Word: noland
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...minority opinion among critics at last summer's Venice Biennale was that the top prize should have gone to a U.S. painter who is far from pop. He is Kenneth Noland, whose work, along with that of his stylistic comrade, the late Morris Louis, was presented in the official U.S. exhibit as an alternate direction to that taken by Prizewinner Robert Rauschenberg (TIME, Sept. 18) and Jasper Johns (TIME...
...decorative appeal of Louis' and Noland's work, especially for European critics, is not hard to understand. Compared to the beer cans, taxidermic delights, and other hairy intrusions of other new art, their art is clean, almost scrubbed raw. Without resorting to optical ping-pong, they soak pure peacock color into huge, unprimed, raw canvas. With all the flamboyant color that today's plastic paints can provide, their works please some as wall hangings, avant-garde tapestries aglow with unconventional color combinations and quite uncomplicated by symbolism...
Sherbet-Soft Colors. The problem is that Louis and Noland are pioneer explorers who need vast spaces to give their quest a sense of achievement. Even the best tapestry would be ridiculous as a doily, and their Cinemascopic canvases only achieve their effect when they engulf the viewer's vision. Their works often run from baseboard to ceiling and as wide as 18 ft. This large format must impose itself like a looming display of northern lights to achieve a scale that inflames the imagination...
...KENNETH NOLAND-Emmerich, 41 East 57th. Noland lives in Vermont near Paul Feeley (see below}, who shares his color-consciousness. He lets some of the unsized canvas show, slashes his diagonal abstracts with repeated sharp right angles in a series of bright shades that assault the eye. Through...
With different styles but comparable purposes, others in the show put before the viewer a psychological tension, an ambiguity, a presence that appears after a few minutes' looking. The greatest divorce from action painting lies in the works of the late Kenneth Noland and Morris Louis. Thinning oils with turpentine, they stained pigment into unsized canvas so that the brush stroke is invisible but the colors clash like a warring spectrum...