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(srstem). Also 7-8 systeme, ai8tem(e. [ad. late L. systetna musical interval in mecL or mod.L., the universe, body of th articles of faith, a. Gr. avarrjfia organized whole government, constit ution , a bo dy of men or animals
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Systemic
(siste-mik), a.
System 4
ic; used for differentiation of meaning instead the regular systematic] 1. Physiol, and Path. Belonging to, supplying
-a
m
^
in
every sentence.
3. gen. Arranged or conducted according to system, plan, or organized method ; involving observing a system ; (of a person) acting accordin :o system, regular and methodical. 1790 Burke Rev. France 84 These gentlemen value then pelves on being systematic, Regie. Peace ii. Wk 1706
Solomon
R.
Guggenheim Museum
and Archives
http://www.archive.org/details/systemicpaintingOOallo
SYSTEMIC PAINTING
THE SOLOMON
R.
New
York, 1966
THE SOLOMON
It.
GUGtiGMIKIM l'Or.MIATION
TRUSTEES
HARRY
!".
GVGGENHEIM, I'HKSinKNT
THIELE, VICE PRESIDENT
ALBERT
II. II.
!:.
PETER
O.
ELEANOR, COINTESS
f'ASTJ.E
STEWART
DANA DRAPER
A.
CHAINCEY XKWI.IX
MRS, HENRY OBR]
MICHAEL
F.
WETTACH
WHEI.PLEY
MEDLEY
<i.
II.
CAUL ZICROSSKH
Exhibitions at the
Guggenheim Museum
in recent years,
have been concerned most often with the creative contribution of a single artist. At times, the source, in
form
region,
or worldwide assessment
at
within a particular
this
all
museum from
time
these categories
by
menon and
its specific
to pursue, in the
meaning.
The
Thomas M.
Messer, Director
Scull,
New
York.
Bykert Gallery,
New
York
New York New York Robert Elkon Gallery, New York Andre Emmerich Gallery, New York Fischbach Gallery, New York Sidney Janis Gallery, New York Kornblee Gallery, New York Pace Gallery, New York Park Place Gallery, New York Betty Parsons Gallery, New York Stephen Radich Gallery, New York
Leo Castelli Gallery,
Galerie Chalette,
A.
M.
New
York
ACKNOWLEDGEMENTS
to
the
Galerie
Chalette,
Kornblee Gallery, and the Pace Gallery for paying the cost of color plates.
Mary
me on
and
their collaboration
and
support.
L.A.
11
INTRODUCTION
New York between The improvisatory capacity of the artist was enlarged and the materiality of media stressed. The process-record of the creative act dominated all other possibilities of art and was boosted by Harold Rosenberg's term Action Painting. This phrase, though written with de Kooning in mind, was not announced as such, and it got stretched to cover new American abstract art in general. The other popular term,
The painting
first
that
made American
art
appeared as a drama of
creativity.
work of art
However, within
this period,
art.
who never
Barnett
surrounded American
The
work of Clyfford
in his
Still,
but an
who
own
time,
seemed
all
This all-over
distribution of emphasis
Still,
relates Pollock to
"an all-pervading, as
artists
is
recognition of the fact that the unity of Action Painting and Abstract Expressionism was purely
verbal, a product of generalization
from incomplete
data. (Obviously,
and
artists. Dissatisfaction
who have been ratified by the work of younger New York painting was expressed by the
gestural art or never entered
it.
number
targets
of
Jasper Johns
from
late 1958,
and
Stella's
1958-59
can
now be
from the
directional
Factum I and Factum II, 1957, along with duplicated photographs, included almost identical paint splashes and trickles, an ironic and loaded image. A gestural mark was turned into a repeatable object. The changing
anxiety of the Expressionists. Rauschenberg's twin paintings.
situation can be well indicated
six years
ago
he not only
the
later
Ben
widespread interest in de Kooning's ideas has been more of a hindrance than a help
younger
it
Kooning
Field
world" (my
alternatives to
painters, 2.
There was,
1.
the
the
mounting
interest in symmetrical as
opposed
to
amorphous formats,
Numbers
12
Barnett
hail
Newman's
paintings have
first
the com-
New York
in
art.
As with
any
artist
who
is
On
the one
his
was waited
for.
his work.
man even among artists who had New man asserted the
:
unknown;
be seen
is
The
the seductive
as field,
Barnett
meant
new generation
of
Newman. EVE.
artists
man's
principles of
Newman's painting
in the ab-
"Newman's
self",
becomes
all
frame in
is
it-
repeated
inside,
later
not just the sides, sets the limits for the de-
this idea
it
is
is
Newman,
on
^*5-
the scene in the 60's that a proposed esthetic should rest, at least partially,
on
his
work.
Barnett
Newman
Exhibition, Betty Parsons Gallery, 1951. Left original plaster cast at Here, right The Wild, 1950.
13
Alternatives
to
Abstract Expres-
X~
and had
artists
to
be formulated experimentally by
on
their
and transferred
to rectangular
made
is
panel carried
1952-53.
all
Ad
red and
symmetrical
lay-out,
combining elements
art
and
or
These three
artists de-
structural precision,
and
They showed
at
It is to this
phase
of non-expressionistic
that
New York
painting
the term
Hard Edge
is
applies.
"The
phrase 'hard-edge'
^^J"4.
Leon Smith. Drawing 1954. 8i x 3f.
Pencil and ink on cardboard,
Langsner,
who suggested
Ellsworth Kelly.
x 22*
14
it
at a gathering in
Claremont in 1959
as a title for
Cali-
4 fornia painters" records George Rickey. In fact. Langsner originally intended the term to refer
me
in conversation in 1958. Incidentally, the exhibition Rickey refers to was called eventuallv
Four Abstract
Classicists. The purpose of the term, as I used it 1959-60, was to refer to the new development which combined economy of form and neatness of surface with fullness of color, without continually raising memories of earlier geometric art. It was a way of stressing
to
geometric
art. in
"The
Even where
these forms are not purely represented, abstract artists have tended toward a
Form
The whole
picture
becomes the
unit: forms
this
extend the length of the painting or are restricted to two or three tones. The result of
sparseness
is is
on a
field is
made
to the
fundamental
early
on
this
Sidney Tillim"s
"W
hat
Happened
to
The emerging non-expressionist tendencies were often complimented as Timeless Form's latest embodiment, as in the West Coast group of Abstract Classicists. Jules Langsner
defined Abstract Classicism as form that
is
ous or fuzzily suggestive", and equated this description with the "enduring principles of
Classicism" 6
.
It is
it
who
classicist.
Langsner
its
wrote in 1959 but, as late as 1964, E. C. Goossen could refer, when discussing symmetry, to
(86). \^ hereas
in the formative
period of their ideas, believed in absolute formal standards, of the kind a definition of Classicism
requires.
American
artists
had more
alternatives.
The 1903-13
of impersonality and
timelessness by which earlier artists had defined and defended their work.
Now. because
of the
artists,
no
less idiosyncratic
of classicism in
produced paintings
immaculate
was taken up
finish
which the
associated
The completeness
activation of
random
symmetrical
and
immaculate
Guggenheim Museum
where
its total
in 1951.
absence of touch
was remarked
on
by,
among
Alexander Liberman. Diptych. One
ay. L950.
11
4i x 80".
others, Johns
this period
were designed
a real link with
later practice.
Here
is
Malewitch, incidentally, though not one likely to have occured to Liberman at the time; in Male-
his
The conceptual
is
is
to say,
Ad
began
50's,
which
even in Action
"No
where
to
begin and where to end, should be worked out in the mind beforehand"
is
"No symbols,
1957).
styles,
one irrevocably
displacing
its
predecessor, to see that a shift of sensibility had occurred. In the most extreme
it
at least
expanded
artists'
New
New York
and the
echoes of his work were immense. In 1960 Noland's circles which had been somewhat gestural
in handling,
became more
hints of modelling or textural variation. Stella's series of copper paintings in 1961 were far
more
now
huge
initial letters.
first
inflected
by small
discs of color;
Noland painted
canvas, as well as the center, which had been stressed in the circles,
became
structurally
important; and Downing, influenced he has said by Noland. painted his grids of two-color dots.
In 1963 Stella produced his series of elaborately cut-out purple paintings and Neil
\S
illiams
made
his
is
series
enough
recorded
diversity of the
new
sensibility.
A series
first
of
museum
among
the artists
which made possible group appearances and public recognition of the changed
of these exhibitions
The Museum, Summer 1963) was Toward a New Abstraction (The Jewish
sensibility.
in
approach
in
included
of 1964
a significant
though
time
little
noticed exhibition of 8
Robert Barry and Robert Huot. E. C. Goossen described the group characteristics as follows:
16
illusion, realism, or
artists'
Noland occupied
and had
a near retrospective at
The
Museum
summer
of 1965 the
Washington Gallery of
Modern Art presented The Washington Color Painters, which included Noland. Downing and
Mehring. Finally, in the spring, 1966 The Jewish
Museum
Primary Structures 9
in the early 60's
it
This
left
list
of
museum
had
Clement Greenberg's
esthetics.
