Stanton's book. She's speaking of "Crags and Crevices", but it fits many of the works: "Nothing in the painting is still, for the big forms seem to hover in mid-air, colliding as they fall. There are provocative and startling contrasts between passages of thin, transparent paint and thick impasto, filled with striatures left by the palette knife." Even 1968's "Aerial View No. 1", despite the spatial hint of the title, is far from literal. Certain features of structure and color render a literal interpretation of this image as an aerial landscape difficult or even impossible. The attempt at interpretation is both invited and repulsed. But by about 1970, with the "Night Landings" paintings, there was a definite shift away from the previous decade's stubbornly refractive attitude. The "Night Landings" offer a much more definite sense of scale and viewpoint, especially with the aid of the titles. "Night Landings: Nairobi" is not disorienting in the least: we know where we are; we know we're in a plane, we know the plane is landing, and we even know roughly what time it is: we are looking down, and we see vividly the city named in the title, with the surrounding land and water. Furthermore, the fact that we see a city down there means that - at least implicitly - there are people in this painting. Yoseloff, in his 1975 "Retrospective" book, enthuses: "Perhaps the ultimate achievement in the direction in which Mrs. Frank has been tending is her series of "night landings".... Now, more than ever, the viewer is deeply involved, and he can feel himself carried downward into the landscape that is the canvas before him" A staunch modernist might scoff that with the "Night Landings" of 1970 Jane Frank's art begins to "go gentle into that good night" (perhaps even lapsing into "postmodernism"). But if these more literal aerial landscapes - created in 1970 and after - lose some of the tension that gives the earlier paintings their distinctive power, they nevertheless address, with an intensely intimate delight, a perspective on reality which we must remember was still quite young in 1970, at least as a painterly subject. In "Aerial Perception" (1985), author Margret Dreikausen sees Jane Frank's aerial landscapes as sharing the spirit of the work of artists such as Georgia O'Keeffe, Susan Crile, and others, in creating images which "reflect contemporary interest in reality", experienced from a