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Tony Cairo [English abstract sculptor] and I tried to collaborate at several points and it hasn't been successful. As a matter of fact, recently Tony has made sculpture that I have painted. He has to make the sculpture before I can
paint
it. That means that the form is taking precedence – that the material takes precedence as a form, rather than color establishing the form. It's not going to well but I'm working on it. There's something about color that is so abstract that it is difficult for it to function in conjunction with solid form... Color has properties of weight, density, transparency, and so forth. And when it also has to be compatible with things that have an actual density, a given form, it's very difficult.
Kenneth Noland
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Until Abstract Expressionism you had to have something to
paint
about, some kind of subject matter. Even though Kandinsky and Arthur Dove were improvising earlier, it didn't take. They had to have symbols, suggested natural images or geometry, which was something real structurally. That gave them something to
paint
about. What was new was the idea that something you looked at could be like something you heard.
Kenneth Noland
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But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of
paint
, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.
Kenneth Noland
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Morris Louis and I were interested in how Pollock and Helen Frankenthaler [famous for her soak-painting technique] were using
paint
. Of necessity we had to get more interested in the stuff of painting. We talked a lot about whether to size the painting or not to size, how to mix up
paint
.
Kenneth Noland
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Abstract Expressionism – especially Pollock, not the more academic painters like De Kooning – made the threshold between illusion and the stuff of painting lower, the distance between them closer. Pollock made all things about the picture, all the stuff, actual. Taking the canvas off the stretcher, putting it on the floor, made it more real. Mixing up different kinds of
paint
, getting it to stain in, was getting at a kind of materiality.
Kenneth Noland
Quote of the day
The mark of a great player is in his ability to come back. The great champions have all come back from defeat.
Sam Snead
Kenneth Noland
Wikipedia
Born:
April 10, 1924
Died:
January 5, 2010
(aged 85)
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