pollock and Willem de Kooning.
Ruth Kligman, an abstract painter who for decades seemed to know everyone and be everywhere in the art world and who was the lone survivor of the 1956 car crash that killed Jackson Pollock, her...
Jackson Pollock’s mistress Ruth Kligman said she watched him paint it, as a love token, just before his fatal 1956 car crash. But the Pollock-Krasner Authentication Board, whose members were...
Ruth Kligman was Jackson Pollock's mistress (and survived his fatal crash), Williem de Kooning's lover, and even had a dalliance with Jasper Johns.
Ruth Kligman, an abstract painter who for decades seemed to know everyone and be everywhere in the art world and who was the lone survivor of the 1956 car crash that killed Jackson Pollock, her lover at the time, died Monday, according to the New York Times. She was eighty and lived in Manhattan.
Was she simple the woman who earned the nickname “death-car girl” from poet Frank O’Hara after being the sole survivor of the crash that ended the life of “the greatest painter” of abstract expressionist movement heralded by art critic Clement Greenberg? Or was there more to her story?
Ruth Kligman, a passenger in Pollock’s Oldsmobile on the night of August 11, 1956, survived the horrific crash. Her friend, Edith Metzger, was not so fortunate. Kligman was a voluptuous and savvy aspiring painter who narrowly escaped a life of predestined normalcy in New Jersey (she left that role to her identical twin Iris).
Ruth Kligman, an abstract painter who for decades seemed to know everyone in the art world and who was the lone survivor of the 1956 car crash that killed Jackson Pollock, her lover at the time,...
Although badly injured, Ruth Kligman an artist in her own right, survived to become romantically involved with a string of significant art figures. She has died in New York, aged 80.
One afternoon in 1957, artist Ruth Kligman arrived at Willem de Kooning’s New York studio, where a new blue-and-yellow painting hung on a main wall. Upon seeing the striking work, she reacted with a single word: “Zowie!”