Word: olitski
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...among students of mygeneration, will be his trust in students whowished to work with the museum and who wanted tobring contemporary art into its collections. Itwas typical of John that he encouraged the youngscholar Michael Fried to mount a provocativeexhibition of recent American painting, ThreeAmerican Painters: Kenneth Noland, Jules Olitski,Frank Stella (1965) and to publish what quicklybecame the signal statement on the new paintings'style and purpose. At the same time, he acquiredfor the Fogg our first paintings by thatgeneration, Morris Louis' Color Barrier and BlueVeil, and Kenneth Noland's Hover and Karma (giftof the artist...
...Sackler for the most part of the Fall, you have a chance to catch some of his smaller works in this exhibition. Rothko was captivated by the visual experience of color. His work had a profound impact on the color field artists such as Morris Louis and Jules Olitski. This leaves me to wonder why the exhibition didn't include some of their works such as Olitski's sprays or Louis's Blue Veils (which is in Fogg storage...
...chevrons wedged uneasily into the conchoid spaces of New York's Guggenheim Museum-provides a dismaying lesson in how critical fashions change. It is not very long since No-land's work, along with the stains of Morris Louis and the peach-bloom surfaces of Jules Olitski, was assigned an authority close to that of Holy Writ. This, formalist criticism said over and over again in the '60s, is the way painting must go: it is the inevitable future...
Group shows range from the very far-out (drawings by Robert Barry and Germany's Hanne Darboven, among others, at Leo Castelli, 4 E. 77th St.) through "classical" modernism (Jules Olitski and other color-field artists at Knoedler Contemporary Art (19 E. 70th St.) to a diverting collection of views of New York by American artists (John Marin, Reginald Marsh, Guy Pène du Bois at the Hammer Galleries, 51 E. 57th...
...Manhattan galleries at midwinter, the overall impression is of a series of dead ends being earnestly explored by many artists. They are producing hundreds of square yards of post-abstract expressionism, after Hans Hofmann, Robert Motherwell et al., and seeming acres of color field after Morris Louis and Jules Olitski. There are innumerable variations on hard-edged abstraction, after Stella, and scintillating but ultimately repetitious structures of glass, light and Lucite in the dimming name...