ouubuiiiuai i^uuiuei, ucLaabc an ouuiuuaiy uuu^o ^iuiJ

of the three principal Substances, Sal, Sulphur, and Mercury

System (srstem). Also 7-8 systeme, !

ai8tem(e. [ad. late L. systetna musical interval

in mecL or mod.L., the universe, body of th
articles of faith, a. Gr. avarrjfia organized whole
government, constit ution , a bo dy of men or animals
4~\a ^r t 4~^a ran
Ull
f^ hi wm~ ~h~.
metrAiinto
a~\a*

ramAolset u
fj w^i'ji* ^;//^|(i664,
system '
le
Hlz..|arriiimL, Sp.|*|//L, P^
syfkfn, effb.] M
-M ^i-"- -- V/
L An organized or connected group of objects.
1. A set or assemblage of things connected
associated,or interdependent, so as to form :

:omplex unity; a whole composed of parts ii

gto s me
eqrls blag
s et
Titties (iS ns lif
Cf yeare is a f four

Systemic (siste-mik), a. [irreg. f. System 4

ic; used for differentiation of meaning instead
the regular systematic]
1. Physiol, and Path. Belonging to, supplying
- -a ^ m %
^

in every sentence. 1865 Tylor Early Hist. Matt. L 2

systematic treatise on the subject.
3. gen. Arranged or conducted according to
system, plan, or organized method ; involving
observing a system ; (of a person) acting accordin
:o system, regular and methodical.
1790 Burke Rev. France 84 These gentlemen value then
pelves on being systematic, 1706
Regie. Peace ii. Wk
 Digitized by the Internet Archive
in 2011 with funding from
Solomon R. Guggenheim Museum Library and Archives

http://www.archive.org/details/systemicpaintingOOallo
 SYSTEMIC

PAINTING

THE SOLOMON R. GUGGENHEIM MUSEUM. NEW YORK

Published by The Solomon R. Guggenheim Foundation, New York, 1966 All Rights Reserved

Library of Congress Card Catalogue Number: 66-20425 Printed in The Netherlands

 THE SOLOMON It. GUGtiGMIKIM l'Or.MIATION

TRUSTEES

HARRY !". GVGGENHEIM, I'HKSinKNT

ALBERT !:. THIELE, VICE PRESIDENT

II. II. ARNASON, VICK PRESIDENT, ART ADMIMSTKATIO.N

PETER O. LAWSON-JOHNSTON, VICK PRESIDENT, BUSINESS ADMINISTRATION

ELEANOR, COINTESS f'ASTJ.E STEWART

DANA DRAPER

A. CHAINCEY XKWI.IX

MRS, HENRY OBR]

DANIEL CATTON RICH

MICHAEL F. WETTACH
MEDLEY <i. II. WHEI.PLEY

CAUL ZICROSSKH
Exhibitions at the Guggenheim Museum in recent years,

have been concerned most often with the creative con-

tribution of a single artist. At times, the source, in form
of an already existing collection, would determine an

exhibition's scope. Surveys of painting in a particular

region, or worldwide assessment within a particular

period have also been held at this museum from time

to time. The current show avoids all these categories by

aiming, instead, to isolate a recognizable visual pheno-

menon and to pursue, in the subsequent catalogue pages,

its specific meaning.
The exhibition of "Systemic Painting" has been assem-

bled by Lawrence Alloway, the Guggenheim Museum's

curator.

Thomas M. Messer, Director

 LENDERS TO THE EXHIBITION

Steve Schapiro, Brooklyn Heights, Neiv York

Mr. and Mrs. Robert Scull, New York.

Bykert Gallery, New York

Leo Castelli Gallery,New York
Galerie Chalette,New York
Robert Elkon Gallery, New York

Andre Emmerich Gallery, New York

Fischbach Gallery, New York

Sidney Janis Gallery, New York

Kornblee Gallery, New York
Pace Gallery, New York
Park Place Gallery, New York
Betty Parsons Gallery, New York

Stephen Radich Gallery, New York

A. M. Sachs Gallery, Neiv York

Allan Stone Gallery, New York

ACKNOWLEDGEMENTS

Thanks are due to the Galerie Chalette, Andre Emmerich Gallery,

Kornblee Gallery, and the Pace Gallery for paying the cost of color plates.
Mary Grigoriadis worked closely with me on every phase of the exhibition,

including the preparation of a working bibliography, which was completed

by Diane Waldman. The catalogue ivas edited by Linda Konheim and

Susan Tumarkin. I am grateful for their collaboration and support.

L.A.
 11

INTRODUCTION

The painting that made American New York between

art famous, done mostly in
1947 and 1954, first The improvisatory capacity of the artist
appeared as a drama of creativity.

was enlarged and the materiality of media stressed. The process-record of the creative act
dominated all other possibilities of art and was boosted by Harold Rosenberg's term Action
Painting. This phrase, though written with de Kooning in mind, was not announced as such,
and it got stretched to cover new American abstract art in general. The other popular term,
Abstract Expressionism, shares with "action" a similar over-emphasis on work-procedures,
defining the work of art as a seismic record of the artist's anxiety. However, within this period,

there were painters who never fitted the lore of violence that surrounded American art. The
work of Clyfford Still, Barnett Newman, and Mark Rothko was clearly not offering revelatory
brushwork with autobiographical implications. Not only that, but an artist like Pollock, who
in his own time, seemed all audacious gesture, appears very differently now. His large drip
paintings of 1950 have been, as it were, de-gesturized by a few years passing: what once looked
like impulsive directional tracks have condensed into unitary fields of color. This all-over
distribution of emphasis and the consequent pulverizing of hierarchic form relates Pollock to

Still, Newman, and Rothko.

Meyer Shapiro compared the non-expressionistic, non-gestural painting of Rothko to
"an all-pervading, as if internalized, sensation of dominant color" Later H. H. Arnason
1
.

proposed the term Abstract Imagist for those artists who were not expressionist (7)*. This is a

recognition of the fact that the unity of Action Painting and Abstract Expressionism was purely
verbal, a product of generalization from incomplete data. (Obviously, any generalizations are
subject to scepticism, revision, and reversal, but these two terms seem especially perfunctory.)
It is the "sensational", the "Imagist", painters who have been ratified by the work of younger
artists. Dissatisfaction with the expressionist bulk of New York painting was expressed by the
number of young painters who turned away from gestural art or never entered it. Jasper Johns
targets from 1955, Noland's circles from late 1958, and Stella's symmetrical black paintings of
1958-59 are, it can now be seen, significant shifts from the directional brushwork and projected
Factum I and Factum II, 1957,
anxiety of the Expressionists. Rauschenberg's twin paintings.
along with duplicated photographs, included almost identical paint splashes and trickles, an
ironic and loaded image. A gestural mark was turned into a repeatable object. The changing
situation can be well indicated by the opinions of William Rubin six years ago : he not only
deplored "the poor quality of 'de Kooning style painting' ", he also assumed the failure of de
Kooning himself and praised Clement Greenberg's "prophetic insight" in foreseeing the
expressionist cul-de-sac (3). It is symptomatic that three years later Ben Heller stated, "the
widespread interest in de Kooning's ideas has been more of a hindrance than a help to the

younger artists" (14). In fact, it was now possible for Heller to refer to "the post-de Kooning
world" (my italics). In the late 50's de Kooning's example was oppressively accepted and
alternatives to it were only fragmentarily visible. There was, 1. the work of the older Field

painters, 2. the development of stained as opposed to brushed techniques (Pollock 1951.

Frankenthaler 1952. Louis 1954), and, 3. the mounting interest in symmetrical as opposed to

amorphous formats, clear color as opposed to dirty, hard edges as opposed to dragged ones.

* Numbers in parentheses refer to the bibliography.

 12

Barnett Newman's paintings have

hail two different audiences: first the com-
pact group of admirers of his exhibitions in
New York in 1950 and 1951. Second, the
large audience of the later 50's, with the shift

of sensibility away from gestural art. As with

any artist who is called "ahead of his time"

he has a complex relation with subsequent

history. On the one hand he has created his

own audience and influenced younger artists

on the other hand, his art was waited for.

There was talk and speculation about New-

man even among artists who had not seen
his work.New man asserted the
:
wholistic
character of painting with a rigour previously
unknown; his paintings could not be seen
or analyzed in terms of small parts. There
are no subdivisions or placement problems;
the total field is the unit of meaning. The
expressionist element in Still (who signed
himself Clyfford in emulation of the Vincent
signature of Van Gogh) and the seductive
air of Rothko, despite their sense of space
as field, meant less to a new generation of
Barnett Newman. EVE. 1950. Oil on canvas, 96 x 68". artists than Newman's even but not polished,
brushed but not ostentatious, paint surface.
In addition, the narrow canvases he painted
in 1951. a few inches wide and closely related
in height to a man's size, prefigure the de-
velopment of the shaped canvas ten years
later. Greenberg, considering the structural
principles of Newman's painting in the ab-

sence of internal divisions and the interplay

of contrasted forms, suggested that his ver-
tical bands are a "parody" of the frame.
"Newman's picture becomes all frame in it-

self", because "the picture edge is repeated

inside, and makes the picture instead of
merely being echoed'' 2 This idea was
. later

blowm up by Michael Fried into deductive

structure (40) and applied to Frank Stella's
paintings in which the stretcher, as a whole,
not just the sides, sets the limits for the de-
velopment of the surface 3 Although . this idea

is not central to the paintings of Newman, it

is indicative of his continuous presence on

the scene in the 60's that a proposed es-
^*5-
thetic should rest, at least partially, on his

work.

