Audrey Flack was born in 1931 in New York City, and as far back as she can remember, she had always wanted to be an artist. Flack began her dreams of becoming an artist by attending the High School of Music and Art, Cooper Union from 1948-1951. Graduating as a top student, Flack was admitted into Yale University's fine arts program in 1952. In 1977, she eventually received her BFA at Yale University. Flack was an avid fan of artist Jackson Pollack, although she viewed his "behavior as typical as the macho character of the art world in general." She therefore wanted to create a style unique to her own satisfaction.

Flack pursued to create artwork that was "realis

During this time of painting photorealistic artwork, Audrey Flack's most significant piece of work was titled Kennedy Motorcade (1960s), a painting that captured the moments just before Kennedy's assassination. She continued to focus her paintings on pubic figures and events, including Roosevelt, Hitler, and World War II. In 1977, Flack painted Marilyn, one of her Vanitas ("vanities") series of oil over acrylic medium on canvas. In Marilyn, Flack portrays "femininity as a willed choice. Powder puff, rouge, and eye shadow crown and halo Marilyn Monroe as a queen and saint of 'makeup,' the make-believe of feminine beauty" (The Power of Feminist Art, 194). This airbrushed portrait of Marilyn Monroe recognizes the screen idol "as a universal symbol whose exposed humanness and vulnerability [that] we all can identify with" (American Artist, 1991). Marilyn is portrayed fragile, comprising both "deep beauty and deep pain" (American Artist, 1991). All the items painted in the picture express Marilyn's sensuality, romanticism, and vulnerability. Further expression of this femininity/feminism is presented as we consider the background text (the book with Marilyn's picture) in the painting:

tic and true to nature." She would eventually find herself back in New York in 1953, where she produced artwork that came to reflect themes of femininity and womanhood, as well as morality and transcendence. Throughout the 1960-70s, Flack headed into the world of photorealism. She stepped away from the mainstream and went against the views of modernism. Flack "painted with more color, form, image, space, and symbolic meaning."

Let us assume it even happened in some fashion. For it gives a glimpse as the powder goes on and the mirror comes up of a future artist conceiving a grand scheme in the illumination of an instant - one could paint oneself into an instrument of ones will! "...Noticed my face or hair" - her properties - " or me..." (Marilyn, 1977)

Derived from such mythological inspirations, Flack produced a series of sculptures called Civitas, a group of four, thirteen-foot high bronze goddesses that now preside over the entrance to Rock Hill, South Carolina. Each statue holds a circular emblem representing culture (stars), business (gears), education (flames), and vitality (lightning bol

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