In
his paintings of the late 1950 's and early 60 's, Kenneth Noland used
circles and chevrons for their familiarity as forms, to serve as carriers
for his explorations of what colors can do, and the effects of stained
color on unsized canvas. In his chevron paintings especially, he made
a well-known form uniquely his own. Like many other artists before him,
Noland has taken up again one of his key images as a structure to carry
his ongoing pursuit of other aspects of painting: Translucency and pearlescence,
the timely counterpoint of opacity and luminescence. In his new painting,
Noland has gone beyond minimalist reserve to reveal his hand with painterly
freedom and intensity. It is with joy that the gallery presents this exhibition
of Kenneth Noland's recent work.
1984 – Andre
Emmerich