Barnett Newman Exhibition, Betty Parsons Gallery, 1951. Left original plaster cast at Here, right The Wild, 1950.
 13

Alternatives to Abstract Expres-

sionism were not easily come by in the 50's
X~ and had to be formulated experimentally by
artists on their own. Leon Smith, who had
already suppressed modelling and textural
variation in his painting, studied in 1954,
the stitching patterns on drawings of tennis
balls, footballs, and basketballs. These im-
ages laid the foundations of his continuous,
flowing space, both in tondos, close to the
original balls, and transferred to rectangular

canvases. In France, Ellsworth Kelly made

a series of panel paintings, in which each
panel carried a single solid color. There is

an echo of Neo-plastic pinks and blues in his

palette, but his rejection of visual variation
or contrast was drastically fresh, at the time,
1952-53. Ad Reinhardt, after 1952 painted
all red and all blue pictures on a strictly
symmetrical lay-out, combining elements
from early 20th century geometric art and
mid-century Field painting (saturated or
close- valued color). These three artists de-

monstrate an unexpected reconciliation of

geometric art, as structural precision, and
recent American painting, as colorist inten-
sity. They showed at Betty Parsons Gallery
and her adjunct Section Eleven, 1958-61,
along with Alexander Liberman, Agnes Mar-
tin, and Sidney Wolfson. It is to this phase
of non-expressionistic New York painting
that the term Hard Edge applies. "The
phrase 'hard-edge' is an invention of the Ca-
^^J"4. lifornia critic, Jules Langsner, who suggested

Leon Smith. Drawing Pencil and ink on cardboard,

1954. 8i x 3f.

r
Ellsworth Kelly. Red Yellow Black W hites Blues. 1953. Synthetic paint on canvas. 7 panels, each 41 i x 22*
 14

it at a gathering in Claremont in 1959 as a title for an exhibition of four non-figurative Cali-

4
fornia painters" records George Rickey. In fact. Langsner originally intended the term to refer
to geometric abstract art in general, because of the ambiguity of the term "geometric", as he told
me in conversation in 1958. Incidentally, the exhibition Rickey refers to was called eventuallv
Four Abstract Classicists. The purpose of the term, as I used it 1959-60, was to refer to the

new development which combined economy of form and neatness of surface with fullness of
color, without continually raising memories of earlier geometric art. It was a way of stressing

the wholistic properties of both the big asymmetrical shapes of Smith and Kelly and the
symmetrical layouts of Liberman and Martin.
Hard Edge was defined in opposition to geometric art. in the following way. "The
'cone, cylinder, and sphere' of Cezanne-fame have persisted in much 20th century painting.
Even where these forms are not purely represented, abstract artists have tended toward a
compilation of separable elements. Form has been treated as discrete entities", whereas "forms
are few in hard-edge and the surface immaculate . . . The whole picture becomes the unit: forms
extend the length of the painting or are restricted to two or three tones. The result of this

sparseness is that the spatial effect of figures on a field is avoided" (5). This wholistic organization
is the difference that Field Painting had made to the formal resources of geometric art 5 The .

fundamental article on this phase of the development of systemic painting is Sidney Tillim"s
early "W hat Happened to Geometry?", in which he formulated the situation in terms of
geometric art "in the shadow of abstract expressionism" (2).

The emerging non-expressionist tendencies were often complimented as Timeless

Form's latest embodiment, as in the West Coast group of Abstract Classicists. Jules Langsner
defined Abstract Classicism as form that is "defined, explicit, ponderable, rather than ambigu-
ous or fuzzily suggestive", and equated this description with the "enduring principles of
Classicism" 6 . It is a tribute to the prestige of the Expressionist-Action cluster of ideas that it

was assumed any artist who did not belong there must, of necessity, be a classicist. Langsner
wrote in 1959 but, as late as 1964, E. C. Goossen could refer, when discussing symmetry, to its

"underlying classical conventions" (86). \^ hereas Mondrian and Malewitch. in the formative
period of their ideas, believed in absolute formal standards, of the kind a definition of Classicism
requires. American artists had more alternatives. The 1903-13 generation, by stressing the
existential presence of the artist in his work, had sealed off the strategies of impersonality and
timelessness by which earlier artists had defined and defended their work. Now. because of the
intervening generation of exploratory artists, the systematic and the patient could be regarded
as no less idiosyncratic and human than the gestural and cathartic. Only defenders of the idea
of classicism in modern life resisted this idea of the arbitrariness of the systemic.

Alexander Liberman
produced paintings in which the
immaculate finish associated
with international geometric art
was taken up to a physical scale

and fullness comparable to the

work of the 1903-13 generation

of Americans. The completeness
of symmetry, in his paintings of
1950. the random activation of
a field without gestural traces in

1953. are remarkably early. A

symmetrical and immaculate
painting of his was seen at the
Guggenheim Museum in 1951.

where its total absence of touch

was remarked on by, among

Alexander Liberman. Diptych. One 11 ay. L950. . 4i x 80".

 Alexander Liberman. 639. 1959. 49i x 98s

others, Johns and Rauschenberg. Several of Liberman's paintings of this period were designed
by him and executed by workmen, an anticipation of much later practice. Here is a real link with
Malewitch, incidentally, though not one likely to have occured to Liberman at the time; in Male-
witch's book The Non-Objective World, his Suprematist compositions are rendered by pencil
drawings, not by reproductions of paintings. The conceptual act of the artist, that is to say,

not his physical engagement with a medium, is the central issue. Ad Reinhardt, after working
as a traditional geometric artist, began his symmetrical, one-color paintings in 1953, which
darkened progressively through the 50's, culminating in 1960 in the series of identical black
squares. His numerous statements, dramatic but flamboyant, in catalogues or even in Action
Painting-oriented Art News, were well known. "No accidents or automatism"; "Everything,
where to begin and where to end, should be worked out in the mind beforehand" ; "No symbols,
images, or signs" 7 are characteristic, and prophetic (the date is 1957).
It is not necessary to believe in the historical succession of styles, one irrevocably
displacing its predecessor, to see that a shift of sensibility had occurred. In the most extreme
view, this shift destroyed gestural painting; in a less radical view, it at least expanded artists'

possible choices in mid-century New York, restoring multiplicity. Newman's celebrated ex-
hibition at Bennington College in 1958 was repeated in New York the following year, and the
echoes of his work were immense. In 1960 Noland's circles which had been somewhat gestural
in handling, became more tight and, as a result, the dyed color became disembodied, without
hints of modelling or textural variation. Stella's series of copper paintings in 1961 were far more
elaborately shaped than the notched paintings of the preceeding year; now the stretchers were
like huge initial letters. In 1962 Poons painted his first paintings in which fields of color were
inflected by small discs of color; Noland painted his first chevrons, in which the edges of the
canvas, as well as the center, which had been stressed in the circles, became structurally
important; and Downing, influenced he has said by Noland. painted his grids of two-color dots.
In 1963 Stella produced his series of elaborately cut-out purple paintings and Neil \S illiams

made his series of saw-tooth edged shaped-canvases. Other examples could be cited, but
enough is recorded to show the momentum and diversity of the new sensibility.

A series of museum exhibitions reveals an increasing self-awareness among the artists

which made possible group appearances and public recognition of the changed The sensibility.

first of these exhibitions was Toward a New Abstraction (The Jewish Museum, Summer 1963)
in which Ben Heller proposed, as a central characteristic of the artists, "a conceptual approach
to painting" (14). In the following year there was Post Painterly Abstraction (The Los Angeles
County Museum of Art, Spring) in which Clement Greenberg proposed that the artists included
in the show revealed a "move towards a physical openness of design, or towards linear clarity,
or towards both" (23a). Heller and Creenberg, the former no doubt affected by Greenberg's
earlier writing, were anti-expressionist. In the fall of 1964 The Hudson River Museum put on
a significant though at the time little noticed exhibition of 8 Young Artists* among them
Robert Barry and Robert Huot. E. C. Goossen described the group characteristics as follows:
 16

"none of them employs illusion, realism, or anything that could possibly be described as
symbolism" and stressed the artists' "concern with conceptual order" (28). Noland occupied
half the U.S. Pavillion at the Venice Biennale in 1964 and had a near retrospective at The
Jewish Museum in the following year. In the summer of 1965 the Washington Gallery of
Modern Art presented The Washington Color Painters, which included Noland. Downing and
Mehring. Finally, in the spring, 1966 The Jewish Museum put on a sculpture exhibition.
Primary Structures 9 . This list of museum exhibitions shows that critical and public interest
in the early 60's had left Abstract Expressionism, and the main area of abstract art on which
it now concentrated can be identified with Clement Greenberg's esthetics.

Greenberg's Post Painterly Abstraction was notable as a consolidation of the null-

expressionist tendencies so open in this critic's later work. He sought an historical logic for

"clarity and openness" in painting by taking the cyclic theory7 of W olfflin, according to which
painterly and linear styles alternate in cycles. Translated into present requirements, Abstract

Expressionism figures as painterly, now degenerated into mannerism, and more recent develop-
ments are equated with the linear. These criteria are so permissive as to absorb Frankenthaler's
and Olitski's free-form improvisation and atmospheric color, on the one hand, and Feeley's and
Stella's uninflected systemic painting as well. It is all Post Painterly Abstraction, a term
certainly adapted from Roger Fry's Post-Impressionism, which similarly lumped together
painters as antithetical as Van Gogh, Gauguin, Seurat. and Cezanne. The core of Post Painterly
Abstraction is a technical procedure, the staining of canvas to obtain color uninterrupted by
pressures of the hand or the operational limits of brush work. Poured paint exists purely as
color, "freed" of drawing and modelling; hence the term Color Painting for stain painting g .

It is characteristic of criticism preoccupied with formal matters that it should give a movement
a name derived from a technical constituent. The question arises : are other, less narrow, descrip-
tions of post-expressionist art possible than that proposed by Greenberg? It is important to go
into this because his influence is extensive, unlike that of Harold Rosenberg (associated with
Action Painting), but there is a ceiling to Greenberg's esthetic which must be faced.
The basic text in Greenberg-influenced criticism is an article, written after the publica-
10
tion of Art and Culture, but on which the essays in his book rest, called "Modernist Painting" .

Here he argues for self-criticism within each art. "through the procedures themselves of that
which is being criticized". Thus "flatness, two-dimensionality, was the only condition shared
with no other art, and so modernist painting oriented itself to flatness". This idea has been
elaborated by Michael Fried as a concentration on "problems intrinsic to painting itself" (40).
This idea of art's autonomy descends from 19th-century estheticism. "As the laws of their Art

were revealed to them (artists), they saw, in the development of their work, that real beauty
which, to them, was as much a matter of certainty and triumph as is to the astronomer the
verification of the result, foreseen with the light given to him alone" 11 Here Whistler states
.

clearly the idea of medium purity as operational self-criticism, on which American formalist art

criticism still rests. Whistler typifies the first of three phases of art for art's sake theory: first,

the precious and, at the time, highly original estheticism of W alter Pater, W lustier, and W ilde;
second, a classicizing of this view in the early 20th century, especially by Roger Fry, stressing
form and plasticity with a new sobriety; and, third, Greenberg's zeal for flatness and color, with

a corresponding neglect of non-physiognomic elements in art.

