Kenneth Noland

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Kenneth Clifton Noland (born April 10, 1924 in Asheville , North Carolina , † January 5, 2010 in Port Clyde , Knox County , Maine ) was an American artist and one of the most important exponents of color field painting .

Life

After serving in the American Air Force from 1942 to 1945, the Servicemen's Readjustment Act (G. I. Bill) allowed him to study art at Black Mountain College from 1946 to 1948, where he was a student of Ilya Bolotowsky (1907-1981) and Josef Albers .

Afterwards he went to Paris and studied with Ossip Zadkine . There he had his first exhibition in the Galerie Creuze in 1949 . In the same year he moved to Washington DC , where he painted and taught at the Catholic University of America and at the Institute of Contemporary Art. In 1952 he met Morris Louis and visited Helen Frankenthaler's studio in New York the following year , where he moved in 1961. In 1964 he taught at Bennington College in Vermont . In the same year he showed his work in the American pavilion at the Venice Biennale . In 1968 he took part in the 4th documenta in Kassel . In 1977 he was elected to the American Academy of Arts and Letters and in 1991 to the American Academy of Arts and Sciences .

Noland was married four times. His daughter is the object and installation artist Cady Noland, born in 1956 .

Working method

Together with his friend Morris Louis, Noland found his artistic signature in a technique developed by Helen Frankenthaler (a student of Jackson Pollock ) known as "soak stain". Acrylic paint is used to paint on unprimed canvas . The painting surface soaks up the color and a deep color impression is created, which refers from the surface into the volume of the picture, cf. Shaped canvas .

Noland preferred simple basic geometric patterns, for example in the form of concentric colored rings that resemble a target used in archery . Among other things, he designed the tiled outdoor area of ​​the Wiesner Building at MIT .

Gotthard Graubner continued his artistic endeavors to create “volume color” by converting color fields into “color spaces” on large-format pillows (the absorbent, multi-layered painting surface he developed).

Works (selection)

  • Turnsole (1961) was exhibited in the exhibition Das MoMA in Berlin
  • Chevron (A 18-3) , 1963 and SCALE , 1966 both in the Folkwang Museum , Essen
  • Near End 1967, acrylic on canvas, 240 × 60 cm

Exhibitions (selection)

literature

  • Michael S. Cullen : Kenneth Noland: Paintings 1969-1970, exhibition catalog Galerie Mikro, Berlin 1972.
  • Kenworth Mofett: Kenneth Noland . HN Abrams, New York City, New York, USA 1977, ISBN 0-8109-1351-8 .
  • Judith Goldman: Kenneth Noland, Handmade Papers, Tyler Graphics, Bedford Village, NY, 1978.
  • Reinhard Onnasch Galerie, Berlin (ed.): Kenneth Noland: New Pictures , 1984, ISBN 3-89081-007-1 .
  • Terry Fenton: Appreciating Noland . Edmonton Art Gallery, Edmonton, Alberta, Canada, 1991, ISBN 978-0-88950-077-8 .
  • Kunstsammlung Nordrhein-Westfalen (Hrsg.): Insights. The 20th Century in the Kunstsammlung Nordrhein-Westfalen, Düsseldorf , Hatje Cantz Verlag, Ostfildern-Ruit 2000, ISBN 3-7757-0853-7 .

Web links

Individual evidence

  1. ^ Members: Kenneth Noland. American Academy of Arts and Letters, accessed April 18, 2019 .
personal data
SURNAME Noland, Kenneth
ALTERNATIVE NAMES Noland, Kenneth Clifton
BRIEF DESCRIPTION American painter
DATE OF BIRTH April 10, 1924
PLACE OF BIRTH Asheville , North Carolina
DATE OF DEATH January 5, 2010
Place of death Port Clyde , Maine