Greenberg's Post Painterly Abstraction was notable as a consolidation of the nullexpressionist tendencies so
"clarity
open
He sought an
in painting
by taking the
cyclic theory7 of
W olfflin,
according to which
painterly
recent develop-
linear.
and
and atmospheric
It
is
Stella's uninflected
certainly adapted
lumped together
by
painters as antithetical as
Seurat.
Abstraction
is
pressures of the hand or the operational limits of brush work. Poured paint exists purely as
color, "freed" of
drawing and modelling; hence the term Color Painting for stain painting g
it
name
proposed by Greenberg?
important
to
go
is
tion
The basic text in Greenberg-influenced criticism is an article, written after the publica10 of Art and Culture, but on which the essays in his book rest, called "Modernist Painting"
.
Here he argues
which
is
being criticized". Thus "flatness, two-dimensionality, was the only condition shared
art,
with no other
itself to flatness".
This idea of
art's
estheticism.
their Art
were revealed
to
them
(artists),
much
a matter of certainty
and triumph
as
is to
.
medium
purity as operational
first
him alone" 11 Here Whistler states self-criticism, on which American formalist art
first,
criticism
still rests.
W alter
Pater,
second, a classicizing of this view in the early 20th century, especially by Roger Fry, stressing
form and
plasticity with a
new
a corresponding neglect of
non-physiognomic elements in
hat
is
meanings beyond the purely visual configuration. Consider the following opinions,
formalist-hased. which acknowledge or suppose the existence of meanings feelings.
writes that
of them
Heller
Ben
ami Michael
Fried calls Noland's paintings "powerful emotional statements" (40). However, neither writer
indicated what was expressed nor what emotions might be stated. Alan
17
Noland's
circles,
which
earlier
"some
are buoyant
and cheerful
others are sombre, brooding, tense, introspective" (228), but this "sometimes-I'm happy,
is less
for. It
amounts
to a
reading of color
as
symbols of emotional
artists in his
won
their 'hardness'
Abstraction" (23a).
It is
good part of the reaction against Abstract Expres"they have not inherited
it
but
(the
is
hard edge) from Mondrian, the Bauhaus, Suprematism. or anything that came before",
exaggerating. Since Greenberg believes in evolutionary ideas, and his proposal that Hard-Edge
artists
come out
it is
artists
art
which
we omit Greenart.
berg's improvisatory painters, such as Francis, Frankenthaler, Louis, and Olitski, and attend
more systemic
in
artists,
Kelly,
example, and
it is
hard
to isolate
modular painting
What seems
relevant
now
is
to
which were
human
it
proposals rather
is
artist as a
human
much
led, in
one direction
to autobiographical gestures, lessened the prestige of art as a mirror of the absolute. Malewitch,
art
by theory, but
is
in
New York
reliance
so
system
as
human
as a splash
of paint,
more
when
Definitions of art as an object, in relation to geometric art, have too often consolidated
it
within the
web
art.
of formal relations.
The
became
the essence of
The
When
The
wall
may
appear
The bulk
essence of
internal
art.
On
the contrary, the contoured edges are highly ambiguous: the balance of
in suspense so that there are connections with painting (color),
sculpture (real volume and shaping), and craft (the basic carpentry). Shaped canvases tend to
mix these
possibilities.
is
and
silver series:
scintillation'
memory
at the
same time
that they
asymmetrical and multi-colored, compared to the symmetrical and/or one-color paintings done
since 1958.
The change
is
not a
move
to a
world
full of possibilities
from one
that
was con-
more probable
work
is
that the
new work
at a
prompted
came
time
when an
ABC
art (to
which
his earlier
central),
was out in
18
the open.
The new
paintings are a kind of two-level image, with the contoured stretcher pro-
viding one kind of definition and the painted forms, cued by the stretcher but not
bound
to
it,
is
scrambling the spatial levels of the painting. This act of superposition disregards the
obedient to the shape of the perimeter. Each
idea of deductive structure which Michael Fried proposed as the present historical necessity of
is
though with
fixed boundaries.
is
more
in
now than
at
non-directional character,
who
long
For
this reason
him
to the
diamond format, of which one is in the present exhibition. The points of the diamond are the farthest points from the center, a format which frees Noland from his sense of confinement by the edge. The edge is reduced to a functional oblique, linking the most distant parts of the
painting. Thus, the
diamond format
and
is
not so
much
to the object-like,
"disembodied" color
effects of staining.
The
essentializing
to
The
on expression and
art as
an object. Newis
levels: the
theme
the Passion
apparently non-iconographical, a
all art,
strict
When we
not from
its
capacity to
signify absent events or values (a landscape, the Passion, or whatever). This does not
mean we
boredom
as has
On
the
contrary,
it
such as those in
been
The personal
is
conceptual order
is
just as
Duchamp reduced
is
we may
the fact
irreducible personal requirement. Choice sets the limits of the system, regardor
how much
how
little
manual evidence
carried
is
am
composition over and over again", Howard Mehring has said, "I never seem to exhaust
possibilities" (218).
is
that
most of the
work
in
The work that constitutes such runs the work of other artists' periods.
or periods
is
use of a configuration
is
One Image
and Reinhardt's
the
crosses.
The
artist
who uses a given form begins each who is, in theory at least,
is to
each beginning;
all
One Image
artist
earlier
is
work.
One Image
the
19
surprise, but
and reconstruction
it
analysis
we
One Image
art
we look
spicuous unity.
self,
The run
up by the
is
artist
him-
which we learn empirically by seeing enough of the work. Thus the system
the
means by
When a work
of art
is
defined as an object
we
clearly stress
materiality
and
on
meaning
to the syntax.
meaning
in
to
is
it is
One Image
painting
is
to
groups of such paintings. Paintings based on modules are included, with the grid either
contained in a rectangle or expanding to take in parts of the surrounding space (Gourfain and
Insley respectively). It refers to painters
in a
much
freer
Youngerman
respec-
The
field
serial potential as
common
say,
a level of organization that precludes breaking the system. This organization does not
art,
but
is
It is not, that is to
all
painting
known prior
system
is
to
A system is not antithetical to the values suggested by such art world word-clusters as humanist,
organic,
trial
and process.
On
is
engaged with
it,
a system
off
is
a process
and
error, instead of
the canvas.
is
The
predictive
operative,
power of the
from ideas and
assistants.
artist,
strongly
and shaped
stretchers
and help by
painting and there are parallels. Frank Stella's paintings, with their bilateral symmetry, have
much
is
in
common
to
is
work can
be compared
"what
art?"
"is this a
undercurrent of
of
Stella's art, in
more like systemic art in its lack of formal diversity than it is like A lack of interest in gestural handling marks both this area of Pop Art and systemic abstract art. In addition, there are artists who have made a move to introduce pop references into the bare halls of abstract art theory. One way to do this is by using
Warhol's repetitive imagery,
other styles of 20th century
art.
color in such a
way
that
it
paint and finishes can be used in this way. For example, Al Brunelle has written of this painting
in the present exhibition:
left,
lying scheme.
On
this side
she does not silhouette as brightly as on the right, nor do the edges
on
left 'track' as
they do so nicely within the painting. The blue line does not remedy any of
.
this. It
The
20
"cobra skin"
culture that
is
an association of pop
hard
to shake.
is
Irving Sandler's term for systemic painting, both abstract and pop,
as characterized
merely "mechait
like a
Romantic, or
should.
He
is
against "one-shot
is
good
artists:
from
He
is
struggle painting, like expressionism, but that their forms are "disassoci-
Thus Sandler
locates an energy
and power
in their
work
said
be missing from hollow and easy "Cool-Art "'. The difference between so-called Concrete
is
and
smoother. Al Held's pictures are thick and encrusted with reworkings, but he ends up with a
relatively clear
and hard
surface.
The
shift of sensibility,
which
may
when
the background
is
criticism
now
is
now general sense of art's autonomy. One way is by the repetition of images, which without preassigned meanings become the record and monument of the artist. Another way is by the retention of known iconography, in however
with other experience without, of course, abandoning the
abbreviated or elliptical form. Priscilla Colt, referring to
earlier paintings it
Ad
"pushing of the
visible
may have
edge, built-in and natural by now, of circular systems of various types. Circles have an iconog-
raphy; images become motives with histories. The presence of covert or spontaneous iconographic images
ascribed to
it.
is
and
pictorial
autonomy
so often
The approach of
from
all its
work of
needs the iconographical and experiential aspects, too, which can no longer be dismissed
as "literary" except
Lawrence Alloway
21
\OTE
1.
