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PRINT April 2007

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Jules Olitski

BEFORE SITTING DOWN to draft these reflections, I went to my shelves and brought forth Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, and Rosalind Krauss’s monumental and tendentious Art Since 1900: Modernism, Antimodernism, Postmodernism (2004), consulted the index, and looked up “Olitski, Jules.” There was one reference, on page 472. I turned to page 472, where I found an inset column headed “Artforum.” In the last paragraph I read: “[Editor Philip] Leider’s insistence on lucid analytical prose forged a close relationship between him and Michael Fried, opening the magazine’s pages as well to Clement Greenberg and its covers to artists such as Jules Olitski, Kenneth Noland, and Morris Louis.” Nice for me but not so nice for Jules, one of the foremost painters of the past half century—also a sculptor of great originality—no work by whom in any medium is deemed worthy of being illustrated

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