W hat is missing from the formalist approach to painting is a serious desire to study

meanings beyond the purely visual configuration. Consider the following opinions, all of them
formalist-hased. which acknowledge or suppose the existence of meanings feelings. Ben Heller
writes that Noland "has created not only an optical but an expressive art" (14) ami Michael
Fried calls Noland's paintings "powerful emotional statements" (40). However, neither writer
indicated what was expressed nor what emotions might be stated. Alan Solomon has written of
 17

Noland's circles, which earlier he had called "targets" (14) : "some are buoyant and cheerful . .

others are sombre, brooding, tense, introspective" (228), but this "sometimes-I'm happy,
sometimes-I'm blue" interpretation is less than one hopes for. It amounts to a reading of color
and concentric density as symbols of emotional states, which takes us back to the early 20th-
century belief in emotional transmission by color-coding.
According to Greenberg the Hard-Edge artists in his Post Painterly Abstraction
exhibition "are included because they have won their 'hardness' from the softness of Painterly
Abstraction" (23a). It is certainly true that "a good part of the reaction against Abstract Expres-
sionism is... a continuation of it", but to say of the artists, "they have not inherited it (the
hard edge) from Mondrian, the Bauhaus, Suprematism. or anything that came before", is

exaggerating. Since Greenberg believes in evolutionary ideas, and his proposal that Hard-Edge
artists come out of gestural ones shows that he does, it is unreasonable to sever the later artists

from the renewed contact with geometric abstract art which clearly exists. If we omit Green-
berg's improvisatory painters, such as Francis, Frankenthaler, Louis, and Olitski, and attend
to the more systemic artists, there are definite connections to earlier geometric art. Kelly,
Smith, and Poons had roots in earlier geometric art, for example, and it is hard to isolate

modular painting in New York from international abstract art. What seems relevant now is to

define systems in art, free of classicism, which is to say free of the absolutes which were
previously associated with ideas of order. Thus, the status of order as human proposals rather
than as the echo of fundamental principles, is part of the legacy of the 1903-1915 generation.
Their emphasis on the artist as a human being at work, however much it led, in one direction
to autobiographical gestures, lessened the prestige of art as a mirror of the absolute. Malewitch,

Kandinsky, and Mondrian, in different ways, universalized their art by theory, but in New York
there is little reliance on Platonic or Pythagorian mysteries. A system is as human as a splash

of paint, more so when the splash gets routinized.

Definitions of art as an object, in relation to geometric art, have too often consolidated
it within the web of formal relations. The internal structure, purified of all reference, became
the essence of art. The object quality of art is stressed in shaped canvas paintings, but without a
corresponding appeal to idealism. When the traditional rectangle is bitten into or thrust out-
wards, the spectator obviously has an increased consciousness of the ambience. The wall may
appear at the center of the painting or intersect the painted surface. Despite the environmental
space of the shaped canvas, however, it has also a great internal solidity, usually emphasized by
thick stretchers (Stella, Williams). The bulk of the painting is physical and awkward, not a pure
essence of art. On the contrary, the contoured edges are highly ambiguous: the balance of
internal and outside space is kept in suspense so that there are connections with painting (color),

sculpture (real volume and shaping), and craft (the basic carpentry). Shaped canvases tend to
mix these possibilities. Another non-formal approach is indicated by Robert Smithson's
reaction to Stella's "impure-purist surface", especially the purple, green, and silver series:

"like Mallarme's Herodiade, these surfaces disclose a 'cold scintillation' ; they seem to 'love
the horror of being virgin' " (60). Mallarme is being quoted, not to take possession of the work in
literary terms, but to indicate experiences beyond the eyeball. It is a reminder that shaped
blocks of one color have the power of touching emotion and memory at the same time that they

are being seen.

Stella's recent paintings (started in the fall of 1965 from drawings made in 1962) are
asymmetrical and multi-colored, compared to the symmetrical and/or one-color paintings done
since 1958. The change is not a move to a world full of possibilities from one that was con-
stricted. Simplicity is as sustaining in art as elaboration. It is more probable that the new work
is prompted aggressively, as a renewal of the problematic, for the style change came at a time
when an esthetic for minimal, cool, or ABC art (to which his earlier work is central), was out in
 18

the open. The new paintings are a kind of two-level image, with the contoured stretcher pro-
viding one kind of definition and the painted forms, cued by the stretcher but not bound to it,

making another. Color is bounded by painted bands or by the edge of the canvas, which has the

effect of scrambling the spatial levels of the painting. This act of superposition disregards the
idea of deductive structure which Michael Fried proposed as the present historical necessity of
"modernist" painting in which the painted image is obedient to the shape of the perimeter. Each
of Stella's new shaped canvases exists in four permutations, with alternate colors though with
fixed boundaries.
Kenneth Noland painted a series of square canvases in 1964, a shape that is more in

use now than at any other time in the 20th century. Presumably its non-directional character,

with neither east-west nor north-south axes, accounts for its currency. However, Noland, who
laid in bars of color parallel to the sides of his squares, was oppressed by the sense of the edge.
For this reason he turned the squares 45, making them diamonds; this led him to the long
diamond format, of which one is in the present exhibition. The points of the diamond are the
farthest points from the center, a format which frees Noland from his sense of confinement by

the edge. The edge is reduced to a functional oblique, linking the most distant parts of the
painting. Thus, the diamond format is not so much a shaped canvas, with consequent connec-
tions to the pictorial and to the object-like, but the discovery of a format highly suited to the
"disembodied" color effects of staining.

The essentializing moves made by Newman to reduce the formal complexity of the
elements in painting to large areas of a single color, have an extraordinary importance. The
paintings are a saddle-point between art predicated on expression and art as an object. New-
man's recently completed Stations of the Cross represent both levels: the theme is the Passion
of Christ, but each Station is apparently non-iconographical, a strict minimal statement. Levels
of reference and display, present in all art, are presented not in easy partnership but almost

antagonistically. When we view art as an object we view it in opposition to the process of

signification. Meaning follows from the presence of the work of art, not from its capacity to
signify absent events or values (a landscape, the Passion, or whatever). This does not mean we
are faced with an art of nothingness or boredom as has been said with boring frequency. On the
contrary, it suggests that the experience of meaning has to be sought in other ways.
First is the fact that paintings, such as those in this exhibition are not, as has been
often claimed, impersonal. The personal is not expunged by using a neat technique; anonymity
is not a consequence of highly finishing a painting. The artist's conceptual order is just as

personal as autographic tracks. Marcel Duchamp reduced the creative act to choice and we may
consider this its irreducible personal requirement. Choice sets the limits of the system, regard-
less of how much or how little manual evidence is carried by the painting. Second is the fact
that formal complexity is not an index of richness of content. "I am using the same basic
composition over and over again", Howard Mehring has said, "I never seem to exhaust its

possibilities" (218). A third related point is that most of the artists in this exhibition work in
runs, groups, or periods. The work that constitutes such runs or periods is often less outwardly
diverse than, say, the work of other artists' periods.
A possible term for the repeated use of a configuration is One Image art (noting that

legible repetition requires a fairly simple form). Examples are Noland's chevrons, Downing's
grids, Feeley's quatrefoils, and Reinhardt's crosses. The artist who uses a given form begins each
painting further along, deeper into the process, than an expressionist, who is, in theory at least,
lost in each beginning; all the One Image artist has to have done is to have painted his earlier

work. One Image art abolishes the lingering notion of History Painting that invention is the
 19

test of the artist. Here form becomes meaningful, not because of ingenuity or surprise, but
because of repetition and extension. The recurrent image is subject to continuous transforma-
tion, destruction and reconstruction ; it requires to be read in time as well as in space. In style
analysis we look for unity within variety; in One Image art we look for variety within con-
spicuous unity. The run of the image constitutes a system, with limits set up by the artist him-
self, which we learn empirically by seeing enough of the work. Thus the system is the means by
which we approach the work of art. When a work of art is defined as an object we clearly stress

its materiality and factualness, but its repetition, on this basis, returns meaning to the syntax.

Possibly, therefore, the evasiveness about meaning in Noland already mentioned, may have to

do with the expectation that a meaning is complete in each single painting rather than located
over a run or a set.

The application of the term systemic to One Image painting is obvious, but, in fact,
it is applied more widely here. It refers to paintings which consist of a single field of color, or

to groups of such paintings. Paintings based on modules are included, with the grid either
contained in a rectangle or expanding to take in parts of the surrounding space (Gourfain and
Insley respectively). It refers to painters who work in a much freer manner, but who end up
with either a wholistic area or a reduced number of colors (Held and Youngerman respec-
tively). The field and the module (with its serial potential as an extendable grid) have in
common a level of organization that precludes breaking the system. This organization does not
function as the invisible servicing of the work of art, but is the visible skin. It is not, that is to

say, an underlying composition, but a factual display. In all these works, the end-state of the
painting is known prior to completion (unlike the theory of Abstract Expressionism). This does
not exclude empirical modifications of a work in progress, but it does focus them within a
system. A system is an organized whole, the parts of which demonstrate some regularities.

A system is not antithetical to the values suggested by such art world word-clusters as humanist,
organic, and process. On the contrary, while the artist is engaged with it, a system is a process
trial and error, instead of being incorporated into the painting, occur off the canvas. The
predictive power of the artist, minimized by the prestige of gestural painting, is strongly
operative, from ideas and early sketches, to the ordering of exactly scaled and shaped stretchers

and help by assistants.

The spread of Pop Art in the 60's coincides with the development of systemic abstract
painting and there are parallels. Frank Stella's paintings, with their bilateral symmetry, have
as much in common with Johns' targets as with Reinhardt and, if this is so, his early work can
be compared to Yves Klein's monochromes, which were intentionally problematic. The question
"what is art?" is raised more than the question, "is this a good example of art?" This skeptical
undercurrent of Stella's art, in which logic and doubt cohabit, is analogous to those aspects
of Pop Art which are concerned with problems of signification. Lichtenstein's pointillism and
Warhol's repetitive imagery, more like systemic art in its lack of formal diversity than it is like
is

other styles of 20th century A lack of interest in gestural handling marks both this area of
art.

Pop Art and systemic abstract art. In addition, there are artists who have made a move to
introduce pop references into the bare halls of abstract art theory. One way to do this is by using
color in such a way that it retains a residue of environmental echoes ; commercial and industrial
paint and finishes can be used in this way. For example, Al Brunelle has written of this painting
in the present exhibition: "Jayne has a blue edge on the left, superimposed upon the under-
lying scheme. On this side she does not silhouette as brightly as on the right, nor do the edges
on left 'track' as they do so nicely within the painting. The blue line does not remedy any of
this. It has a function similar to eyeliner" 12 . The reference to eyeliner, combined with the
 20

"cobra skin" finish, the crystals, and the pink plastic surfaces, raises an association of pop
culture that is hard to shake.