Listener,
146^7.
the verbal echo and opposite of what William Rubin called "'inductive' or indirect
2.
3.
Clement Greenberg. "American-type Painting", Art and Culture, Boston, Beacon Press 1961, pp. 208-29.
Deductive structure
painting"
(3),
is
but the phrase (which meant painting without a brush) never caught on.
4.
XXIII, no.
difference
4,
New
5.
The formal
is
and "non-
relational". Relational refers to paintings like that of the earlier geometric artists
balanced with a hierarchy of forms, large-medium-small. Non-relational, on the contrary, refers to un-
mode
in
to
when
the relations are those of continuity and repetition rather than of contrast and interplay.
:
Ad
The Los Angeles County Museum, July 1959, Four Abstract Classicists. Text by Jules Langsner. Reinhardt. "Twelve Rules for a New Academy", Art News, New York, vol. 56, no. 3, May 1957,
the present exhibition was proposed originally in June 1964
When
show
it
was intended
it.
to
sculpture, but
flat
to repeat
The reasons
the
and
3D work
work
in both
media and
(2)
number
of artists
who
in this
exhibition are those with lateral variations rather than with volumetric projections; that
to painting.
9.
closer
Optical has, at present, two meanings in art criticism. In Greenberg's esthetics color
is
optical
if it
creates a
It is
applied to Louis and Noland in 1960 (which has been widely used, including adaptations of
such as
W illiam
using
in
10. 11.
it
Seitz's
"Color Image").
It is
is
mandatory for
its
all
way of
best
known
usage,
is
as the optical
Op
Art,
meaning
New
James A. McNeill Whistler. Ten O'Clock, Portland, Maine, Thomas Bird Mosher, 1925.
artist,
12.
13.
1966.
8,
"Notes on
Ad
pp. 32-34.
14.
by which he deplored
literary critics'
overemphasis on
expense of a
poem
as a whole.
23
STATEMENTS
JO BAER
These paintings form part of a
series of twelve.
There are
its relativity
to the
human
eye and
believe in color
There are
Each
vertical.
We
The possibili.
the ascension
vertical,
and the
am
receiver.
squares and they use the intense color bands. All the
paintings are color in a luminous mode, but this group
also renders the
The
by the
ability
of references and
a red (magenta),
attitudes.
a green, a blue.
They
Summer, 1966
to the receptivity of
each ob-
to the individual
DEA\
I
FLElIIXft
primal and
The
If an
its
materiality both as a
am
totally
to
available.
he can begin
sees
and he can
participate in the
tween
is its effect
stillness
on each
tionlessness.
In the case
of these immediate
which contains no
color.
to the
The
subject of art
is
outer edges.
This approach to the work yields nothing whatsoever and we must venture further to reach significant understanding.
not called
new work
is
utilitarian in that
The
situation
every
new
society.
Now, when
it
and velocity
communicate
change in terms of
new dimension,
is
dark and
light, the
when
related to
another color.
1966
24
WILL I\SLL1
NOTEBOOK EXCERPTS
Physical
\l\
\UI
KCKATAMA
my work
Engineering
practical
function
bridge
art
or
humanity of the
There
is
artist,
at all.
building
Visual Engineering
itself.
1964
Grid
select
vary
law-
freedom within
Form
shape
Silhouette
Diagram of
visual forces
Form movement parallel to the eye plane Color movement perpendicular to the eye plane
Resultant conflict
visual experience
work of
art
DAVID
III
am tempted
The painting
appear
is
an object.
Any
attempt to consider
history of painting or if
likely, three attitudes
you
prefer,
which
framed
fear
is
nn
Environment. By image
refer to the
illustrations
sity today.
The painting
which used
to
Problem
any
art.
The
Future of art
mass production
at least in
precisely equivalent in
and
1964
will
I
be said of cubism.
like to say of the third, the
would
Painting
Abandon
illusion
rectilinear
context
of
contained
exist in time.
employing
nothing but
numerical
itself.
set
as
something signifying
these paintings
is
The content of
Fragment of
visual material
Problem
clarified
and reduced
and
important
Possibilities
diminish
less
Reduce painting
Expose
to
to flat silhouette
test
how
fine a series is
most stringent
spiritualizing.
Unfortunately an
is
effect of
employing labor-
proportion of elements
relation of closed
saving devices
shows.
On
the
we we
reduce labor
izing end.
is
We
when
it is
any use
it
advances
it
man's
Grid space
achievement where
began,
mysticism.
25
critics to
ask themselves.
itself
What
is
if
the wall
is
tedious
wall,
blank
New works
there
If a
is
no
is
new?
work
June 1966
its
make
is
and
still
be up-to-date?
1966
i-:imi\
it I
i>\
scale
my
painting to the
maximum
mean.
would no longer
see that
ROBERT MANGOLD
Right and
left
is
alike.
WORK COMMENTS
1965-66
Repetition
different because
is
occurs "elsewhere".
The
architectural,
flat,
subtle paradox
Working on
Began
to
By
at
arrive
faced plywood.
the contrary
demands
Summer 1966
total
were too
and
is
LARR1 KOX
SCISSORS JACK SERIES
Once the proportions and outside
scale of the paintings
is
medium
used, because of
finish.
more
flexible color
mixing
down
or define.
is
established.
Color sequence
neutral
from top
to bottom),
moving
moving
same
into neutral, or
color.
final
from lighter
is
Where
it
similar.
Have used
as a
96 x 96
vertical
would have a
continuous color moving across the horizontal in fluctuating zones, sixteen color combinations separating each
becoming
at the
it
division.
move through
The SCISSOR'S JACK SERIES was executed in 1965. The particular choice of color was arbitrary in that colors were chosen at random in the execution of the paintings. This specific structure became dominant as a foundation
for
line inside,
my work
at the time.
June
16,
1966
Measurements
in inches:
is
27
Paul Feeley. Asellus. 1964. Acrylic on canvas, four canvases each 47* x 471". Lent by Betty Parsons Gallery,
New
York.
28
on canvas, 71 i x
72".
New
York.
29
Dawn,
Heights, 1963. Acrylic on masonite, 1031 x 103 i". Collection Steve Schapiro, Brooklyn
New
York.
fti
o
a-
"So
fts
34
I.
New
York.
35
Tadaaki Kuwayama. Untitled. 1965. Acrylic on canvas with chrome stripping, two canvases each 961 x 42". Lent by the
artist.
Howard Mehring. In
the
Key of Blue
II.
New
\ot\s..
<
39
<
41
cd
H-l
<^>
Pi
44
Al Brunelle. Juync. 1965. Metalized cellulose acetate butyrate on wood with acrylic and
Lent bv the
artist.
each 21 x 21 x 3"
45
<
..:..
:.,.-.
Frank
Stella. TTolfeboro, 4.
1966.
Epoxy and
fluorescent alkalide on canvas, 160+ x 100 x 4". Lent by Leo Castelli Gallery,
New
Yorl
Larry Poons.
Acrylic on canvas, 135 x 90". Collection Mr. and Mrs. Robert Scull,
New
York.
Robert Ryman. Allied. 1966. Oil on canvas, 751 x 753". Lent by the
artist.
51
Al Held. The Big End. 1966. Acrylic on canvas, 1071 x 108i". Lent by Andre Emmerich Gallery,
New York
'-!
;'
">**
'''--:::.:.
J'"
I
M
68". Lent
by Galerie Chalette,
New
York.
53
Jack Youngerman. Blue White Red. 1965. Polymer emulsion on canvas, 107 i x 87 i". Lent by Betty Parsons Gallery,
New
York.
54
75+". Lent by Pace Gallery, Nichola s Krushenick. Tel Aviv Hippy. 1966. Acrylic on canvas, 90 x
New
York.
56
II
II 1,1
III. It
I'll
Bibliographies: references are to one-man exhibitions, unless otherwise stated. Numbered exhibition entries mean that a catalogue was published: un-numbered entries mean that only an announcement was printed.
Existing bibliographies of artists have not been duplicated. Key to biographies date of birth, present residence and
:
New York
gallery.
4.1
IE
VI
goossen, e. c. "The Big Canvas", Art International, Zurich, vol. II, no. 8, 1958, pp. 45-47. 2. tillim, Sidney. "What Happened to Geometry: An Inquiry into Geometrical Painting in America", Arts, New York, vol. 33, no. 9, June 1959, pp. 38-44.
1.
16.
3.
4.
5.
6.
Rubin, william. "Younger American Painters'", Art International, Zurich, vol. IV, no. 1, January 1960, pp. 2431. Includes Kelly, Noland, Stella, Youngerman. David Herbert Gallery, New York, February 8-27, 1960, Modern Classicism. Text by Barbara Butler. Includes Kelly, Smith. alloway, Lawrence. "On the Edge", Architectural Design, London, vol. XXX, no. 4, April 1960, pp. 164-165. butler, Barbara. "Contemporary Classicism", Art International, Zurich, vol. IV, no. 5, 39-40.
