Word: noland
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...vacant five-story sanitarium on Spring Street and turned it into a succession of mysterious caves lined with her black, white, gold and Plexiglas constructions. Roy Lichtenstein acquired one vast floor of a bankrupt bank on the Bowery (other floors were taken by Adolph Gottlieb and Barnett Newman). Kenneth Noland bought a storage building; Robert Rauschenberg, a flophouse-cum-church on Lafayette Street. The first artists' coop was set up in 1967 at 80 Wooster Street; by 1968, there were 15 such buildings, and there are at least 28 now. Today, a loft building that would have gone...
...minor elements in a work of art, tuned into equilibrium. This elimination of hierarchies had never been tried in sculpture before, though it was very much a feature of advanced New York painting in the early '60s-the striped patterns of early Stella, the symmetrical chevrons of Noland. So it seemed that Judd had contrived to declare in sculpture one of the basic attitudes of that mode of painting: its flatly declarative, unmodified, take-it-or-leave-it quality...
...Cleaved Wall (24 meat cleavers, slashed into a 30-ft. expanse of board) to a lamentable anthology of sculptural cliches that looks as if Gucci had been playing with oak beams and steel joists, but is in fact the work of the respected painter Kenneth Noland...
James Brown's "Red Zip," for example, uses Kenneth Noland's ruler-straight horizontal stripes. The painting concerns itself with color relativity-two burgundy stripes surround a red one, two reds an orange, and two oranges a yellow, reading down the canvas. Alex Packer's "Blues Progression" is a similar investigation of a hue family on a flat plane. His acrylics run from red-violet through aqua. But Packer's three-paneled work attributes more importance to form than does James Brown's-stripes end in curved edges, and three vertical stripes are halved in the last panel, leaving...
...extensive steady tones glare outwards without suggesting any space for the eye to travel. Though it is difficult to conceive of a flatter picture, it is almost impossible not to see a special relationship between any two colors placed on the same surface. In their simplicity, the chevrons of Noland, thrust across the canvas, are impossible to forget. As the painted surfaces become flat, artists like Frank Stella give shape a new importance. His pin-striped canvases become parallelograms or odd geometric shapes...