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New Paintings by Darby Bannard

THE SIX PAINTINGS THAT Darby Bannard will show in New York this fall provide some of the most challenging color experiences in recent memory. In them, as in so much of Jules Olitski’s work over the past three years, the circumstances under which color is made to operate have become permissive, even random, when compared to the accepted limits of the flat or stained color painting that was qualitatively dominant in America during the first half of the present decade.

Bannard is certainly not the first painter to explore the domain of texturally re-enforced color, nor is his actual manner of exploration unique. His efforts, both in breadth and in detail, reflect Olitski’s pioneering use of stain (flat color) and impasto contrast to alter the amplitude of juxtaposed areas of color. Specifically, Bannard’s current development of clearly marked oppositions between areas bearing the bland softness

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