17.
18.
The Poses Institute of Fine Arts, Brandeis University, Waltham, Massachusetts, December 1, 1963-December 6, 1964, New Directions in American Painting, circulating exhibition. Text by Sam Hunter. Includes Held, Noland, Kelly, Smith, Stella, Youngerman. The Jewish Museum, New York, December 12, 1963February 5, 1964, Black and JVhite. Text by Ben Heller. Includes Kelly, Stella, Youngerman. Reviews: kozloff, max. "The Many Colorations of Black and White", Artforum, San Francisco,
vol. II, no. 8,
19.
rose, Barbara.
February 1964, pp. 22-25. "New York Letter", Art International, Lugano, vol. VIII, no. 1, February
May
15, 1964, pp. 40-41. 20a Wadsworth Atheneum, Hartford, Connecticut, January 9February 9, 1964, Black, White and Gray. Includes
7.
New York, October 1960October 1961, Purist Painting, circulating exhibition. Checklist, includes Kelly, Martin, Smith. The Solomon R. Guggenheim Museum, New York,
American Federation of Arts,
October- December 1961, American Abstract Expresand Imagists. Text by H. H. Arnason. Includes Held, Humphrey, Kelly, Noland, Smith, Stella, Youngerman. Bibliography. Reviews: kroll, jack. "American Painting and the
sionists
20b Review:
8.
vol.
judd, donald. Arts, New York, vol. 38, no. 6, March 1964, p. 38. 21. The University of Michigan Museum of Art, Ann Arbor, January 15-February 9, 1964, The New Formalists: Contemporary American Painting for Purchase Consideration. Foreword by Robert Inglehart. Includes Noland, Smith. 22. tillim, Sidney. "The New Avant-Garde", Arts, New York, vol. 38, no. 5, February 1964, pp. 18-21. Includes
Stella.
1961, pp. 34-37, 66-69. alloway, Lawrence. "Easel Painting at the Guggenheim", Art International, Zurich, vol. V, no. 10, Christmas 1961, pp. 27-34.
Art,
November
10.
1962, Geometric Abstraction in America. Text by John Gordon. Includes Held, Kelly, Martin, Noland,
May 13,
Smith,
23a The Los Angeles County Museum, Los Angeles, April 23June 7, 1964, Post Painterly Abstraction. Text by Clement Greenberg. Includes Downing, Feeley, Held, Kelly, Krushenick, Mehring, Noland, Stella. 23b Reprinted in Art International, Lugano, vol. VIII, nos.
5-6,
24.
Summer
Stella.
Review:
11.
Reviews: kozloff, max. "Geometric Abstraction in America", Art International, Zurich, vol. VI,
nos. 5-6,
coplans, john. "Post Painterly Abstraction: the Long-Awaited Greenberg Exhibition Fails to Make its Point", Artforum, San Francisco,
vol. II, no. 12,
Summer
Summer
12.
13.
14.
15.
michelson, annette. "L' Abstraction geometrique en Amerique", AA Siecle, Paris, vol. 24, no. 20, December 1962, supplement. ahlander, Leslie judd. "The Emerging Art of Washington", Art International, Zurich, vol. VI, no. 9, November 25, 1962, pp. 30-33. Includes Downing, Mehring, Noland. The Jewish Museum, New York, May 19-September 15, 1963, Toward a New Abstraction. Introduction by Ben Heller. Includes text on Al Held by Irving Sandler; on Ellsworth Kelly by Henry Geldzahler; on Kenneth Noland by Alan R. Solomon; on Frank Stella by Michael Fried. Washington Gallery of Modern Art, Washington D.C., June 6-July 7, 1963, Formalists. Introduction by Adelyn
D. Breeskin. Includes Kelly,
Stella,
Barbara. "The Primacy of Color", Art International, Lugano, vol. VIII, no. 4, May 1964, pp. 22-26. Includes Downing, Poons, Williams. 26. "New Talent USA: Newly Nominated", Art in America, New York, vol. 52, no. 4, August 1964, pp. 81-111. Includes Krushenick, Kuwayama, Poons. 27. "56 Painters and Sculptors", Art in America, New York, vol. 52, no. 4, August 1964, pp. 22-79. Includes Held, Kelly, I oungerman. 28. The Hudson River Museum. Yonkers, New York, October 11-25, 1964, 8 Young Artists. Text by E. C. Goossen. Includes Barry, Huot.
Youngerman.
57
29.
The Solomon R. Guggenheim Museum, New \ork, December 1964, The Shaped Canvas. Text by Lawrence
Alio way. Includes Feeley, Stella, Williams. Reviews: judd, donald. Arts, New York, vol. 39, no. 5, February 1965, p. 56. 31. lippard, lucy R. "New York Letter", Art International, Lugano, vol. IX, no. 2, March
30.
Washington Gallery of Modern Art, Washington, D.C., June 25-September 5, 1965, The Washington Color Painters. Text by Gerald Nordland. Includes Downing, Mehring, Noland. Bibliography. 46. Review: stevens, Elisabeth. "The Washington Color Painters", Arts, New York, vol. 40, no. 1,
45.
November
47. Kunsthalle, Basel,
1965, p. 46. 32. tillim, Sidney. "Optical Art: Pending or Ending?", Arts, New York, vol. 39, no. 4, January 1965, pp. 16-23. 33. Sandler, irving. "The New Cool-Art", Art in America, New York, vol. 53, no. 1, February 1965, pp. 96-101.
June 26-September
1965, Signale.
The Museum of Modern Art, New York, February 23April 25, 1965, The Responsive Eye. Text by William C. Seitz. Includes Downing, Feeley, Kelly, Martin, Noland, Poons, Smith, Stella. 35. Review: rickey, george. "Scandale de Succes", Art International, Lugano, vol. IX, no. 4, May, 1965, pp. 16-23.
34.
Text by A. Riidlinger. Includes Held, Kelly, Noland. 48. Review: "Basel: Signale; Ausstellung in der Kunsthalle", Werk, Winterthur, Switzerland, vol. 52, no. 8, August 1965, supplement, pp. 179-180. 49. robins, corinne. "Six Artists and the New Extended Vision", Arts, New York, vol. 39, no. 10, SeptemberOctober 1965, pp. 19-24. Includes Held. 50. rose, Barbara. "The Second Generation: Academy and Breakthrough", Artforum, San Francisco, vol. IV, no. 1,
Loeb Student Center, New York University, New York, April 6-29, 1965, Concrete Expressionism. Text by Irving Sandler. 37. Reprinted as "Expressionism with Corners", Art News, New York, vol. 64, no. 2, April 1965, pp. 38^0, 65-66. Includes Held. 38. Reviews: lippard, lucy r. "New York Letter", Art International, Lugano, vol. IX, no. 5, July 1965, pp. 51-52. 39. ashton, dore. Studio International, London, vol. 170, no. 868, August 1965, pp. 87-89.
36. 40.
51.
September 1965, pp. 53-63. Includes Held, Kelly, Noland, Youngerman. rose, Barbara. "ABC Art", Art in America, New York, vol. 53, no. 5, October 1965, pp. 56-69. Statements by
Stella,
Zox.
21,
52.
November
53. plessix,
1965,
Colorists
1950-1960.
Includes
54.
Cambridge, Massachusetts, April 21-May 30, 1965, Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella. Text by Michael Fried. Two parts of the introduction appeared earlier in slightly different form: Section I in
Harvard University,
55.
francine du. "Painters and Poets", Art in New York, vol. 53, no. 5, October-November 1965, pp. 24-56. Includes drawings by Feeley, Youngerman. bourdon, david. "Park Place: New Ideas", The Village Voice, New York, November 25, 1965, pp. 11 + bourdon, david. "E = Mc 2 a go-go; Ten Painters and
America,
.
Sculptors
Form
New
41.
American Scholar,
4,
Autumn
1964, pp.
56.
642-649, as "Modernist Painting and Formal Criticism" Section III as the introduction to Kenneth Noland's retrospective exhibition at The Jewish Museum, New York, February 4-March 7, 1965. 42. lippard, lucy R. "The Third Stream", Art Voices, New York, vol. 4, no. 2, Spring 1965, pp. 44-49. Includes Mangold, Ruda, Stella, Williams. 43. "Neue Abstraktion", Das Kunstwerk, Baden-Baden, vol. XVIII, nos. 10-12, April-June 1965, Special number. Introduction by Klaus Jurgen-Fischer, pp. 3-6. Includes Held, Kelly, Krushenick, Kuwayama, Noland, Stella. 44. VIII Bienal of the Museum of Modern Art, Sao Paulo, Brazil, Summer 1965. Exhibition of the United States of America. Text by Walter Hopps. Includes Poons, Stella.
