new-york

Kenneth Noland, Larry Zox

André Emmerich Gallery uptown

The involution of the modernist position is apparent in the work of younger artists, which repeats the pictorial conventions explored in the last decade. Within the support structure, this reconfirms the economic value of older modernist art, and even the older painters assure the value of their past work by continuing to refine it or by integrating the pictorial conventions of their colleagues. This is visible in Kenneth Noland’s recent show, whose refined and delicate work is the essence of taste and sensibility. He has amalgamated structures explored in the ’60s: stripes (his own), around the edges (Olitski), opening up the center (Olitski, Louis), with an atmospheric mist (Olitski’s spray transformed into wash), suggesting sky and water in a vague metaphor (early Frankenthaler). While the work is capably painted, its expertise serves to maintain the value of his past work without

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