Word: noland
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Dates: during 1960-1969
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...What many were slow to understand is how any painting which does not have recognizable figures or objects in it can have any relation to reality, feeling or soul. Admittedly, this quality of feeling is difficult to derive from the impersonal, sometimes almost machine-tooled canvases of Louis or Noland. It is certainly there, but hidden, just as men make it a point of honor not to cry and to keep a stiff upper lip. On the other hand, Helen Frankenthaler's art deals outspokenly with emotion. It bubbles forth with irresistible elation, and could have been used long...
...upon the floor. Helen thinned her paint with turpentine and poured it onto the unprimed canvas, so that the paint sank in. The marks of the pouring or brush disappeared, canvas and color became one and the same. The result was so remarkable that when Morris Louis and Kenneth Noland came up from Washington to look, Louis adapted the technique for his own sullenly smoldering veils of color and fiery stripes. Noland borrowed it to delineate his electric targets and chevrons. Jules Olitski and Larry Poons would also admit their debt to Frankenthaler's innovation...
...figures on a television screen. Clarke thus suggests that TV's ubiquitous eye has changed everybody's way of seeing reality. Vancouver's Iain Baxter burlesques famous artists by carrying their pictorial trademarks to logical extremes. By adding ribbons to his copy of Kenneth Noland's "And Again," he has created an authentic Baxter (shown with the artist, at right). In visual language, the work snorts that if stripes alone make a painting, then why don't longer stripes make a better...
...inglorious West. The stagecoach is a jerry-built, rickety job; the dust storms saturate the sky until there is no room to breathe; the silences and empty spaces reduce men to infinite specks. In perhaps the most daring reversal of stereotypes, Mulligan has cast an actual Apache boy (Noland Clay) as Salvage's son. Clay, 11, offers no Hollywood charm, no cloying cuteness, not even a single smile. Even W. C. Fields would have liked...
...month at West Germany's prestigious Dokumenta, and he can hardly meet the demand from private buyers, who willingly pay from $4,000 to $12,000 for a painting. Among today's so-called color-field painters, Olitski is ranked by many on a par with Kenneth Noland and the late Morris Louis. While the canvases of both Louis and Noland are generally filled with several areas of color that rest flatly on the canvas, Olitski has mastered the art of spraying on paint to create a single, subtly shaded veil that conveys an illusion of depth...