57.
58.
59.
60.
York", Art News, New York, vol. 64, no. 9, January 1966, pp. 22-25, 57-59. Park Place artists. welsh, Robert. "The Growing Influence of Piet Mondrian", Canadian Art, 100, Toronto, vol. 23, no. 1, January 1966, pp. 44-49. lippard, lucy r. "New York Letter", Art International, Lugano, vol. X, no. 1, January 20, 1966, p. 91. Includes Fleming, Novros, Ruda. "A New Abstraction: A Discussion Conducted by Bruce Glaser", Art International, Lugano, vol. X, no. 2, February 20, 1966, pp. 41-45. Includes Held. robins, corinne. "Four Directions at Park Place", Arts, New York, vol. 40, no. 8, June 1966, pp. 20-24. Includes Ruda, Novros. smithson, robert. "Entropy and the New Monuments", Artforum, Los Angeles, vol. IV, no. 10, June 1966, pp. 26-31.
58
JO BAER
1929. Seattle, Washington
72.
73.
Tibor De Nagy Gallery, New \ork, February- 1958. Reviews: Campbell, Lawrence. Art News, New York,
New
York, 1960
61.
Fischbach Gallery, New \ ork, February 1966. Reviens: ashbery. john. Art News. New York, no. 10, February, 1966, p. 13.
vol. 64,
74.
March 1958. p. 13. warren. Arts, New York. vol. 32. no. 6. March 1958, p. 60. goossen, e. c. "The End of Winter in New
vol. 57, no. 1,
dash.
R.
It
ork",
Art
International.
Zurich,
vol.
2.
62.
lippard, lucy R. "New York Letter", Art International, Lugano, vol. X, no. 4, April 20.
1966, p. 73.
75.
nos. 2-3, 1958, pp. 37-38. Betty Parsons Gallery, New York, May 1960.
New
York,
63.
New
York.
59.
no. 3,
May
1960, p. 15.
76.
judd, donald. Arts, New York. vol. 34. no. 8, May 1960, p. 60. Betty Parsons Gallery, New York, May 14-June 2, 1962. 77. Reviews: campbell, Lawrence. Art News, New York,
vol. 61, no. 4,
ROBERT BARRY
New York Resident New \ork
1936.
78.
no. 10,
September 1962,
79.
Betty Parsons Gallery, New York, May 13-31, 1963. Reviews: sandler. irvixg h. Art News, New York, vol.
62. no. 3.
64.
Westerly Gallery, New York, October 6-24, 1964. Review: stevens, Elisabeth. Art News, New York,
vol. 63, no. 7,
May
1963, p. 58.
80.
November
1964. p. 53.
81.
New York, vol. 37, no. 10, September 1963, p. 59. alloway, Lawrence. "Paul Feeley", Living Arts 3, Lonjudd, donald. Arts,
don, 1964, pp. 26^47. Includes interview with the Kasmin Limited, London, Fall 1964.
-
artist.
82.
Review:
AL BRUNELLE
1934, Minneapolis. Minnesota
lynton, norbert. "London Letter", Art International, Lugano, vol. 8, no. 10, December
New
York. 1962
1964, pp. 44-45. Bettv Parsons Gallerv. New \ ork. October 27-November 21, 1964. 83. Reviews: edgar, natalie. Art News, New York, vol. 63,
84.
THOMAS DOWNING
Resident
1928, Ivor, \ irginia ^ ashington, D.C.
85.
no. 8, December 1964, p. 14. judd, donald. Arts, New York, vol. 39, no. 3, December 1964, p. 69. rose, Barbara. "New York Letter", Art International. Luaano. vol. 8. no. 10. December
Allan Stone Gallery, New York, June 1962. 65. Review: sharpless, ti-grace a. Art News, New York, vol. 61, no. 5, September 1962. p. 16. Stable Gallery, New York, October 1-19, 1963.
66.
86.
1964, p. 50. "Paul Feeley", Art International, Lugano, vol. 8, no. 10, December 1964, pp. 31-33. Betty Parsons Gallery. New \ork, December 7-31, 1965.
goossen,
e. c.
87.
New York,
December
York,
Arts,
Reviews: swenson, g. r. Art News, New York. vol. 62. no. 6. October 1963, p. 12. 67. judd, donald. Arts, New York, vol. 38, no. 2,
1965. p. 14.
88.
89.
in
America,
New
November
68.
1963, p. 35.
December 1965, p. 124. baro, gene. "Paul Feeley: The Art of the Definite",
rose, Barbara.
5,
"New York
New York,
7
December
70.
71.
Reviews: edgar, natalie. Art News, New York, vol. 63, no. 10, February 1965, p. 14. grossberg, Jacob. Arts, New York, vol. 39, no. 5, February 1965. p. 65. lippard, lucy R. "New York Letter", Art International, Lugano, vol. IX, no. 2, March
1965, p. 51.
DEAN FLEMING
1933. Santa Monica. California
New
New \ ork
Park Place Gallery, New York, December 19, 1965January 20, 1966. Dean Fleming and Anthony Magar. 90. Revieivs: bourdon, david. "Parallelogram Backflip", The Village Voice, New \ork, December 23,
PAUL FEELEY
1913, Des Moines, Iowa
91.
1965, p. 12.
Lived in Bennington. Vermont after 1946 Died 1966, New York Bettv Parsons Gallerv. New York
92.
berrigan, ted. Art News, New York, vol. 64. no. 10, February 1966, p. 15. adrian. dennis, "New York", Artforum, Los
Angeles, vol. IV, no.
7,
March 1966,
p. 52.
59
93. 94.
New
York,
vol. 40,
111. Galerie
112. 113.
March 1966,
p. 60.
FLEMING, DEAN, PETER FORAKIS, PHYLLIS YAMPOLSKY. Grope, New York, January 1964, vol. 1, no. 1, Ergo-Suit Productions, Tibor de Nagy Editions. 95. "New Talent USA", Art in America, New York, vol. 54, Selected by Larry no. 4, July-August, 1966, p. 45 Aldrich. Statement by the artist. 96. FLEMING, DEAN, PHYLLIS yampolsky. The Blown Mind, New York, New York Express, 1966.
.
Renee Ziegler, Zurich, October 2-30, 1964. Text by Harald Szeemann. Review: H.C. Werk, Winterthur, Switzerland, vol. 51, no. 12, supplement, p. 292, December 1964. baigell, matthew. "American Abstract Expressionism and Hard Edge: Some Comparisons", Studio International, London, vol. 171, no. 873, January 1966, pp.
10-15.
RALPH HUMPHREY
1932, Youngstown, Ohio
PETER GOURFAIN
1934, Chicago, Illinois
New
New
York, 1961
Bridge Gallery, New York, March 9-27, 1965. Peter Gourfain and David Lee. 97. Reviews: waldman, diane. Art News, New York, vol. 64,
no.
98.
1,
Review:
March 1965,
p. 15.
judd, donald.
p. 65.
"New York
New
64.
117.
March 1960, p. 54. Mayer Gallery, New York, May 1961. Review: sandler, irving. Art News, New York,
no. 3, May 1961, p. 15. Green Gallery, New York, May 5-29, 1965.
vol. 60,
vol. 64,
no. 4,
AL HELD
New York Resident New York
1928,
119.
1965, p. 16. goldin, amy. Arts, New York, vol. 39, no. 10, September-October 1965, p. 66.
Summer
Andre Emmerich
Gallery,
New York
News,
Poindexter Gallery,
57, no. 9,
New
New
York,
vol.
ROBERT HUOT
1935, Staten Island
January 1959, p. 17. b.d.h. Arts, New York, vol. 33, no.
1959, p. 64.
5,
February
6,
New York
New
York,
Poindexter Gallery,
1960.
New
News,
New
York,
vol.
News,
63,
January 1960, p. 15. 103. dennison, george. Arts, New York, vol. 34, no. 4, January 1960, p. 58. Poindexter Gallery, New York, May 1-20, 1961. 104. Review: sandler, irving h. Art News, New York, vol.
105.
"New
no.
1,
60, no. 3, May 1961, p. 15. Talent USA", Art in America, New York, vol. 50, 1962, p. 26. Chosen by Richard Brown Baker and
Summer 1964, p. 82. 122. Vassar College Art Gallery, Vassar College, Poughkeepsie, New York, May 4-31, 1964. New Directions 1964. Text
by Linda Nochlin.
Stephen Radich Gallery,
1965.
123. Reviews: 124.
125.
New
3.
New
New New
1962.
May
News,
New
York,
vol.
December 1962,
p. 14.
