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Kenneth Noland: A Retrospective zrt Digitized by the Internet Archive in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives http://www.archive.org/details/kennethnolandretOOwald AQQCnUcl The following works in the checklist are not included in the exhibition: cat. nos. 7-9, 27, 30, 42, 44, 58, 63, 66, 67, 70, 71, 74, 75, 80-85, 90, 94-96, 101, 103, 104, 107, 116, 117, 122 The following works have been added to the exhibition: Annual. 1966 Acrylic on canvas, 35 x iziW Private Collection Untitled. 1969 Acrylic on canvas, 9 x 96" Collection of the artist Flare. 1976 Acrylic on canvas, 65 XA x 89V4" Collection of the artist Moon Ray. 1976 Acrylic on canvas, 63 XA x 84%" Collection of the artist Vault. 1976 Acrylic on canvas, 65%" x 82%" Collection of the artist cat. no. 56 should read Shade. 1966 Kenneth Noland: A Retrospective by Diane Waldman This project is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal Agency. The Solomon R. Guggenheim Museum, New York Noland, 1976 Published by The Solomon R. Guggenheim Foundation, New York, in collaboration with Harry N. Abrams, Inc., New York, 1977. ISBN 0-89207-009-9 Library of Congress Card Catalogue Number 77-70424 All Rights Reserved Printed in Japan The Solomon R. Guggenheim Foundation PRESIDENT Peter O. Lawson-Johnston TRUSTEES H. H. Arnason, The Right Honorable Earl Castle Stewart, Joseph W. Donner, Mason Welch Gross, Eugene W. Leake, Frank R. Milliken, A. Chauncey Newlin, Mrs. Henry Obre, Albert E. Thiele, Michael F. Wettach The Solomon R. Guggenheim Museum director Thomas M. Messer staff Henry Berg, Deputy Director Susan Halper, Executive Assistant; Vanessa Jalet, Secretary to the Director. Louise Averill Svendsen, Curator; Diane Waldman, Curator of Exhibitions; Margit Rowell, Curator of Special Exhibitions; Angelica Zander Rudenstine, Research Curator; Linda Konheim, Curatorial Administrator; Linda Shearer, Assistant Curator; Carol Fuerstein, Editor; Mary Joan Hall, Librarian; Ward Jackson, Archivist; Susan Ferleger, Clair Zamoiski, Curatorial Assistants. Mimi Poser, Public Affairs Officer; Miriam Emden, Members' Representative; Carolyn Porcelli, Public Affairs Coordinator. Jane E. Heffner, Development Officer. Agnes R. Connolly, Auditor; Kurt Struver, Business Officer; Philip Almeida, Restaurant Manager; Elizabeth McKirdie, Business Assistant; Darrie Hammer, Katherine W. Briggs, Information. David Roger Anthony, Technical Officer; Orrin H. Riley, Conservator; Lucy Belloli, Associate Conservator; Dana L. Cranmer, Technical Manager; Elizabeth M. Funghini, Cherie A. Summers, Associate Registrars; Saul Fuerstein, Preparator; Scott A. Wixon, Operations Coordinator; David Mortensen, Carpenter; Robert E. Mates, Photographer; Mary Donlon, Assistant Photographer; Lola T. Fiur, Photography Coordinator. Peter G. Loggin, Building Superintendent; Guy Fletcher, Jr., Assistant Building Superintendent; Charles F. Banach, Head Guard. Lenders to the Exhibition Mr. and Mrs. Harry W. Anderson, Atherton, Dr. and Mrs. Paul A. Tunick, New York California Mr. and Mrs. Alvin L. Ukman, Chicago Irving Blum, New York The Weisman Family Collection Carter Burden, New York Andy Williams Private Collection Lewis Cabot Lydia and Harry L. Winston Collection (Dr. Anthony and Sheila Caro and Mrs. Barnett Malbin, New York) Jennifer Cosgriff, New York Mr. and Mrs. Bagley Wright Marquess of Dufferin and Ava, London Renee and Maurice Ziegler, Zurich Joanne du Pont, New York Artco International, York Mr. and Mrs. Roy Friedman, Chicago New Artcounsel, Inc., Boston Mr. and Mrs. Charles Gilman, Jr., New York Arts and Science Museum, Statesville, Arthur and Carol Goldberg, New York North Carolina Mr. and Mrs. Ronald K. Greenberg, St. Louis Des Moines Art Center Graham Gund The Edmonton Art Gallery, Edmonton, Canada Joseph Helman, New York Fogg Art Museum, Harvard University, William Hokin, Chicago Cambridge, Massachusetts Lewis M. Kaplan Associates Limited The Solomon R. Guggenheim Museum, New York Dr. T. E. Krayenbuehl, Oberreiden Hirshhorn Museum and Sculpture Garden, Mr. and Mrs. Jonathan Lambert Smithsonian Institution, Washington, D.C. Mr. and Mrs. Algur H. Meadows Emanuel Hoffmann-Fondation, Kunstmuseum the Dallas and Museum of Fine Arts Basel Vincent Melzac Collection, Washington, D.C. Kunstsammlung Nordrhein-Westfalen, Diisseldorf Mrs. Anne Mirvish, Toronto The Metropolitan Museum of Art, New York Mr. and Mrs. David Mirvish, Toronto The Museum of Modern Art, New York Mr. and Mrs. D. Murchison, Dallas John New York University Art Collection Mr. and Mrs. S. I. Newhouse, Jr. Cornelia Noland, Washington, D.C. Galerie Beyeler, Basel Kenneth Noland Andre Emmerich Gallery, New York Jules Olitski Kasmin Limited, London Mr. and Mrs. Joseph Pulitzer, Jr., St. Louis David