Page 16 - Studio International - July August 1974

ROSE, BARBARA. 'Kenneth Noland,' Art International 8
HIGH MODERN:
(Summer 1964), pp 58-61.
Jules Olitski
BANNARD, WALTER DARBY. 'Quality, Style and Olitski,'
Artforum I I (October 1972), pp 64-67. AN INTRODUCTION TO
CHAMPA, KERMIT S. 'Olitski : Nothing But Color,' Art
News 66 (May 1967), PP 36-38,74- 76.
FRIED, MICHAEL. 'Jules Olitski's New Paintings,'
Artforum 4 (November 1966), pp 36-4o. POST-POLLOCK
'Olitski and Shape,' Artforum 5 (January 1967),
pp 20-2 I .
Jules Olitski: Paintings, 1963-1967. Corcoran
Gallery of Art, Washington, D.C., 1967. PAINTING IN AMERICA
HUDSON, ANDREW. 'On Jules Olitski's Painting and
Some Changes of View,' Art International 12
(January 1968), pp 31-36.
KRAUSS, ROSALIND. Jules Olitski: Recent Paintings.
Institute of Contemporary Art, University of
Pennsylvania, 1968.
MOFFETT, KENWORTH. 'Jules Olitski's Sculpture,'
Artforum 7 (April 1969), pp 55-59.
Olitski. Museum of Fine Arts, Boston, 1973.
Larry Poons
CHAMPA, KERMIT S. 'New Paintings by Larry Poons,'
Artforum 6 (Summer 1968), PP 39-42.
FRIED, MICHAEL. 'Larry Poons' New Paintings,'
Artforum 10 (March 1972), pp 50-52.
FRY, EDWARD. 'Poons. A Clean and Balanced World ?,'
Art News 65 (February 1967), PP 34 - 35, 69- 71.
HENNING, EDWARD. 'Larry Poons: Untitled,'
Cleveland Museum Bulletin 57 (April 197o), The background to recent modernism which I life has usually meant a rejection of things as
pp 118-122. advance below is necessarily a partial and they are, so it has seemed in art — that only by
TILLIM, SIDNEY. 'Larry Poons : The Dotted Line,'
Arts Magazine 39 (February 1965), pp 16—21. fragmented one, and seeks only to consider a opposing authority will true authorship
LIPPARD, LUCY. 'Larry Poons : The Illusion of few selected aspects of painting's achievement prosper. Art, however, at least as we know it,
Disorder,' Art International I I (April 1967), of its full autonomy, an achievement I believe to is a conventionalized activity. Not fully
pp 22-26.
TUCHMAN, PHYLLIS. 'An Interview with Larry be a very recent one. In effect, this means conventionalized (for it would then consist of
Poons,' Artforum 9 (December 1970), PP 45-52. examining something of the tradition of communicable signs) but conventionalized
modernism. To talk openly of tradition is always nonetheless. As George Kubler wrote in 'The
Mark Rothko
ALLOWAY, LAWRENCE. 'Notes on Rothko,' Art to risk presenting it as something given, fixed Shape of Time': 'Everything made now is either
International 6 (Summer 1962), PP and whole whereas of course if it were like this a replica or a variant of something made a little
90-94. FRIED, MICHAEL. 'New York Letter,' Art International it would be no living tradition at all. Tradition time ago, and so on back to the first morning of
7 (May 1963), pp 70-72.
GOLDWATER, ROBERT. 'Reflections on the Rothko is not an abstraction, but composed of real human time'. Of course, conventions are not
Exhibitions,' Arts 35 (March 1961), pp 42-45. things, each possessed of value, and each simply to be assumed. An artist does reject some
KOZLOFF, MAX. 'Mark Rothko's New Retrospective,' reinventing its tradition in its very possession but only to discover others. This, I take it, is
Art Journal 20 (Spring 1961), pp 148-149.
— 'Color Light in Mark Rothko,' Artforum 4 of value. The critic's task (like the painter's) is what Kubler means by 'open' and
(September 1965), PP 3 8-44. usually best served by staying with the specific. `arrested' sequences of the past, according
ROBERTSON, BRYAN. Rothko. Whitechapel Gallery, And yet, one's feelings that any present to whether or not they are reactivated
London, 1961.
SELZ, PETER. Mark Rothko. Museum of Modern Art, enterprise is an important one simply cannot by present-day art activity. An original
New York, 1961. hold any conviction if they do not take artist finds his way around arrested
responsibility for understanding how the new sequences, and back into the open territory of
Frank Stella
CONE, JANE HARRISON. 'Frank Stella's New Paintings,' work carries the values of the past. What we the past, there to select his armoury with which
Artforum 6 (December 1967), pp 34-41. understand any work to be, and what we value to attack the present. For it is with the present
FRIED, MICHAEL. 'Shape as Form: New Paintings by in it, depends upon our interpretation of the that he is concerned, and with the future. The
Frank Stella,' Artforum 5 (November 1966),
history of modernism itself. Just as the art `way around' is for the future; the way itself,
PP 39-40.
LIEDER, PHILIP. 'Frank Stella,' Artforum 3 (June itself acknowledges its history in its creation, however, is opened by the past. The original
1965), pp 24-26. so — in the final count — must we in our artist is the one who delves more profoundly
MCLEAN, JOHN. Frank Stella. The Arts Council of
Great Britain, London, 1970. appreciation of it. Just as tradition is reinvented into the past, who delves deeper than the shallow
ROSENBLUM, ROBERT. Frank Stella. Harmondsworth, in every original work, so must we acknowledge scratchings of the follower. Originality, it
1971. what is traditional in the art of our time. For if cannot be said enough, is no break with the
RUBIN, WILLIAM. Frank Stella. The Museum of
Modern Art, New York, 1970. there were no tradition, modernist art would be past: for where can it discover its originality
no more than a series of barren events, cut off except in the past where its origins belong, and
Clyfford Still from each other and from the rest of human where, likewise, can it test its value except
GOODNOUGH, ROBERT. 'Still,' Art News 49 (Summer knowledge and experience, and subject only to against the values of the past.
1950), P 49.
GOOSEN, E. C. 'Painting as Confrontation: Clyfford the fashions of the moment — mere exhibition. It may be objected here that art's
Still,' Art International 4 (January 1960), pp 39 -43. This is not, of course, to devalue the history is the history of its structures, and
SHARPLESS, TI-GRACE. Clyfford Still. Institute of
Contemporary Art, University of Pennsylvania, individual work, neither its originality nor its that value or quality is a constant
Philadelphia, 1963. value. For traditional is not the opposite of unchanging characteristic shared with all
Clyfford Still: Thirty-Three Paintings in the original, and value is inseparable from either. It other good art, that it tells us nothing about
Albright-Knox Art Gallery. Albright-Knox Art
Gallery, Buffalo, New York, 1966. is still difficult to talk of inheritance in a cool- the art, and therefore is no subject of study.
STILL, CLYFFORD. 'An Open Letter to an Art Editor,' headed way, for we continue to suffer from 'the There is enough truth in this to make it a
Artforum 2 (December 1963), pp 3o-35. anxiety of influence', the fear of not being an popular doctrine. A critic's taste may be the
TOWNSEND, BENJAMIN J. 'An Interview with Clyfford
Still,' Gallery Notes, Albright-Knox Art Gallery, original. This dilemma does not only belong to first of his credentials, but litanies of value
Buffalo, New York, No. 2 (Summer 1960). the arts; but as the search for authenticity in judgements are in themselves not much help to
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