TABLE OF CONTENTS

Michael Fried

A RECENT REVIEW OF SHOWS by Helen Frankenthaler at Gagosian Gallery and Morris Louis at Mnuchin Gallery gave New Yorker critic Peter Schjeldahl the chance to express his considered views on Color Field painting:

Color-field reacted against the juicy, muscular styles of Willem de Kooning and his many followers, which [Clement] Greenberg deemed spurious and passé. It won that scrap, in the court of uptown galleries, but soon succumbed to the juggernauts of Pop art and minimalism, which had behind them forces of more than rarefied aesthetic theory: by 1962, Andy Warhol’s silk-screened works equalled the formal strength of color-field and surpassed its éclat, with the added bonus of Marilyn Monroe. Greenberg’s dialectic made color-field sound formidable, but the art proved lightweight in practice, a genteel sort of taste—the visual equivalent of second-Martini euphoria.

Might I suggest to

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