Mirvish Gallery, Toronto Robert A. Rowan Collection Rutland Gallery, London Mrs. Hannelore Schulhof Galerie Bogislav von Wentzel, Hamburg Mr. and Mrs. Eugene M. Schwartz Peter Sharp, New York Michael Steiner, New York Marc and Livia Straus, Boston Dr. and Mrs. William Tannenbaum, Chicago Horton R. and Chiyo T. Telford Collection Dr. and Mrs. Frederick L. Tunick, New York Table of Contents Lenders to the exhibition 4 Preface and Acknowledgements 7 by Thomas M. Messer Kenneth Noland 9 by Diane Waldman Chronology 38 Works in the exhibition Checklist 44 Color illustrations 49 Black and white illustrations 120 Exhibitions and Reviews I46 Bibliography 157 Noland and Caro with Olitski sculp- ture, South Shaftsbury, 1965 Preface and Acknowledgements Olitski and Noland, South Shaftsbury, 1965 Few contemporary artists have drawn as deeply charged with competence and skill. Orrin tion will travel to the Hirshhorn Museum and as Kenneth Noland from a great variety of Riley, Saul Fuerstein and Cherie Summers Sculpture Garden, Smithsonian Institution, and sources or translated such a wealth of mate- were most directly involved in the technical the Corcoran Gallery of Art, both in Washing- rial into a more independent and personal ex- and preparatory aspects of the exhibition and ton, D.C, as well as other institutions for which pression, as is so cogently argued in Diane are therefore entitled to our special gratitude. a schedule has not yet been determined. Waldman's text in this catalogue. His teachers, Particular thanks are due to Mrs. Waldman's To all those mentioned, to the lenders who Albers and Bolotowsky, older masters like Ce- assistant Clair Zamoiski, who aided in all are listed separately and to Kenneth Noland zanne, Picasso, Mondrian, and more directly stages of the exhibition, and Carol Fuerstein, himself, I herewith extend the Guggenheim Klee and Matisse, the seminal intermediary fig- who edited the catalogue and worked on all Museum's sincerest thanks. ure of Pollock, as well as his friends and col- phases of documentation for the publication. leagues Frankenthaler, Morris Louis, David On Mrs. Waldman's behalf I would like to Thomas M. Messer, Director Smith and Caro, served Noland in his search thank, in addition to those cited above, the The Solomon R. Guggenheim Museum for forms and images that ultimately became family and friends of the artist, among them uniquely and unmistakably his own. Noland Neil and Harry Noland, Anthony Caro, Clem- developed his mature work in separate series, ent Greenberg, Michael Steiner, Jim Wolfe and each possessed of a conspicuous identity: the Willard Boepple, whose enthusiasm has been concentric circles, cat's-eyes, chevrons, dia- invaluable. Mrs. Waldman also wishes to ac- monds, stripes, plaids, and his most recent knowledge the following galleries and individ- shaped canvases. Paradoxically, such a self-im- uals: Andre Emmerich Gallery, New York and posed restriction to a number of basic themes Ziirich; David Mirvish Gallery, Toronto; Wad- creates an unexpected wealth of imagery in dington and Tooth Galleries Limited, London; Noland's case. Kasmin Limited, London; Leo Castelli Gallery, Despite the clarity of his imagery and the New York; Galerie Wentzel, Hamburg; Blum/ sensuous appeal of his surfaces, Kenneth No- Helman Gallery, New York; Lawrence Rubin land's work is not easily comprehended. The of M. Knoedler and Co., New York; Nicholas selection of paintings, the structuring of the Wilder Gallery, Los Angeles; John Berggruen, exhibition and the interpretation of Noland's San Francisco; Robert Murdock; Charles oeuvre in a catalogue essay therefore could be Cowles and Kenworth Moffett. Mrs. Waldman undertaken only by one as qualified as Diane is particularly grateful to Martha Baer of Ac- Waldman, the Guggenheim Museum's Curator quavella Contemporary Art, who arranged her of Exhibitions. Mrs. Waldman worked closely first meeting with the artist in 1971. with the artist and derived great benefit from The Kenneth Noland retrospective could his wisdom, kindness and intelligence and not have taken place without the full coopera- enthusiastic collaboration. The responsibility tion of lenders in this country and abroad or inherent in the mounting of an artist's first without the greatly valued financial support major retrospective in a New York show posed of the National Endowment for the Arts in complex problems for the Guggenheim's ad- Washington, D.C. It is due also to the for- ministration as well as for its curatorial and bearance of the former and the generous aid technical departments. These tasks were dis- of the latter that a major portion of the exhibi- Harry Noland, Sr., far left, c. 19x1 Kenneth Noland, right, in Egypt, 1944 Kenneth Noland
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