Irving Sandler's term for systemic painting, both abstract and pop, is "Cool- Art" (36),
as characterized by calculation, impersonality, and boredom. "An art as negative as Stella's

cannot but convey utter futility and boredom" he considers conceptual

; art as merely "mecha-
nistic". \S hat Sandler has done is to take the Abstract Classicist label and then attack it like a

Romantic, or at least a supporter of Abstract Expressionist art, should. He is against "one-shot

art" because of his requirement of good artists: "they have to grope". This quotation is from
a catalogue of Concrete Expressionism, his term for a group of painters including Al Held. He
argues that theirs is struggle painting, like expressionism, but that their forms are "disassoci-
ated", his term for non-relational. Thus Sandler locates an energy and power in their work said
to be missing from hollow and easy "Cool-Art "'. The difference between so-called Concrete
Expressionist and Abstract Expressionist paintings, however, is significant; they are flatter and
smoother. Al Held's pictures are thick and encrusted with reworkings, but he ends up with a
relatively clear and hard surface. The shift of sensibility, which this exhibition records, is

evident in his work. Held may regard his paintings as big forms, but when the background is

only a notch at the picture's margin, he is virtually dealing with fields.

The pressing problem of art criticism now is to re-establish abstract art's connections

with other experience without, of course, abandoning the now general sense of art's autonomy.
One way is by the repetition of images, which without preassigned meanings become the record
and monument of the artist. Another way is by the retention of known iconography, in however
abbreviated or elliptical form. Priscilla Colt, referring to Ad Reinhardt's basic cross noted: "In
earlier paintings it assumed the elongated proportions of the crucifix; in the black squares the

pointedness of the reference is diminished, since the arms are equal, but it remains". Miss Colt
also notes the expressive connotations of Reinhardt's "pushing of the visible toward the brink
of the invisible" 13 Noland's circles, whatever he
. may have intended, never effaced our knowl-
edge, built-in and natural by now, of circular systems of various types. Circles have an iconog-
raphy; images become motives with histories. The presence of covert or spontaneous iconog-
raphic images is basic to abstract art, rather than the purity and pictorial autonomy so often
ascribed to it. The approach of formalist critics splits the work of art into separate elements,

isolating the syntax from all its echoes and consequences. The exercise of formal analysis, at the

expense of other properties of art, might be called formalistic positivism 14 Formal analysis .

needs the iconographical and experiential aspects, too, which can no longer be dismissed
as "literary" except on the basis of an archaic estheticism.
Lawrence Alloway
 21

\OTE

1. Meyer Shapiro. "The \ounger American Painters of Today", The Listener, London, no. 1404, January 26,
1956, pp. 146^7.
2. Clement Greenberg. "American-type Painting", Art and Culture, Boston, Beacon Press 1961, pp. 208-29.
3. Deductive structure is the verbal echo and opposite of what William Rubin called "'inductive' or indirect
painting" (3), but the phrase (which meant painting without a brush) never caught on.
4. George Rickey. "The New Tendency (Nouvelle Tendence Recherche Continuelle)", Art Journal, New
York, vol. XXIII, no. 4,Summer 1964, p. 272.
5. The formal difference between wholistic and hierarchic form is often described as "relational" and "non-
relational". Relational refers to paintings like that of the earlier geometric artists which are subdivided and
balanced with a hierarchy of forms, large-medium-small. Non-relational, on the contrary, refers to un-
modulated monochromes, completely symmetrical layouts, or unaccented grids. In fact, of course, relation-

ships (the mode in which one thing stands to another or two or more things to one another) persist, even
when the relations are those of continuity and repetition rather than of contrast and interplay.
(For more information on Hard-Edge see John Coplans : "John McLaughlin, Hard Edge, and American
Painting") Artforum, San Francisco, vol. II, no. 7, January 1964, pp. 28-31.
6. The Los Angeles County Museum, July 1959, Four Abstract Classicists. Text by Jules Langsner.
7. Ad Reinhardt. "Twelve Rules for a New Academy", Art News, New York, vol. 56, no. 3, May 1957,
pp. 37-38, 56.
8. When the present exhibition was proposed originally in June 1964 it was intended to show painting and
sculpture, but Primary Structures covered the ground too closely to repeat it. The reasons for planning to

show flat and 3D work are (1) analogies between work in both media and (2) the number of artists who
combine the technology of one with the formal characteristics of the other. The shaped canvases in this

exhibition are those with lateral variations rather than with volumetric projections; that is to say, closer

to painting.

9. Optical has, at present, two meanings in art criticism. In Greenberg's esthetics color is optical if it creates a

purely visual and non-tactile space. It is one of the properties of "Color" Painting, the term Greenberg
applied to Louis and Noland in 1960 (which has been widely used, including adaptations of it such as
W illiam Seitz's "Color Image"). It is curious, since color is mandatory for all painting, that one way of
using it should be canonized. The other meaning of optical, and its best known usage, is as the optical

in Op Art, meaning art that shifts during the spectator's act of perception.
10. Clement Greenberg. "Modernist Painting", Arts Yearbook 4, New York, 1961, pp. 101-108.
11. James A. McNeill Whistler. Ten O'Clock, Portland, Maine, Thomas Bird Mosher, 1925.
12. Unpublished statement by the artist, 1966.
13. Priscilla Colt. "Notes on Ad Reinhardt", Art International, Lugano, vol. VIII, no. 8, October 20, 1964,
pp. 32-34.
14. Adapted from Leo Spitzer's "imagistic positivism" by which he deplored literary critics' overemphasis on
imagery at the expense of a poem as a whole.
 23

STATEMENTS

JO BAER

These paintings form part of a series of twelve. There are I use color because of its relativity to the human eye and
four colors in the .series: blue, green, purple, yellow. believe in color and not color dogma.
There are also four sizes and shapes large squares, small
: Formally they contain the tensions and lucid changes that
squares, vertical rectangles, horizontal rectangles. Each exist between the diagonal and the horizontal and vertical.

particular size and shape needs particular properties of We are already aware of the passivity of the horizontal,

color: intense, or pale, or grayed, or bright. The possibili. the ascension and descension of the vertical, and the
ties for combination or grouping of the paintings are the dynamics of the diagonal.
permutations of twelve (831,753,600) or whatever set I am using these things as tools to evoke like states in the
factors are chosen. The paintings here are the three large receiver.

squares and they use the intense color bands. All the The effectiveness of the painting can be facilitated by the
paintings are color in a luminous mode, but this group ability of the observer to be free of references and
also renders the primary colors of light: a red (magenta), attitudes.

a green, a blue. They are each constructed equivalent to Like music, this work can be best received in silence.
one another as a color presence. Blue, red, black, white and yellow have natures of their
Summer, 1966 own which vary according to the receptivity of each ob-
server and must be absorbed according to the individual

rhythm and time-grasp of each person concerned.

These can be a way of understanding yourself in a primal
position.

DEA\ FLElIIXft The painting must transcend its materiality both as a

canvas and in the viewer's eye.
If an open viewer allows the reading to be in his own time
I am working in the area of the totally primal and
he can begin to receive an experience which separates
available.
from the work he sees and he can participate in the
Geometry, optics, science and psychology are here used
reversals of space and the apparent contradictions be-
only as tools and, therefore, have only a relative bearing
tween stillness and sudden motion, weight and gravita-
on the significance of the work.
tionlessness.
The dominant subject of the painting is its effect on each
individual observer. In the case of these immediate
A deeply experienced participation with the work can
yeild a sense of transcension and can create an intense
paintings I have limited the relationships to only the
light which contains no color.
most primary and intense.
January 1965
In an effort to clarify the subject I have used only straight
lines.

Most of these paintings can objectively be defined by

saying that they are composed of one or two points within
the canvas and the connection of these points to the The subject of art is ultimately spiritual. That vibrant
outer edges. aspect of the nature of existence which demands to be
This approach to the work yields nothing whatsoever and created though it is not called for. Still this new work is

we must venture further to reach significant under- utilitarian in that it serves to extend the consciousness of
standing. space and time, a necessity for the psychic survival of
The situation is one of polar contrasts and their inevitable every new society. Now, when basic forms and primary
interchange of space; the aggression or recession of a colors have the strength and velocity to communicate
color, the ability of a single color to change in terms of a new dimension, it is the spirit of our times an artist
dark and light, the redness and blueness when related to expresses rather than the fact.
another color. 1966
 24

WILL I\SLL1 I \l\ \UI KCKATAMA

NOTEBOOK EXCERPTS Ideas, thoughts, philosophy, reasons, meanings, even the

Physical Engineering practical function bridge or humanity of the artist, do not enter into my work at all.

building There is only the art itself. That is all.

Visual Engineering only visual function art 1964

Grid select vary
freedom within law-

Form perceived in most basic sense as flat shape

Silhouette
Object motivated by surrounding space
Diagram of visual forces

Form movement parallel to the eye plane

Color movement perpendicular to the eye plane
Resultant conflict visual experience DAVID III
transcends physical limitations of the material
Physical structure a support for the visual experience EXCERPTS FROM STATEMENT
the reality of the work of art 3
Flat visual object 1 am tempted to distinguish three stages in the recent
The painting is an object. Any attempt to consider history of painting or if you prefer, which I fear is nn
the painting as a field or space in which other objects likely, three attitudes toward decoration. Image. Object.
appear to exist is avoiding the issue of historical neces- Environment. By image I refer to the framed illustrations
sity today. The painting is the object itself and exists which used to be so prevalent and whose dimensions
in the space of the viewer. seemed more the result of convienience than any art. The
Problem devise structural form system second stage corresponds to those paintings, occasionally
Future of art lies in mass production resembling a familiar object, often abstract, often very
Objects capable of economic repetition large, and usually unframed, whose content, at least in
Simple units stock material the most famous examples, is precisely equivalent in
Grid space the necessary
select spirit and in fact to its dimensions. One hopes no more
1964 will be said of cubism.
I would like to say of the third, the environmental stage
that these paintings have no beginning and no end, but
Painting the diagramed object despite our wishful thinking paintings don't naturally
Abandon historical rectilinear context of contained exist in time. Perhaps they have no middle. They exhibit
illusion a penchant for presenting materials factually and for
Extend into actual surrounding space employing a numerical set as something signifying
to motivate and be motivated nothing but itself. The content of these paintings is a
Fragment of flat visual material certain quantity, an accumulation, and they are some-
Problem clarified and reduced times quite witless. Their distinction, and their vulner-
Possibilities diminish ability, is that they don't exist except on a wall, at best on
Particular color seems less and less important a particular wall, the wall for which they were designed,
Color a material coating often no other wall than the painter's own.
visual extension to base material object Like most labor-saving devices, the reduction of a pain-
Reduce painting to flat silhouette ter's aesthetic choices to what sets and how fine a series is

