The Possibilities

Following along with Noland in the previous post, to bear down on what seem like small decisions in the art of the sixties and seventies—they were presented as momentous changes in those days so inevitably began to seem small—is one way to find out what abstraction can be today. People got tired of formalism because they couldn’t connect it with their lives, and eventually they started to laugh at it. But it’s not about formalism or any other abstract category with an ism on the end. It’s about meditating on what you have until you see what it really is and could be—how much expression it carries within itself. This topic came up a couple of posts back with de Staël, and it will come up again. But it’s hard to jiggle things out of place and get them not to line up.

Kenneth Noland, Angle of the Night, 1978

Kenneth Noland, Angle of the Night, 1978

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