Word: noland
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...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...
Johnson uses the conventional technique of stained acrylic on raw canvas, but his work stands in complete contrast both to the programmed geometries of Stella or Noland and to their opposites, the so-called "lyrical abstractionists." It is, to begin with, about specific images. A high-strung man, Johnson years ago and without drugs experienced what he refers to as a "spiritual crisis," accompanied by visions and hallucinations: vast primal shapes, cloudy or brilliantly lit, floating in deep space. "After that, I didn't paint for years...
...last year at 65, he left a body of work that seemed the epitome of aristocratic breadth and daring. Newman's canvases, with their engulfing fields of color traversed by vertical "zips," had become intrinsic to the look of American painting. Artists as diverse as Dan Flavin, Kenneth Noland, Clement Meadmore and Alexander Liberman had been deeply affected by the radical openness of his art and his brave, grumpy polemics. Granted obvious differences of context and emphasis, Newman's work had acquired much the same ethical role as Poussin's did for young painters in the 17th...
...painting like Untitled (Number 2), 1950, now looks like a singular prophecy of the stripe work that dominated New York galleries 15 years later; it predicts Noland all the way, from the long narrow format of canvas to the pure, hard-edged bands of red and black. (Asked if he had begotten stripe paintings, Newman replied with characteristic irony that "if I am the father, I never had the honor of knowing the mother.") But most Abstract Expressionists thought his work perversely formalistic. Its very muteness was an offense...