Expose to most stringent test spiritualizing. Unfortunately an effect of employing labor-

proportion of elements saving devices is that people get out of the habit of

relation of closed and open spaces working, in our case of looking, and it shows. On the
Only basic relationships withstand observation other hand, the perfection of technique by which we
Emotional and seductive icing of historical cake removed reduce labor is not generally intended for any spiritual-
Painting becomes wall wall becomes environment izing end. We don't respect a perfected technique; we
Systematic relationship of measured elements say we're bored. Charles Baudouin says of technique that
calculated to project visual force beyond material thing when it is any use it advances to close the circle of man's
Grid space select the necessary achievement where it began, at mysticism.
1966
 25

Here are some questions for critics to ask themselves. and preventing the surface itself from becoming too
What is the combination of need and desire in the dis- illusionary.
tinction of art? Is there any sense in decorating a wall if Working with both symmetric and assymmetric formed
the wall is not then more interesting to see? If it is tedious pieces.

to describe the details of the construction of a blank wall, New works have incorporated the curve. The curve
is the wall therefore boring to see? Can there be progress forming the lower edge, is a segment of a circle, rather
except toward an ideal, an end-point, and, if there is no than an organic or eliptical curve.
progress, is there value in a thing being new? If a work is June 1966
to be judged by arrangement with the intentions of its

author, does the critic require the authority to make

assurances that a work of art is intended? Can an object,
or a fact, exist out of time and still be up-to-date?
1966 i-:imi\ it I i>\

I scale my painting to the maximum visual limit. If the

painting extended outward more than twenty feet I

would no longer see that I mean.

ROBERT MANGOLD
Right and left symmetry are more opposite than alike.

WORK COMMENTS Repetition is different because it occurs "elsewhere".

1965-66 The subtle paradox is maddening, curious and amusing.
Working on architectural, flat, cut-out forms of masonite- By getting rid of extraneous, generalized notions I arrive

faced plywood. at the leanest possible shape a focus that allows a

Began to develop certain potentialities of the spray "large" picture to be seen at once.
technique; atmosphere like quality of sprayed surface, Simplification is not synonymous with boredom but on
blending possibilities of color and tone. the contrary demands visual acuity.

Gradations of tone occur at lower edge of piece, and are Summer 1966
kept subtle to allow a primary total form reading, surface
expands, dissolves. Did not use ideas that were too
pictorial or where the gradation was too strong.
Pieces follow in series of similar formal structures and
similar color ranges. Oil paint thinned with turpentine is LARR1 KOX
the medium used, because of more flexible color mixing
and the matte open finish. SCISSORS JACK SERIES
Primarily concerned with evasive color, difficult to pin Once the proportions and outside scale of the paintings

down or define. are determined, the interior structure is established.

Color sequence is either (going from top to bottom), Inverted V's or triangles repeat four times to become the
neutral moving into color, color moving into neutral, or structure upon which the final dimensions depend. Each
from lighter to darker value of the same color. Where it V contains four units of space, therefore 16 units of space
is a neutral to color or color to neutral sequence, the within the total painting.
value of the two tones is similar. Various systems of color are used to correspond to the
Have used the 4 foot width of sheets of building material compartments of space. General arrangements of color
as a working element, a piece whose total size is 96 x 96 are used. (Four different colors in alternating intervals,
inches, (2-4 foot x 8 foot sheets), would have a vertical continuous color moving across the horizontal in fluctu-
division occuring in the middle, the division becoming a ating zones, sixteen color combinations separating each
black line at this point. Chose not to allow the panel unit vertically and horizontally.)
break to occur, except at the measured center, keeping it The SCISSOR'S JACK SERIES was executed in 1965.
from becoming a proportional-compositional division. The particular choice of color was arbitrary in that colors
Visually the central black line gives the eye a neutral were chosen at random in the execution of the paintings.
point to move through the surface, bringing the periphery This specific structure became dominant as a foundation
line inside, preventing a too simple, total contour reading, for my work at the time.

June 16, 1966

Measurements in inches: Height precedes width; depth, where given, is the last figure.
 27

Paul Feeley. Asellus. 1964. Acrylic on canvas, four canvases each 47* x 471". Lent by Betty Parsons Gallery, New York.
 28

Agnes Martin. The City. 1966. Acrylic on canvas, 71 i x 72". Lent by Robert Elkon Gallery. New York.
 29

Will Insley. Wall at Dawn, 1963. Acrylic on masonite, 1031 x 103 i". Collection Steve Schapiro, Brooklyn
Heights, New York.
fti

a-
o
"So

fts
 34

Ralph Humphrey. Three Lines, I. 1966. Acrylic on canvas, 69J x 70". Lent by Bykert Gallery, New York.
 35

Tadaaki Kuwayama. Untitled. 1965. Acrylic on canvas with chrome stripping, two canvases each 961 x 42". Lent by the artist.
Howard Mehring. In the Key of Blue II. 1965. Acrylic on canvas, 85i x 70". Lent by A. M. Sachs Gallery, New \ot\s..
^
o

<
39
o

<
41

cd
H-l

<^>

Pi
 44

crystals, six panels each 21 x 21 x 3"

Al Brunelle. Juync. 1965. Metalized cellulose acetate butyrate on wood with acrylic and
Lent bv the artist.
45

O
_
o

<

N
 i

. , ..:.. :.,.-.

Frank Stella. TTolfeboro, 4. 1966. Epoxy and fluorescent alkalide on canvas, 160+ x 100 x 4". Lent by Leo Castelli Gallery, New Yorl
Larry Poons. Mary Queen of Scots. Acrylic on canvas, 135 x 90". Collection Mr. and Mrs. Robert Scull, New York.
Robert Ryman. Allied. 1966. Oil on canvas, 751 x 753". Lent by the
artist.
 51

Al Held. The Big End. 1966. Acrylic on canvas, 1071 x 108i". Lent by Andre Emmerich Gallery, New York
 '-! ;' ">** '''--:::.:. J'"
I M
Leon Smith. Correspondence Orange-Blue. 1965. Oil on canvas, 90 x 68". Lent by Galerie Chalette, New York.
 53

Jack Youngerman. Blue White Red. 1965. Polymer emulsion on canvas, 107 i x 87 i". Lent by Betty Parsons Gallery, New York.
 54

75+". Lent by Pace Gallery, New York.