May
judd, donald. Arts, New York, vol. 37, no. 4, January 1963, p. 47. 108. sandler, irving. "New York Letter", Quadrum, Brussels, no. 14, 1963, pp. 121-122. 109. sandler, irving. "Al Held paints a picture", Art News, New York, vol. 63, no. 3, May 1964, pp. 42-15, 51. 110. ashton, dore. "Al Held, New Spatial Experiences", Studio International, London, vol. 168, no. 859, November 1964, pp. 210-213.
107.
judd, donald. "New York Notes", Art International, Lugano, vol. IX, no. 4, May 1965,
p. 65.
126.
New
York,
vol. 4,
March 15-April
2,
1966.
127.
Review:
New
York,
vol. 65,
60
WILL INSLEY
1929. Indianapolis. Indiana
USA
New
York, 1957
March 1962,
p. 89.
Stable Gallery,
New New
"York-
York. .May 11-29, 1965 128. Reviews: edgar, Natalie. Art News, New York,
Stable Gallery,
no. 3.
129.
vol. 64,
May
1965, p. 18.
130.
lippard, lucy R. "New York Letter", Art International, Lugano, vol. IX, no. 6, September 20, 1965, p. 59. hoene, anne. Arts, New York, vol. 39, no. 10.
Stable Gallery,
Arthur Tooth and Sons, Ltd., London, May 29-June 23, 1962. Text by Lawrence Alloway. Original layout by Kelly. 151. RUBIN, WILLIAM. "Ellsworth Kelly: the Big Form", Art News, New York, vol. 62, no. 7, November 1963. pp.
150.
131.
Review:
September-October 1965, p. 68. New York. April 12-30, 1966. BURTON, SCOTT. Art News, New York,
no. 2. April 1966, p. 16.
vol. 65,
32-35. Bettv Parsons Gallerv, New York, October 29-November 23, 1963. 153. Review: fried, michael. "New York Letter", Art International, Lugano, vol. VII, no. 10,
p. 54.
W ashington
Gallery of
Modern
December 11, 1963-January 26, 1964, Paintings, Sculpture and Drawings. Includes an "Interriew with Ellsworth Kelly" by Henry Geldzahler, November 1963.
ELLSWORTH KELLY
1923, Newburgb,
1,
New York
156.
February
New
9.
1956.
vol. 30,
'"Realists" and Others", Arts, NewYork, vol. 38, no. 4, January 1964, p. 22. 157. johnson, philip. "Young Artists at the Fair", Art in America, New York, vol. 52, no. 4, August 1964, p. 121. Sidney Janis Gallery, New York, April 6-May 1, 1965. 158. Revieivs: barnitz. Jacqueline. Arts, New York, vol. 39.
kramer, hilton.
New
York,
vol. 55.
New York, February 27-April 4, 1957, Young America 1957. Edited by John I. H. Baur and Rosalind Irvine. Bettv Parsons Gallerv, New \ork. September 23-October
12. 1957.
159. 160.
161.
May 1965, p. 58. levin, kim. Art News, New York, vol. 64, no. 3. May 1965, p. 10. greene, sue. Art Voices, New York, vol. 4, no. 2, Spring 1965, p. 108. ashton, dore. Studio International, London,
nos. 8-9,
New
York,
October
vol. 170, no. 867, July 1965, pp. 40-42. 162. michelson, annette. "Paris Letter", Art International,
1957, p. 56.
tyler, parker. Art News, New York, vol. 56, no. 6, October 1957, p. 17. 137. Galerie Maeght, Paris, October 24, 1958. Article by E. C. Goossen, "Ellsworth Kelly", Derriere le Miroir, Paris, A. Maeght, no. 110, 1958. Bettv Parsons Gallerv. New York. October 19-November
7,
Lugano, vol. IX, no. 2, March 1965, p. 39. Ferus Gallery, Los Angeles, March 15, 1966. 163. Review: von meier, kurt. "Los Angeles Letter", Art International, Lugano, vol. X, no. 5, May 1966.
164.
"Four
Drawings:
Los
1959.
Lawrence. Art News, New York, October 1959, p. 13. tillim, Sidney. Arts, New York, vol. 34, no. 1, October 1959, pp. 48-50. ashton, dore. Arts and Architecture, Los
vol. 58, no. 6.
NICHOLAS KRUSHENICK
1929,
New York
Angeles, vol. 76, no. 12, December 1959. p. 7. 141. tillim, Sidney. "Profiles: Ellsworth Kellv", Arts Yearbook 3, New York, 1959, pp. 148-151. 142. The Museum of Modern Art, New York, December 16, 1959-February 14, 1960, Sixteen Americans. Introduction
Camino
Gallery,
by Dorothy C. Miller. Statement by the artist. 143. seuphor, michel. "Sens et Permanence de la Peinture
144. Arthur
parker. "Brothers Krushenick Camino", Art News, New York, vol. 55, no.
1956, p. 57.
Quadrum, Brussels, no. 8, 1960. p. 52. Tooth and Sons, Ltd., London, January 24February 18, 1961, 6 American Abstract Painters. Text by Lawrence Alloway. Includes Kelly, Martin, Smith.
Construite",
May
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Gallerv,
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no. 10, February 1957, p. 51. young, vernon. Arts, New York, vol. 31. no.
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146.
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lork.
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147. seckler,
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Brata Gallery.
169. Reviews:
Yew
November
New
York,
vol. 59,
61
170.
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York,
vol.
35,
Graham
1962.
171.
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6,
York, 1960
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p. 14.
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March 1964,
194.
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174.
175.
176.
December 1962, p. 248. Graham Gallery, New York, March 31-April 25, 1964. Reviews: benedikt, michael. Art News, New York, vol.
836,
63, no. 2, April 1964, p. 13. judd, donald. Arts, New York, vol. 38, no. 9, May 1964, p. 33.
Bridge Gallery, New York, March 9-27, 1965. David Lee and Peter Gourfain. 195. Reviews: waldman, diane. Art News, New York, vol. 64,
196.
1, March 1965, p. 15. judd, donald. "New York Notes", Art International, Lugano, vol. IX, no. 4, May 1965, p.
no.
65.
rose, Barbara.
1964, p. 78.
"New York
197.
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York,
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May-June 1965,
p. 64.
New York, April 6-24, 1965. Text by Robert Rosenblum. 178. Reviews: Campbell, lawrence. Art News, New York,
vol. 64, no. 2,
ROBERT MANGOLD
no. 9,
179.
New York
May
180.
181.
vol. 4,
New
New York
York, January 4-25, 1964.
lippard, lucy R. "New York Letter": Art International, Lugano, vol. IX, no. 6, Sep-
Thibaut Gallery,
New
p. 58.
199.
News, New York, January 1964, p. 19. Harrison, jane. Arts, New York, vol. 38, no. 6,
TADAAKI KUWAYAMA
1932, Nagoya, Japan
March 1964, p. 67. 200. lippard, lucy r. "New York", Artforum, San Francisco, vol. II, no. 9, March 1964, p. 19. 201. Fischbach Gallery, New York, October 12-30, 1965. Robert Mangold: Walls and Areas, text by Lucy R.
Lippard.
202. Reviews: Art News,
203.
New
York, 1958
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York,
October
1965, p. 10.
Green Gallery, New York, January 10-February 4, 1961. campbell, lawrence. Art News, New York, vol. 59, no. 9, January 1961, p. 18. judd, donald. Arts, New York, vol. 34, no. 4, 183. January 1961, p. 55. Green Gallery, New York, February 20-March 10, 1962. 184. Reviews: swenson, g. r. Art News, New York, vol. 60, no. 10, February 1962, p. 53. judd, donald. Arts, New York, vol. 36, no. 7, 185.
182. Reviews:
International,
benedikt, michael. "New York Letter", Art Lugano, vol. IX, nos. 9-10,
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204.
no. 2,
New
York,
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Kornblee Gallery, New York, April 14-May 2, 1964. 186. Reviews: castile, rand. Art News, New York, vol. 63,
no. 2, April 1964, p. 13.
AGNES MARTIN
1921, Maklin, Canada
barnitz, Jacqueline. Art Voices, New York, vol. 3, no. 4, April-May 1964, p. 30. 188. judd, donald. Arts, New York, vol. 38, no. 10, Summer 1964, p. 68. Southampton East Gallery, New York, June 1964. Tadaaki Kuwayama, Lil Picard, Rakuka Naito. 189. Reviews: brown, Gordon. Art Voices, New York, vol. 3,
187.
New York
Section 11, Betty Parsons Gallery, New York, December 2-20, 1958. 205. Reviews: burckhardt, edith. Art News, New York, vol. 57, no. 8, December 1958, p. 17. ventura, anita. Arts, New York, vol. 33, no. 4, 206.
swenson,
g. r.
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1,
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191. Reviews: levine, neil a. Art
January 1959, p. 59. Section 11, Betty Parsons Gallery, 29-January 16, 1960.
207. Reviews: b.b. Arts,
208.
