Word: noland
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Dates: during 1970-1979
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...only weak summer show is the contemporary exhibit which consists of works by enticing names like Mark Rothko, Kenneth Noland, and Robert Motherwell. These paintings are shown in a sick yellow light made uneven by baby spots. This would be disastrous for any paintings but especially these--most rely heavily on color impact. The only painting which looks decent Is one of Clyfford Still's; he was after horrifying color for his craggy paintings anyway...
...Royal Academy School in London and later as a studio assistant to Henry Moore, Caro had been trained in a monolithic approach to sculpture. His work reflected it: scarred, blimpish nudes writhing lumpily on their pedestals. Then, in 1959, Caro made his first trip to America. He met Kenneth Noland, talked to Greenberg and saw Smith's welded-steel sculptures. He was 35 and, as he recalls, "waiting to be blown over...
...various followers. A fine recent example is the catalogue to the exhibition staged by the Houston Museum of Fine Arts and tendentiously titled The Great Decade of American Abstraction: Modernist Art 1960 to 1970. With preposterous promotional excess, the catalogue informs readers that what artists like Olitski, Noland, Louis and Friedel Dzubas produced in America in the 1960s can be compared in quality with the work of the impressionists between 1865 and 1875, and Braque, Picasso and Matisse between...
...addition, he conquers many of the problems of scale which have bothered some other abstractionists, particularly Kenneth Noland. Abstract pictures have usually been able to be successful only on enormous canvases; Olitski works equally well in room-sized paintings and in small ones. His spray technique has a finer grain, so to speak, than staining or brushing, and it creates surfaces which because they cover the canvas completely are not immediately scaled by the weave of the cloth. And in his paintings of this year and last, particularly the Other Flesh series, he employs rollers and sponges with a syrupy...
...offspring, is in the offing, and that the artist as personality may be about to emerge again from behind the anonymity of his work. Still--and De Antonio can't fail to show this much--there is a certain incongruity between say, the spare stripes or chevrons of Kenneth Noland and the explanations the artist delivers in a North Carolina drawl. Or, equally incongruous, the contrast between Frank Stella--sitting on the floor of his studio, dressed in an old sweat shirt and looking for all the world like Woody Allen slightly lisping his reply to the charge that...