Nichola s Krushenick. Tel Aviv Hippy. 1966. Acrylic on canvas, 90 x

II I II 1,1 III. It A I'll V
Bibliographies: references are to one-man exhibitions,
unless otherwise stated. Numbered exhibition entries
mean that a catalogue was published: un-numbered
entries mean that only an announcement was printed.
Existing bibliographies of artists have not been duplicated.
Key to biographies date of birth, present residence and
:
year of arrival, and New York gallery.
4.1 \ I IE VI
1. goossen, e. c. "The Big Canvas", Art International,
Zurich, vol. II, no. 8, 1958, pp. 45-47.
2. tillim, Sidney. "What Happened to Geometry: An
Inquiry into Geometrical Painting in America", Arts,
New York, vol. 33, no. 9, June 1959, pp. 38-44.
3. Rubin, william. "Younger American Painters'", Art In-
ternational, Zurich, vol. IV, no. 1, January 1960, pp. 24-
31. Includes Kelly, Noland, Stella, Youngerman.
4. David Herbert Gallery, New York, February 8-27, 1960,
Modern Classicism. Text by Barbara Butler. Includes
Kelly, Smith.
5. alloway, Lawrence. "On the Edge", Architectural
Design, London, vol. XXX, no. 4, April 1960, pp. 164-165.
6. butler, Barbara. "Contemporary Classicism", Art In-
ternational, Zurich, vol. IV, no. 5, May
39-40.
American Federation of Arts, New York, October 1960-
October 1961, Purist Painting, circulating exhibition.
Checklist, includes Kelly, Martin, Smith.
7. The Solomon R. Guggenheim Museum, New York,
October- December 1961, American Abstract Expres-
sionistsand Imagists. Text by H. H. Arnason. Includes
Held, Humphrey, Kelly, Noland, Smith, Stella, Younger-
man. Bibliography.
8. Reviews: kroll, jack. "American Painting and the
convertible Spiral", Art News, New York,
60, no. 7, November
1961, pp. 34-37, 66-69.
9. alloway, Lawrence. "Easel Painting at the
Guggenheim", Art International, Zurich, vol.
V, no. 10, Christmas 1961, pp. 27-34.
10. Whitney Museum of American Art, New York, March 20-
May 13,1962, Geometric Abstraction in America. Text by
John Gordon. Includes Held, Kelly, Martin, Noland,
Smith, Stella.
11. Reviews: kozloff, max. "Geometric Abstraction in
America", Art International, Zurich, vol. VI,
nos. 5-6, Summer 1962, pp. 98-103.
12. michelson, annette. "L' Abstraction geome-
trique en Amerique", AA Siecle, Paris, vol. 24,
no. 20, December 1962, supplement.
13. ahlander, Leslie judd. "The Emerging Art of Washing-
ton", Art International, Zurich, vol. VI, no. 9, November
25, 1962, pp. 30-33. Includes Downing, Mehring, Noland.
14. The Jewish Museum, New York, May 19-September 15,
1963, Toward a New Abstraction. Introduction by Ben
Heller. Includes text on Al Held by Irving Sandler; on
Ellsworth Kelly by Henry Geldzahler; on Kenneth Noland
by Alan R. Solomon; on Frank Stella by Michael Fried.
15. Washington Gallery of Modern Art, Washington D.C.,
June 6-July 7, 1963, Formalists. Introduction by Adelyn
D. Breeskin. Includes Kelly, Kuwayama, Martin, Poons,
Stella, Youngerman.
56
16. The Poses Institute of Fine Arts, Brandeis University,
Waltham, Massachusetts, December 1, 1963-December 6,
1964, New Directions in American Painting, circulating
exhibition. Text by Sam Hunter. Includes Held, Noland,
Kelly, Smith, Stella, Youngerman.
17. The Jewish Museum, New York, December 12, 1963-
February 5, 1964, Black and JVhite. Text by Ben Heller.
Includes Kelly, Stella, Youngerman.
18. Reviews: kozloff, max. "The Many Colorations of
Black and White", Artforum, San Francisco,
vol. II, no. 8,February 1964, pp. 22-25.
19. rose, Barbara. "New York Letter", Art In-
ternational, Lugano, vol. VIII, no. 1, February
15, 1964, pp. 40-41.
25, 1960, pp. 20a Wadsworth Atheneum, Hartford, Connecticut, January 9-
February 9, 1964, Black, White and Gray. Includes
Kelly, Martin, Stella.
20b Review: judd, donald. Arts, New York, vol. 38, no. 6,
March 1964, p. 38.
21. The University of Michigan Museum of Art, Ann Arbor,
January 15-February 9, 1964, The New Formalists:
Contemporary American Painting for Purchase Consider-
ation. Foreword by Robert Inglehart. Includes Noland,
Smith.
22. tillim, Sidney. "The New Avant-Garde", Arts, New
vol. York, vol. 38, no. 5, February 1964, pp. 18-21. Includes
Stella.
23a The Los Angeles County Museum, Los Angeles, April 23-
June 7, 1964, Post Painterly Abstraction. Text by Cle-
ment Greenberg. Includes Downing, Feeley, Held, Kelly,
Krushenick, Mehring, Noland, Stella.
23b Reprinted in Art International, Lugano, vol. VIII, nos.
5-6, Summer 1964, pp. 63-65.
24. Review: coplans, john. "Post Painterly Abstraction:
the Long-Awaited Greenberg Exhibition Fails
to Make its Point", Artforum, San Francisco,
vol. II, no. 12, Summer 1964, pp. 4-9.
25. rose, Barbara. "The Primacy of Color", Art Internatio-
nal, Lugano, vol. VIII, no. 4, May 1964, pp. 22-26.
Includes Downing, Poons, Williams.
26. "New Talent USA: Newly Nominated", Art in America,
New York, vol. 52, no. 4, August 1964, pp. 81-111.
Includes Krushenick, Kuwayama, Poons.
27. "56 Painters and Sculptors", Art in America, New York,
vol. 52, no. 4, August 1964, pp. 22-79. Includes Held,
Kelly, I oungerman.
28. The Hudson River Museum. Yonkers, New York,
October 11-25, 1964, 8 Young Artists. Text by E. C.
Goossen. Includes Barry, Huot.
 57
29. The Solomon R. Guggenheim Museum, New \ork, De-
cember 1964, The Shaped Canvas. Text by Lawrence
Alio way. Includes Feeley, Stella, Williams.
30. Reviews: judd, donald. Arts, New York, vol. 39, no. 5,
February 1965, p. 56.
31. lippard, lucy R. "New York Letter", Art In-
ternational, Lugano, vol. IX, no. 2, March
1965, p. 46.
32. tillim, Sidney. "Optical Art: Pending or Ending?",
Arts, New York, vol. 39, no. 4, January 1965, pp. 16-23.
33. Sandler, irving. "The New Cool-Art", Art in America,
New York, vol. 53, no. 1, February 1965, pp. 96-101.
34. The Museum of Modern Art, New York, February 23-
April 25, 1965, The Responsive Eye. Text by William C.
Seitz. Includes Downing, Feeley, Kelly, Martin, Noland,
Poons, Smith, Stella.
35. Review: rickey, george. "Scandale de Succes", Art
International, Lugano, vol. IX, no. 4, May,
1965, pp. 16-23.
36. Loeb Student Center, New York University, New York,
April 6-29, 1965, Concrete Expressionism. Text by Irving
Sandler.
37. Reprinted as "Expressionism with Corners", Art News,
New York, vol. 64, no. 2, April 1965, pp. 38^0, 65-66.
Includes Held.
38. Reviews: lippard, lucy r. "New York Letter", Art
International, Lugano, vol. IX, no. 5, July
1965, pp. 51-52.
39. ashton, dore. Studio International, London,
vol. 170, no. 868, August 1965, pp. 87-89.
40. Fogg Art Museum, Harvard University, Cambridge,
Massachusetts, April 21-May 30, 1965, Three American
Painters: Kenneth Noland, Jules Olitski, Frank Stella.
Text by Michael Fried. Two parts of the introduction
appeared earlier in slightly different form: Section I in
41. American Scholar, vol. 33, no. 4, Autumn 1964, pp.
642-649, as "Modernist Painting and Formal Criticism"
Section III as the introduction to Kenneth Noland's retro-
spective exhibition at The Jewish Museum, New York,
February 4-March 7, 1965.
42. lippard, lucy R. "The Third Stream", Art Voices, New
York, vol. 4, no. 2, Spring 1965, pp. 44-49. Includes
Mangold, Ruda, Stella, Williams.
43. "Neue Abstraktion", Das Kunstwerk, Baden-Baden, vol.
XVIII, nos. 10-12, April-June 1965, Special number.
Introduction by Klaus Jurgen-Fischer, pp. 3-6. Includes
Held, Kelly, Krushenick, Kuwayama, Noland, Stella.
44. VIII Bienal of the Museum of Modern Art, Sao Paulo,
Brazil, Summer 1965. Exhibition of the United States of
America. Text by Walter Hopps. Includes Poons, Stella.
45. Washington Gallery of Modern Art, Washington, D.C.,
June 25-September 5, 1965, The Washington Color
Painters. Text by Gerald Nordland. Includes Downing,
Mehring, Noland. Bibliography.
46. Review: stevens, Elisabeth. "The Washington Color
Painters", Arts, New York, vol. 40, no. 1,
November 1965, pp. 30-33.
47. Kunsthalle, Basel, June 26-September 5, 1965, Signale.
Text by A. Riidlinger. Includes Held, Kelly, Noland.
48. Review: "Basel: Signale; Ausstellung in der Kunst-
halle", Werk, Winterthur, Switzerland, vol. 52,
no. 8, August 1965, supplement, pp. 179-180.
49. robins, corinne. "Six Artists and the New Extended
Vision", Arts, New York, vol. 39, no. 10, September-
October 1965, pp. 19-24. Includes Held.
50. rose, Barbara. "The Second Generation: Academy and
Breakthrough", Artforum, San Francisco, vol. IV, no. 1,
September 1965, pp. 53-63. Includes Held, Kelly,
Noland, Youngerman.
51. rose, Barbara. "ABC Art", Art in America, New York,
vol. 53, no. 5, October 1965, pp. 56-69. Statements by
Stella, Zox.
52. San Francisco Museum of Art, San Francisco, October 15-
November 21, 1965, Colorists 1950-1960. Includes
Feeley, Noland, Poons, Smith, Stella, Williams.
53. plessix, francine du. "Painters and Poets", Art in
America, New York, vol. 53, no. 5, October-November
1965, pp. 24-56. Includes drawings by Feeley, Younger-
man.
54. bourdon, david. "Park Place: New Ideas", The Village
Voice, New York, November 25, 1965, pp. 11 + .
55. bourdon, david. "E = Mc 2 a go-go; Ten Painters and
Sculptors Form a Lively, Objective Collective in New
York", Art News, New York, vol. 64, no. 9, January 1966,
pp. 22-25, 57-59. Park Place artists.
56. welsh, Robert. "The Growing Influence of Piet Mon-
drian", Canadian Art, 100, Toronto, vol. 23, no. 1,
January 1966, pp. 44-49.
57. lippard, lucy r. "New York Letter", Art International,
Lugano, vol. X, no. 1, January 20, 1966, p. 91. Includes
Fleming, Novros, Ruda.
58. "A New Abstraction: A Discussion Conducted by Bruce
Glaser", Art International, Lugano, vol. X, no. 2,
February 20, 1966, pp. 41-45. Includes Held.
59. robins, corinne. "Four Directions at Park Place", Arts,
New York, vol. 40, no. 8, June 1966, pp. 20-24. Includes
Ruda, Novros.
60. smithson, robert. "Entropy and the New Monuments",
Artforum, Los Angeles, vol. IV, no. 10, June 1966,
pp. 26-31.
 58

JO BAER Tibor De Nagy Gallery, New \ork, February- 1958.