New
York, December
January
6-May
1965.
vol. 64,
New
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1960, p. 50.
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no. 3,
192.
May
1965, p. 15.
grossberg, jacob. Arts, New York, vol. 39, no. 10, September-October 1965, p. 74.
62
Bettv Parsons Gallery, New York, September 25-October 14, 1961. 209. Review: edgar, natalie. Art News, New York, vol. 60, no. 6, October 1961, p. 11.
11-February 15, 1963, Three New American Painters: Louis, Noland, Olitski. Text by Clement Greenberg.
226.
New
227.
ber 15, 1962. 210. Reviews: beck, james h. Art News, New York, vol. 61, no. 9, January 1963, p. 13. judd, donald. Arts, New York, vol. 37, no. 5, 211.
228.
January 1963, p. 48. Robert Elkon Gallery, New York, November 12-30, 1963. 212. Reviews: lonngren, lillian. Art News, New York,
vol. 62, no. 8,
Reprinted as "Three American Painters", Canadian Art, Ottawa, vol. XX, no. 3, May-June 1963, pp. 172-175. rose, Barbara. "Kenneth Noland", Art International, Lugano, vol. VIII, nos. 5-6, Summer 1964, pp. 58-61. XXXII International Biennial Exhibition of Art, United States Pavilion, Venice, June 20-October 18, 1964. Text by Alan R. Solomon, pp. 275-276. The Jewish Museum, New York, February 4-March 7, 1965, Kenneth Noland. Text by Michael Fried. Reviews: Campbell, lawrence. Art News, New York,
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p. 52.
March 1965,
p. 12.
vol. 39, no. 6,
judd, donald. Arts, New York, vol. 38, no. 4, January 1964, p. 33. greene, sue. Art Voices, New York, vol. 4, 214. no. 2, Spring 1965, p. 110. Robert Elkon Gallery, New York, April 10-30, 1965.
213. 215. Reviews: Johnston, jill. Art News, no. 2, April 1965, p. 10. 216.
New
York,
March 1965,
232.
p. 54.
judd, donald. "New York Letter", Art International, Lugano, vol. IX, no. 3, April 1965,
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New
York, York,
vol. 64,
Andre Emmerich
1964.
Gallery,
New
New
vol. 39,
1965, p. 66. Nicholas Wilder Gallery, Los Angeles, December 14, 1965-January 8, 1966. snyder, susan r. "Los Angeles", Artforum, 217. Review: Los Angeles, vol. IV, no. 6, February 1966,
p. 15.
May
New York, vol. 39, no. 4, January 1965, p. 48. ashton, dore. Studio International, London, vol. 169, no. 862, February 1965, p. 92. lippard, lucy R. "New York Letter", Art International, Lugano, vol. IX, no. 1, February
1965, pp. 34-35.
Gallery,
r.
New
York,
February 22Letter",
lippard, lucy
"New York
Art
HOWARD MEHRING
1931, Washington D.C. Resident Washington, D.C. A. M. Sachs Gallery, New York
218. ahlander,
Leslie judd. "An Artist Speaks: Howard Mehring", Washington Post, Washington, September 2,
1962, p. 67.
DAVID NOVROS
1941, Los Angeles, California
New
May
A. M. Sachs Gallery, New York, April 27-May 15, 1965. 219. Reviews: berrigan, ted. Art News, New York, vol. 64,
no. 3,
New York
1965, p. 16.
hoene, anne. Arts, New York, vol. 39, no. 10, September-October 1965, p. 65. 221. benedikt, michael. "New York Letter", Art International, Lugano, vol. IX, no. 6, September 20, 1965, p. 61. A. M. Sachs Gallery, New York, April 19-May 7, 1966. 222. Review: waldman, diane. Art News, New York, vol. 65,
220.
no. 4,
New York, January 23-February 24, Mark di Suvero and Dean Fleming. ashbery, john. Art News, New York, vol. 65,
March 1966,
p. 13.
238.
Adrian, dennis. "New York", Artforum, Los Angeles, vol. IV, no. 8, April 1966, p. 48.
Summer
1966, p. 13.
LARRY POONS
1937, Tokyo, Japan
New
York, 1938
Castelli Gallery,
KENNETH NOLAND
1924, Asheville, North Carolina
Leo
1961
New York
York, November 4-23, 1963.
From Washington
to
New York
Green Gallery,
New
239. Reviews: swenson, g. r. Art News, New York, vol. 62, no. 7, November 1963, p. 19. 240.
fried, michael.
"New York
For a full bibliography see no. 229. 223. greenberg, clement. "Louis and Noland", Art
national, Zurich, vol. IV, no.
5,
May
Art International, Zurich, vol. VI, no. 8, October 25, 1962, pp. 24-32. 225. Norman Mackenzie Art Gallery, Regina, Canada, January
Harrison, jane. Arts, New York, vol. 38, no. 4, January 1964, p. 31. 242. The Solomon R. Guggenheim Museum, New York, September-October 1964, American Drawings. Text by Lawrence Alloway.
241.
63
243. Review:
New
York,
vol. 39,
no
2,
257. Review:
New
York,
vol. 55,
November
Green Gallery,
1964, p. 59.
December 1956,
p. 11.
New
Camino
1958.
New
York,
January
24-February
13,
245.
judd, donald.
258. Review:
In-
New
York,
vol. 56,
pp. 74-75. 246. tillim, Sidney. "The Dotted Line", Arts, vol. 39, no. 5, February 1965, pp. 16-21.
New
York, November
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November
1958, p. 16.
247. JOHNSON, E. H. "Three Young Americans: Poons, Williams", Oberlin College Bulletin,
Hinman,
b. b. Arts,
New York,
November
College, Oberlin, Ohio, vol. 22, no. 3, pp. 82-86. 248. Reprinted with minor changes as "Three New, Cool, Bright, Imagists", Art News, New York, vol. 64, no. 42, Summer 1965, pp. 42-44, 62-64.
New
York, February
249. kozloff, max. "Larry Poons", Artforum, San Francisco, vol. 3, no. 7, April 1965, pp. 26-29. 250. coplans, JOHN. "Larry Poons", Artforum, San Francisco, vol. 3, no. 9, June 1965, pp. 33-35.
s., Art News, New York, vol. 58, no. 10, February 1960, p. 15. mott, helen de. Arts, New York, vol. 34, 262. no. 5, February 1960, p. 67. 263. "Leon Polk Smith", Quadrum, Brussels, no. 12, 1961,
EDWIN RUDA
1922,
ashton,
dore.
cleve.
"The
Artist
in
Feiner Gallery, New York, March 9-April 6, 1963. 251. Review: sharpless, ti-grace a. Art News, New York, vol. 62, no. 2, April 1963, p. 56. Globe Gallery, New York, April 10-May 6, 1962. 252. Review: edgar, Natalie. Art News, New York, vol. 61, no. 4, Summer 1962, p. 58. Great Jones Gallery, New York, May 3-20, 1960. Spoerri, Kim, Forakis, Ruda. 253. Review: Schuyler, james. Art News, New York, vol.
59, no. 3,
Album", Art
in America,
New
February 1963, pp. 64, 76, 81. Stable Gallery, New York, March 12-April 6, 1963. 268. Reviews: Campbell, Lawrence. Art News, New York,
vol. 62, no. 1,
March 1963,
p. 14.
vol. 37, no. 9,
269.
New York,
May
Origin",
1963, p. 107.
Its
May
1960, p. 20.
New
York,
May 8-June
9,
1966.
Forakis.
Art International. Lugano, vol. VII, no. 4, April 25, 1963, pp. 51-53. 271. brown, Gordon. "International Art Trends: U.S.A.: The Purists", Art Voices, New York, vol. 2, no. 5, May 1963,
p. 19.
New
York,
272.
Summer
1966, p. 14.
"A
Conversation between Leon Polk Smith and d'Arcy Literature, Lausanne, no. 3, AutumnWinter 1964, pp. 82-103. Galerie Chalette, New York, October 2-November 31,
1965.
ROBERT RYMAN
1930, Nashville, Tennessee
New
York,
November
274.
1965, p. 57.
New
York, 1952
lippard, lucy R.
Inter-
January 20,
1966, p. 92. 275. smith, leon. Portfolio of Draivings, Galerie Chalette, New York, 1965.
Oklahoma
New
York, 1950
Galerie Chalette,
New York
FRANK STELLA
Mills College of Education Gallery,
New
York, November
New
r.
York, 1958
Castelli Gallery,
Arts,
New
York,
vol. 30,
Leo
New York
256.
vol. 54,
276. "Three
Young Americans", Oberlin College Bulletin, Oberlin College, Oberlin, Ohio, vol. 17, no. 1, Fall 1959, pp. 18-19.
