Kenneth Noland: Quotes about the trip

Kenneth Noland was American artist. Explore interesting quotes on way.

Kenneth Noland: 56 quotes0 likes

“All art that is expressive has to be illusionistic. The raw material out of which art is built is not necessarily in itself potent; you must transform it. Contours, tactility, touch, color, intervals, that's all part of the concreteness of art. You have to make the concreteness expressive. That way you don't cater to taste. You resist sentimentality. Things in a picture can't remind you too much of anything else. You have to resist all that.”

Kenneth Noland, p. 24
Conversation with Karen Wilkin' (1986-1988)

“It's been on my mind – what would something be like if it were unbalanced? It's been a vexing question for a long time. But it took the experience of working with radical kinds of symmetry, not just a rectangle, but a diamond shape, as well as extreme extensions of shapes, before I finally came to the idea of everything being unbalanced, nothing vertical, nothing horizontal, nothing parallel. I came to the fact that unbalancing has its own order. In a peculiar way, it can still end up feeling symmetrical. I don't know but what the very nature of our response to art is experienced symmetrically.”

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

“I had to find a way in each picture to change the drawing, shaping and tactile qualities to make these elements expressive; as the color had subsumed the possibility the possibility of these parts being on a equal basis of expressiveness.”

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

“These things [cutting, cropping and shaping] always happen in strange ways. You can say after the fact what you're doing, but, believe me, you can't project it ahead. It has to be worked through before you can recognize what it was that you were looking for. It's a search; it's not like getting a brainstorm... It's work, yes; it comes out of the practice of painting, the practice of your art.”

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

“I believe in working every day, and not necessarily repeating one way of working. I like to make something come out of trial and error methods – fooling around with mediums and taking the chance of its not coming to everything.”

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

“I believe that there are varying points of contact. You have to be able to see the whole thing first. All great paintings are sculptures – there's so much of the factualness about it that a great painting forces you into a visual, physical movement of yourself. That's what determines the way you experience a painting kinetically. You move closer, you sight down it, you till your head, you step back, you feel as though you are in it. That being in it is just as important as looking from a distance.”

Kenneth Noland, p. 10
Conversation with Karen Wilkin' (1986-1988)

“I have to work things out by painting them. I can't just imagine what will happen. I have to do it and see it. That's the only way I find out if it will go anywhere.”

Kenneth Noland, p. 9
Conversation with Karen Wilkin' (1986-1988)

“But there was something else that the Abstract Expressionists taught us: they began to use something besides the conventional means of art; to want other kinds of paint, or kinds of canvas, or ways of making pictures that weren't the usual ways. Some of the next generation, the Pop Art artists [like Roy Lichtenstein and Andy Warhol, picked up this attitude and began to put actual things into art. We [=w:Morris Louis and Noland] were making abstract art, but we wanted to simplify the selection of materials, and to use them in a very economical way. To get to raw canvas, to use the canvas un-stretched – to use it in more basic or fundamental ways, to use it as fabric rather than as a stretched surface.”

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

“[the 'Surfboards' - series works Noland made mid-70's] were almost like cut-out figures without being figurative… I think of them, in some way, as being like figures; they remind me of figures in vertical Cubist paintings. Even the small pictures have that kind of human proportion in the rectangles. It's not exactly a reference, but the relation of length to width in the rectangles is like a person.”

Kenneth Noland, pp. 23-24
Conversation with Karen Wilkin' (1986-1988)

“There are two things that go on in art. There's getting to the essential material and a design that's inherent in the use of material, and also an essential level of expressiveness, a precise way of saying something rather than a complicated way.”

Source: Color, Format and Abstract Art' (1977), pp. 99 – 105

“We [his art-friend & painter Morris Louis and Noland himself] were interested in Pollock but could gain no lead from him. He was too personal. But Frankenthaler showed us a way – a way to think about and use, color..”

from: Abstract Art, Anna Moszynska; Thames and Hudson 1990, p. 194