1929. Seattle, Washington 72. Reviews: Campbell, Lawrence. Art News, New York,
New York, 1960 March 1958. p. 13.
vol. 57, no. 1,
73. dash. warren. Arts, New York. vol. 32.
R.
Fischbach Gallery, New \ ork, February 1966. no. 6. March 1958, p. 60.
61. Reviens: ashbery. john. Art News. New York, vol. 64, 74. goossen, e. c. "The End of Winter in New
no. 10, February, 1966, p. 13. It ork", Art International. Zurich, vol. 2.
62. lippard, lucy R. "New York Letter", Art nos. 2-3, 1958, pp. 37-38.
International, Lugano, vol. X, no. 4, April 20. Betty Parsons Gallery, New York, May 1960.
1966, p. 73. 75. Reviews: campbell, lawrence. Art News, New York,
63. goldin. amy. Arts. New York. vol. 40, no. 6. vol. 59. no. 3, May 1960, p. 15.
April 1966. p. 69. 76. judd, donald. Arts, New York. vol. 34. no. 8,
May 1960, p. 60.
Betty Parsons Gallery, New York, May 14-June 2, 1962.
77. Reviews: campbell, Lawrence. Art News, New York,
vol. 61, no. 4, Summer 1962, p. 17.
ROBERT BARRY 78. judd, donald. Arts, New York, vol. 36, no. 10,
1936. New York September 1962, p. 47.
Resident New \ork Betty Parsons Gallery, New York, May 13-31, 1963.
79. Reviews: sandler. irvixg h. Art News, New York, vol.
Westerly Gallery, New York, October 6-24, 1964. 62. no. 3. May 1963, p. 58.
64. Review: stevens, Elisabeth. Art News, New York, 80. New York, vol. 37, no. 10,
judd, donald. Arts,
vol. 63, no. 7, November 1964. p. 53. September 1963, p. 59.
81. alloway, Lawrence. "Paul Feeley", Living Arts 3, Lon-
-
don, 1964, pp. 26^47. Includes interview with the artist.
Kasmin Limited, London, Fall 1964.
82. Review: lynton, norbert. "London Letter", Art Inter-
AL BRUNELLE national, Lugano, vol. 8, no. 10, December
1934, Minneapolis. Minnesota 1964, pp. 44-45.
New York. 1962 Bettv Parsons Gallerv. New \ ork. October 27-November
21, 1964.
83. Reviews: edgar, natalie. Art News, New York, vol. 63,
no. 8, December 1964, p. 14.
84. judd, donald. Arts, New York, vol. 39, no. 3,
THOMAS DOWNING December 1964, p. 69.
1928, Ivor, \ irginia 85. rose, Barbara. "New York Letter", Art In-
Resident ^ ashington, D.C. ternational. Luaano. vol. 8. no. 10. December
1964, p. 50.
Allan Stone Gallery, New York, June 1962. 86. goossen, e. c."Paul Feeley", Art International, Lugano,
65. Review: sharpless, ti-grace a. Art News, New York, vol. 8, no. 10, December 1964, pp. 31-33.
vol. 61, no. 5, September 1962. p. 16. Betty Parsons Gallery. New \ork, December 7-31, 1965.
Stable Gallery, New York, October 1-19, 1963. 87. Reviews: Art News. New York, vol. 64. no. 8. December
66. Reviews: swenson, g. r. Art News, New York. vol. 62. 1965. p. 14.
no. 6. October 1963, p. 12. 88. glueck, grace. Art in America, New York,
67. judd, donald. Arts, New York, vol. 38, no. 2, December 1965, p. 124.
vol. 53, no. 6,
November 1963, p. 35. 89. baro, gene. "Paul Feeley: The Art of the Definite", Arts,
68. rose, Barbara. "New York Letter", Art In- New York,
7
vol. 40, no. 4, February 1966, pp. 19-25.
ternational, Lugano, vol. VII. no. 9. December
5,1963, p. 65.
Stable Gallery, New York, January 5-23, 1965.
69. Reviews: edgar, natalie. Art News, New York, vol. 63,
no. 10, February 1965, p. 14.
70. grossberg, Jacob. Arts, New York, vol. 39, DEAN FLEMING
no. 5, February 1965. p. 65. 1933. Santa Monica. California
71. lippard, lucy R. "New York Letter", Art New York, 1961
International, Lugano, vol. IX, no. 2, March Park Place Gallery, New \ ork
1965, p. 51.
Park Place Gallery, New York, December 19, 1965-
January 20, 1966. Dean Fleming and Anthony Magar.
90. Revieivs: bourdon, david. "Parallelogram Backflip",
The Village Voice, New \ork, December 23,
PAUL FEELEY 1965, p. 12.
1913, Des Moines, Iowa 91. berrigan, ted. Art News, New York, vol. 64.
Lived in Bennington. Vermont after 1946 no. 10, February 1966, p. 15.
Died 1966, New York 92. adrian. dennis, "New York", Artforum, Los
Bettv Parsons Gallerv. New York Angeles, vol. IV, no. 7, March 1966, p. 52.
 59

93. berkson, william. Arts, New York, vol. 40, 111. Galerie Renee Ziegler, Zurich, October 2-30, 1964. Text
no. 5, March 1966, p. 60. by Harald Szeemann.
94. FLEMING, DEAN, PETER FORAKIS, PHYLLIS YAMPOLSKY. 112. Review: H.C. Werk, Winterthur, Switzerland, vol. 51,
Grope, New York, January 1964, vol. 1, no. 1, Ergo-Suit no. 12, supplement, p. 292, December 1964.
Productions, Tibor de Nagy Editions. 113. baigell, matthew. "American Abstract Expressionism
95. "New Talent USA", Art in America, New York, vol. 54, and Hard Edge: Some Comparisons", Studio Inter-
no. 4, July-August, 1966, p. 45 Selected by Larry
. national, London, vol. 171, no. 873, January 1966, pp.
Aldrich. Statement by the artist. 10-15.
96. FLEMING, DEAN, PHYLLIS yampolsky. The Blown Mind,
New York, New York Express, 1966.

RALPH HUMPHREY
1932, Youngstown, Ohio
PETER GOURFAIN New York, 1956
1934, Chicago, Illinois Bykert Gallery, New York
New York, 1961
Tibor de Nagy Gallery, New York, February 3-21, 1959.
Bridge Gallery, New York, March 9-27, 1965. Peter 114. Review: Campbell, lawrence. Art News, New York,
Gourfain and David Lee. vol. 57, no. 10, February 1959, p. 17.
97. Reviews: waldman, diane. Art News, New York, vol. 64, Tibor de Nagy Gallery, New York, February 2-21, 1960.
no. 1, March 1965, p. 15. 115. Reviews: Campbell, lawrence. Art News, New York,
98. judd, donald. "New York Notes", Art Inter- vol. 58, no. 10, February 1960, p. 14.
national, Lugano, vol. IX, no. 4, May 1965, 116. judd, donald. Arts, New York, vol. 34, no. 6,
p. 65. March 1960, p. 54.
99. hoene, anne. Arts, New York, vol. 39, no. 9, Mayer Gallery, New York, May 1961.
May-June, 1965, p. 64. 117. Review: sandler, irving. Art News, New York, vol. 60,
no. 3, May 1961, p. 15.
Green Gallery, New York, May 5-29, 1965.
118. Reviews: levine, neil a. Art News, New York, vol. 64,
no. 4, Summer1965, p. 16.
AL HELD 119. goldin, amy. Arts, New York, vol. 39, no. 10,
1928, New York September-October 1965, p. 66.
Resident New York
Andre Emmerich Gallery, New York

Poindexter Gallery, New York, January 1959.

100. Reviews: sandler, irving h. Art News, New York, vol. ROBERT HUOT
57, no. 9, January 1959, p. 17. 1935, Staten Island
101. b.d.h. Arts, New York, vol. 33, no. 5, February Resident New York
1959, p. 64. Stephen Radich Gallery, New York
Poindexter Gallery, New York, January 18-February 6,
1960. Stephen Radich Gallery, New York, May 4-30, 1964.
102. Reviews: crehan, Hubert. Art News, New York, vol. 120. Reviews: edgar, natalie. Art News, New York, vol. 63,
January 1960, p. 15.
58, no. 9, no. 4, Summer 1964, p. 59.
103. dennison, george. Arts, New York, vol. 34, 121. fried, michael. "New York Letter", Art
no. 4, January 1960, p. 58. International, Lugano, vol. VIII, nos. 5-6,
Poindexter Gallery, New York, May 1-20, 1961. Summer 1964, p. 82.
104. Review: sandler, irving h. Art News, New York, vol. 122. Vassar College Art Gallery, Vassar College, Poughkeepsie,
60, no. 3, May 1961, p. 15. New York, May 4-31, 1964. New Directions 1964. Text
105. "New Talent USA", Art in America, New York, vol. 50, by Linda Nochlin.
no. 1, 1962, p. 26. Chosen by Richard Brown Baker and Stephen Radich Gallery, New York, March 9-April 3.
Dorothy Gees Seckler. 1965.
Poindexter Gallery, New York, November 13-December 123. Reviews: berkson, william. Arts, New York, vol 39,
1, 1962. no. 9, May 1965, p. 68.
106. Reviews: sandler, irving h. Art News, New York, vol. 124. gablik, suzi. Art News, New York, vol. 64,
61, no. 8, December 1962, p. 14. no. 3, May 1965, p. 46.
107. judd, donald. Arts, New York, vol. 37, no. 4, 125. judd, donald. "New York Notes", Art Inter-
January 1963, p. 47. national, Lugano, vol. IX, no. 4, May 1965,
108. sandler, irving. "New York Letter", Quad- p. 65.
rum, Brussels, no. 14, 1963, pp. 121-122. 126. greene, sue. Art Voices, New York, vol. 4,
109. sandler, irving. "Al Held paints a picture", Art News, no. 2, Spring 1965, p. 111.
New York, vol. 63, no. 3, May 1964, pp. 42-15, 51. Stephen Radich Gallery, New York, March 15-April 2,
110. ashton, dore. "Al Held, New Spatial Experiences", 1966.
Studio International, London, vol. 168, no. 859, Novem- 127. Review: burton, scott. Art News, New York, vol. 65,
ber 1964, pp. 210-213. no. 2, April 1966, p. 16.
 60

WILL INSLEY 1961, pp. 88-89.