Leo
Castelli Gallery,
New
300. leider, philip. "Frank Stella", Artforum, San Francisco, vol. Ill, no. 9, June 1965, pp. 24-26.
301. Review:
helen
de. Arts,
1,
278. 279.
Ferus Gallery, Los Angeles, January 26, 1965. marmer, nancy. "Los Angeles Letter", Art International, Lugano, vol. IX, no. 4, May
1965, pp.
York,
302. kozloff,
43^4.
November
1960, p. 17.
Letter", Art
sandler, irving H.
"New York
International, Zurich, vol. IV, no. 9, December 1, 1960, pp. 25-26. Leo Castelli Gallery, New York, April 28-May 19, 1962.
280. Reviews: Campbell, lawrence. Art News, New York, vol. 61, no. 4, Summer 1962, p. 17. judd, donald. Arts, New York, vol. 36, no. 10, 281.
September 1962,
Leo
Castelli Gallery,
p. 51.
York, October 16-November 7, 1962. Frank Stella and John Chamberlain. 282. Reviews: ashton, dore. Das Kunstwerk, Baden-Baden,
vol.
New
Critic and the Visual Arts, New York, A.F.A., 1965, pp. 46-54. Paper given at A.F.A. 52nd Biennial Convention, Boston. 303. Reprinted as "Critical Schizophrenia and the Intentionalist Method", The New Art, edited by Gregory Battcock, New York, E. P. Dutton & Co., Inc., 1966, pp. 123-135. Leo Castelli Gallery, New York, March 5-29, 1966. 304. Reviews: kozloff, max. The Nation, New York, vol. 202, no. 13, March 28, 1966, p. 370-372. lippard, lucy R. "New York Letter", Art 305. International, Lugano, Switzerland, vol. X,
max
in
The
no. 10,
Summer
1966, p. 113.
283.
November 1962, p. 69. fried, michael. "New York Letter", Art International, Zurich, vol. VI, no. 9, NovemXVI,
nos. 5-6,
NEIL WILLIAMS
1934, Bluff, Utah
December 1962,
61, no. 8,
p. 46.
New
York,
vol.
New
York, 1959
Gallery,
December 1962,
p. 54.
Andre Emmerich
Green Gallery,
New York
May 6-30, 1964. "New York Letter", Art
vol.
Woman,
Three New Themes in Twentieth Century Art", Journal of Aesthetics, Cleveland, vol. 21, no. 2, Winter 1962, p. 181 Leo Castelli Gallery, New York, Januarv 4-February 6,
1963.
New
York,
In-
Lugano,
VIII,
nos.
5-6,
Summer
307. 308.
no. 4,
1964, p. 82.
jill.
ashton, dore. Studio, London, vol. 165, no. 838, February 1963, p. 67. Ferus Gallery, Los Angeles, February 18, 1963. 288. Reviews: langsner, jules. "Los Angeles Letter", Art International, Lugano, vol. VII, no. 3, March
287. Revieiv:
25, 1963, p. 75.
Johnston,
Art News,
1964, p. 17.
New York,
vol. 63,
Summer
New York,
factor, donald. "Los Angeles", Artforum, San Francisco, vol. 1, no. 11, May 1963, p. 44. Leo Castelli Gallery, New York, January 4-30, 1964. 290. Review: swenson, g. r. Art News, New York, vol. 62, no. 10, February 1964, p. 11. 291. lippard, lucy r. "New York", Artforum, San
289.
Francisco, vol.
II,
September 1964, p. 62. See bibliography no. 247 and no. 248. 309. lippard, lucy r. "New York Letter", Art International, Lugano, vol. IX, no. 2, March 1965, pp. 46+ Dwan Gallery, Los Angeles, February 15-AIarch 12, 1966. 310. Revieivs: factor, don. "Los Angeles", Artforum, Los
Angeles, vol. IV, no. 8, April 1966, p. 14.
311.
Letter", Art
May
1966,
no. 9,
292.
fried, michael. International, Lugano, vol. VII, no. 3, April 25, 1964, p. 59.
293.
kozloff, max. "New York Letter", Art International, Lugano, vol. VII, no. 3, April 25,
1964, p. 64. See bibliography no. 227.
JACK YOUNGERMAN
1926, Louisville,
Kentucky
24,
New
New
\ ork
"London
Decem-
ber 1964, pp. 44-^5. BARO, gene. Arts, New York, vol. 39, no. 4, January 1965, p. 73. 296. judd, donald, "Local Historv", Arts Yearbook 7, New York 1964, pp. 22-35.
297.
Portfolio of Recent Paintings", Arts Yearbook 7, New York, 1964, p. 61. 298. leider, philip. "Small but Select", Frontier, Los Angeles, vol. 16, no. 5, March 1965, pp. 21-22. 299. rosenblum, Robert. "Frank Stella: Five Years of Variation on an 'Irreductible' Theme", Artforum, San Francisco, vol. Ill, no. 6, March 1965, pp. 21-25.
"A
Betty Parsons Gallery, New York, March 10-28, 1958. Reviews: dash. r. warren. Arts. New York, vol. 36, no. 6, March 1958, p. 57. 313. schuyler, james. Art News, New York, vol. 57, no. 1, March 1958, p. 16. 314. "New Talent USA", Art in America, New York, vol. 47, no. 1, Spring 1959, p. 47. See bibliography no. 142. Betty Parsons Gallery, New York, January 11-30, 1960. 315. Reviews: a. s. Art News, New York, vol. 58, no. 10,
312.
316.
317.
February 1960, p. 14. judd, donald. Arts, New York, vol. 34, no.
5,
p. 59.
Arts
and
Architecture,
Los
65
Angeles, vol. 77, no. 3, March 1960, p. 35. Bettv Parsons Gallery, New York, March 31-April 25, 1964. 318. Reviews: edgar, natalie. Art News, New York, vol. 63, no. 3, May 1964, p. 15. judd, donald. Arts, New York, vol. 38, no. 9, 319. May-June 1964, p. 37. rose, Barbara. "New York Letter", Art 320.
International, Lugano,
vol.
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1,
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krauss, ROSALIND. "New York", Artforum, Los Angeles, vol. IV, no. 8, April 1966, p. 48. 339. kollmar, richard. Games, New York, A Lines Book, 1966. Cover bv Zox.
338.
VIII,
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Summer
1964, p. 78.
:
321. benedikt, MICHAEL. " Youngerman Liberty in Limits", Art News, New York, vol. 64, no. 5, September 1965, pp. 43-45, 54-55.
Betty Parsons and Byron Galleries, New York, September 28-October 23, 1965. (paintings and drawings
respectively) 322. Reviews: goldin, amy. Arts,
New
York,
November
323. 324.
325.
1965, p. 58.
December 1965,
p. 250.
vol. 40,
New
York,
December 1965,
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lippard, lucy
"New York
Letter",
1,
Art January
20, 1966, p. 92. 326. Worcester Art Museum, Worcester, Massachusetts, November 4, 1965-January 2, 1966. Paintings and Drawings
by Jack Youngerman. Text by Daniel Catton Rich. "An Interview with Jack Youngerman", Artforum, Los Angeles, vol. IV, no. 5, January 1966,
pp. 27-30.
LAWRENCE ZOX
1936, Des Moines, Iowa
New
New York
328. Review:
American Gallery, New York, May 1962. swenson, g. r. Art News, New York, vol. 61, no. 5, September 1962, p. 16. Kornblee Gallery, New York, February 4-22, 1964. 329. Reviews: judd, donald. Arts, New York, vol. 38, no. 6,
330.
331.
February 1964, p. 71. levin, kim. Art News, New York, vol. 62, no. 10, February 1964, p. 19. rose, Barbara. "New York Letter", Art International, Lugano, vol. VIII, nos. 5-6,
Summer
Kornblee Gallery,
1965.
1964, p. 80.
New
vol. 63,
no. 10, February 1965, p. 14. greene, sue. Art Voices, New York, vol. 4,
1, Winter 1965, p. 103. lippard, lucy R. "New York Letter", Art International, Lugano, vol. IX, no. 2, March 1965, p. 61.
no.
335.
Kornblee Gallerv,
1966.
New
3,
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vol. 61,
337.
PHOTOGRAPHIC CREDITS
All photographs except the following were
made by Robert
E. Mates
New \ork:
p. 13
Geoffrey Clements,
New \ork:
pp. 32, 46
John A.
Ferrari, Brooklyn: p. 51
Jonathan Holstein,
New York:
p. 53 14. 15
p.
37
Robert Murray,
New York:
p.
p.
48
p. 12
New York:
52
alter
City,
50
Walter
Russell.
New
York: p. 12
THE SOLOMON
R.
GUGGENHEIM MUSEUM
STAFF
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Exhibition 66/4
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THE
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II. i.l
4.4.IMItl>l
MISIIM
071 FIFTH
AVKM
K.
XKW
VOIIK
002