Word: noland
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Dates: during 1960-1969
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...Birth of Bacchus" and two are now making a movie of Rodin's "Burghers of Calais," starting from the collection of Rodin sculptures left to the Fogg by Grenville Winthrop. In 1965, a graduate student named Michael Fried wrote the introduction to the catalogue of the Fogg's 1965 Noland, Olitski, and Steela exhibition, and that essay has been highly influential in developing an approach to these flat, color-preoccupied, conceptual paintings...
...most outspoken "experts" on the painting of Morris Louis discuss his work as if it grew in total isolation from artistic influences, and, hence, has no art historical past. They align him with lesser painters (notably Kenneth Noland), they ignore all his romantic emotionality, and they explain him largely in intellectual terms. The quality of feeling in Louis' paintings is undeniable and though the influence of the intellectual approach of Noland and the critic Clement Greenberg is clear, Louis cannot be discussed as part of that movement...
...First prize: Jules Olitski. 44, for his lightly brushed, veil-like Pink Alert. >Second prize: Paul Jenkins, 44, for a cloudlike abstraction, Astral Signal. > Third prize: John McLaughlin, 68, California abstractionist, for No. 14. >Fourth prize: Kenneth Noland, 42, for a hard-edged, blue-banded Pause...
...Noland's Mach 2 (and all of Stella's pictures) illustrates Fried's second key "formal issue," the growing dependence of the shape of the composition and the shape of the canvas in the surface unity. The edge of the canvas is one of the limits (not boundaries) of the painted chevrons. The dramatic shape of the canvas is not determined by an arbitrary circumference; it is part and parcel of the shapes of the fields of color. Each chevron marks off a parallelogram of different size but of similar proportions. The whole constantly intermingles with the parts...
Michael Fried's essay deserves the attention of the viewers. It yields a greatly increased sense of what is "going on" in Stella, Noland, and Olitski and how they follow preceding abstract paintings by Jackson Pollock, Barnett Newman, and Morris Louis. The key ideas and the observations contained in Fried's essay reveal the paintings in the show as a fascinating world of color and form...