1929. Indianapolis. Indiana 148. ashton, dore. "Art USA 1962". Studio, London, vol.
New York, 1957 163, no. 827, March 1962, p. 89.
Stable Gallery, New "York- 149. alloway, Lawrence. "Heraldry and Sculpture", Art
International, Zurich, vol. YI, no. 3. April 1962. pp.
Stable Gallery, New
York. .May 11-29, 1965 52-53.
128. Reviews: edgar, Natalie. Art News, New York, vol. 64, 150. Arthur Tooth and Sons, Ltd., London, May 29-June 23,
no. 3. May 1965, p. 18. 1962. Text by Lawrence Alloway. Original layout by Kelly.
129. lippard, lucy R. "New York Letter", Art 151. RUBIN, WILLIAM. "Ellsworth Kelly: the Big Form", Art
International, Lugano, vol. IX, no. 6, Sep- News, New York, vol. 62, no. 7, November 1963. pp.
tember 20, 1965, p. 59. 32-35.
130. hoene, anne. Arts, New York, vol. 39, no. 10. Bettv Parsons Gallerv, New York, October 29-November
September-October 1965, p. 68. 23, 1963.
Stable Gallery, New York. April 12-30, 1966. 153. Review: fried, michael. "New York Letter", Art
131. Review: BURTON, SCOTT. Art News, New York, vol. 65, International, Lugano, vol. VII, no. 10,
no. 2. April 1966, p. 16. January 16, 1964, p. 54.
154. W ashington Gallery of Modern Art, Washington, D.C.,
December 11, 1963-January 26, 1964, Paintings, Sculp-
ture and Drawings. Includes an "Interriew with Ellsworth
Kelly" by Henry Geldzahler, November 1963.
ELLSWORTH KELLY 155. Reprinted in Art International, Lugano, vol. VIII, no. 1,
1923, Newburgb, New York February 15. 1964, pp. 47-48.
New York, 1954 156. kramer, hilton. '"Realists" and Others", Arts, New-
Sidney Janis Gallery, New York York, vol. 38, no. 4, January 1964, p. 22.
157. johnson, philip. "Young Artists at the Fair", Art in
Betty Parsons Gallery, New York, May 21-June 9. 1956. America, New York, vol. 52, no. 4, August 1964, p. 121.
132. Reviews: butler, Barbara. Arts, New York, vol. 30, Sidney Janis Gallery, New York, April 6-May 1, 1965.
no. 9, June 1956, p. 52. 158. Revieivs: barnitz. Jacqueline. Arts, New York, vol. 39.
133. tyler. parker. Art News, New York, vol. 55. nos. 8-9, May 1965, p. 58.
no. 4, June 1956, p. 51. 159. levin, kim. Art News, New York, vol. 64, no. 3.
134. W hitney Museum of American Art,New York, February May 1965, p. 10.
27-April 4, 1957, Young America 1957. Edited by 160. greene, sue. Art Voices, New York, vol. 4,
John I. H. Baur and Rosalind Irvine. no. 2, Spring 1965, p. 108.
Bettv Parsons Gallerv, New \ork. September 23-October 161. ashton, dore. Studio International, London,
12. 1957. vol. 170, no. 867, July 1965, pp. 40-42.
135. Reviews: S.B. Arts, New York, vol. 32, no. 1. October 162. michelson, annette. "Paris Letter", Art International,
1957, p. 56. Lugano, vol. IX, no. 2, March 1965, p. 39.
136. tyler, parker. Art News, New York, vol. 56, Ferus Gallery, Los Angeles, March 15, 1966.
no. 6, October 1957, p. 17. 163. Review: von meier, kurt. "Los Angeles Letter", Art
137. Galerie Maeght, Paris, October 24, 1958. Article by International, Lugano, vol. X, no. 5, May 1966.
E. C. Goossen, "Ellsworth Kelly", Derriere le Miroir, pp. 58-59.
Paris, A. Maeght, no. 110, 1958. 164. "Four Drawings: Ellsworth Kelly", Artforum, Los
Bettv Parsons Gallerv. New York. October 19-November Angeles, vol. IV, no. 6, February 1966, pp. 40-41.
7, 1959.
138. Revieivs: Campbell, Lawrence. Art News, New York,
vol. 58, no. 6.October 1959, p. 13.
139. tillim, Sidney. Arts, New York, vol. 34, no. 1,
October 1959, pp. 48-50. NICHOLAS KRUSHENICK
140. ashton, dore. Arts and Architecture, Los 1929, New York
Angeles, vol. 76, no. 12, December 1959. p. 7. Resident New York
141. tillim, Sidney. "Profiles: Ellsworth Kellv", Arts Year- Pace Gallery, New \ ork
book 3, New York, 1959, pp. 148-151.
142. The Museum of Modern Art, New York, December 16, Camino Gallery, New York, May 1956. John and Nicholas
1959-February 14, 1960, Sixteen Americans. Introduction Krushenick.
by Dorothy C. Miller. Statement by the artist. 165. Review: tyler, parker. "Brothers Krushenick at
143. seuphor, michel. "Sens et Permanence de la Peinture Camino", Art News, New York, vol. 55, no. 3,
Construite",Quadrum, Brussels, no. 8, 1960. p. 52. May 1956, p. 57.
144. Arthur Tooth and Sons, Ltd., London, January 24- Camino Gallerv, New York. January 25-Februarv 14,
February 18, 1961, 6 American Abstract Painters. Text 1957.
by Lawrence Alloway. Includes Kelly, Martin, Smith. 166. Reviews: tyler, parker. Art News, New York. vol. 55,
Bettv Parsons Gallerv, New ^1 ork, October 16-November no. 10, February 1957, p. 51.
4, 1961. 167. young, vernon. Arts, New York, vol. 31. no. 5.
145. Reviews: sandler, irving h. Art News, New York, vol. February 1957, p. 65.
60, no. 8, November 1961, p. 13. Brata Gallery, New York, November 1958.
146. tillim, Sidney. Arts, New York, vol. 36, no. 3, 168. Revieiv: burckhardt, edith. Art News, New lork.
December 1961, p. 48. vol. 57, no. 7, November1958. p. 17.
147. seckler, dorothy gees. "American Art International: Brata Gallery. Yew York, October 7-27, 1960.
Gallery Notes", Art in America, New York, vol. 49, no. 2. 169. Reviews: beck, james h. Art Neivs, New York, vol. 59,
 61

no. 6, October 1960, p. 15. DAVID LEE

170. raynor, vivien, Arts, New York, vol. 35, 1937, Charlottesville, Virginia
no. 1, October 1960, p. 66. New York, 1960
Graham Gallery, New York, September 18-October 6,
1962. Bridge Gallery, New York, February 11-29, 1964.
171. Reviews: edgar, Natalie. Art News, New York, vol. 61, 193. Reviews: campbell, lawrence. Art News, New York,
no. 5, September 1962, p. 12. vol. 63, no. 1, March 1964, p. 14.
172. tillim, Sidney. Arts, New York, vol. 37, no. 1, 194. judd, donald. Arts, New York, vol. 38, no. 7,
October 1962, p. 53. April 1964, p. 34.
173. ashton, dore. Studio, London, vol. 164, no. Bridge Gallery, New York, March 9-27, 1965. David Lee
836,December 1962, p. 248. and Peter Gourfain.
Graham Gallery, New York, March 31-April 25, 1964. 195. Reviews: waldman, diane. Art News, New York, vol. 64,
174. Reviews: benedikt, michael. Art News, New York, vol. no. 1, March 1965, p. 15.

63, no. 2, April 1964, p. 13. 196. judd, donald. "New York Notes", Art Inter-
175. judd, donald. Arts, New York, vol. 38, no. 9, national, Lugano, vol. IX, no. 4, May 1965, p.
May 1964, p. 33. 65.
176. rose, Barbara. "New York Letter", Art Inter- 197. hoene, anne. Arts, New York, vol. 39, no. 9,
national, Lugano, vol. VIII, nos. 5-6, Summer May-June 1965, p. 64.
1964, p. 78.
New York, April 6-24, 1965. Text by
177. Fischbach Gallery,
Robert Rosenblum.
178. Reviews: Campbell, lawrence. Art News, New York,
vol. 64, no. 2, April 1965, p. 17. ROBERT MANGOLD
179. raynor, vivien. Arts, New York, vol. 39, no. 9, 1937, North Tonawanda, New York
May 1965, p. 65. New York, 1962
180. greene, sue. Art Voices, New York, vol. 4, Fischbach Gallery, New York
no. 2, Spring 1965, p. 111.
181. lippard, lucy R. "New York Letter": Art Thibaut Gallery, New York, January 4-25, 1964.
International, Lugano, vol. IX, no. 6, Sep- 198. Reviews: campbell, lawrence. Art News, New York,
tember 20, 1965, p. 58. January 1964, p. 19.
vol. 62, no. 9,
199. Harrison, jane. Arts, New York, vol. 38, no. 6,
March 1964, p. 67.
200. lippard, lucy r. "New York", Artforum, San Francisco,
vol. II, no. 9, March 1964, p. 19.
201. Fischbach Gallery, New York, October 12-30, 1965.
TADAAKI KUWAYAMA Robert Mangold: Walls and Areas, text by Lucy R.
1932, Nagoya, Japan Lippard.
New York, 1958 202. Reviews: Art News, New York, vol. 64, no. 5, October
1965, p. 10.
Green Gallery, New York, January 10-February 4, 1961. 203. benedikt, michael. "New York Letter", Art
182. Reviews: campbell, lawrence. Art News, New York, International,Lugano, vol. IX, nos. 9-10,
vol. 59, no. 9, January 1961, p. 18. December 20, 1965, p. 41.
183. judd, donald. Arts, New York, vol. 34, no. 4, 204. berkson, william. Arts, New York, vol. 40,
January 1961, p. 55. no. 2, December 1965, p. 65.
Green Gallery, New York, February 20-March 10, 1962.
184. Reviews: swenson, g. r. Art News, New York, vol. 60,
no. 10, February 1962, p. 53.
185. judd, donald. Arts, New York, vol. 36, no. 7,
April 1962, p. 54.
Kornblee Gallery, New York, April 14-May 2, 1964. AGNES MARTIN
186. Reviews: castile, rand. Art News, New York, vol. 63, 1921, Maklin, Canada
no. 2, April 1964, p. 13. Resident New York
187. barnitz, Jacqueline. Art Voices, New York, Robert Elkon Gallery, New York
vol. 3, no. 4, April-May 1964, p. 30.
188. judd, donald. Arts, New York, vol. 38, no. 10, Section 11, Betty Parsons Gallery, New York, December
Summer 1964, p. 68. 2-20, 1958.
Southampton East Gallery, New York, June 1964. 205. Reviews: burckhardt, edith. Art News, New York,
Tadaaki Kuwayama, Lil Picard, Rakuka Naito. vol. 57, no. 8, December 1958, p. 17.
189. Reviews: brown, Gordon. Art Voices, New York, vol. 3, 206. ventura, anita. Arts, New York, vol. 33, no. 4,
no. 5, June 1964, p. 12. January 1959, p. 59.
190. swenson, g. r. Art News, New York, vol. 63, Section 11, Betty Parsons Gallery, New York, December
no. 4, Summer 1964, p. 17. 29-January 16, 1960.
John Daniels Gallery, New York, April 6-May 1, 1965. 207. Reviews: b.b. Arts, New York, vol. 34, no. 4, January
191. Reviews: levine, neil a. Art News, New York, vol. 64, 1960, p. 50.
no. 3, May 1965, p. 15. 208. campbell, lawrence. Art News, New York,
192. grossberg, jacob. Arts, New York, vol. 39, January 1960, p. 16.
vol. 58, no. 9,
no. 10, September-October 1965, p. 74. See bibliography no. 144.
 62

Bettv Parsons Gallery, New York, September 25-October 11-February 15, 1963, Three New American Painters:
14, 1961. Louis, Noland, Olitski. Text by Clement Greenberg.
209. Review: edgar, natalie. Art News, New York, vol. 60, 226. Reprinted as "Three American Painters", Canadian Art,
no. 6, October 1961, p. 11. Ottawa, vol. XX, no. 3, May-June 1963, pp. 172-175.
Robert Elkon Gallery. New York, November 27-Decem- 227. rose, Barbara. "Kenneth Noland", Art International,
ber 15, 1962. Lugano, vol. VIII, nos. 5-6, Summer 1964, pp. 58-61.
210. Reviews: beck, james h. Art News, New York, vol. 61, 228. XXXII International Biennial Exhibition of Art, United
no. 9, January 1963, p. 13. States Pavilion, Venice, June 20-October 18, 1964.
211. judd, donald. Arts, New York, vol. 37, no. 5, Text by Alan R. Solomon, pp. 275-276.
January 1963, p. 48. 229. The Jewish Museum, New York, February 4-March 7,
Robert Elkon Gallery, New York, November 12-30, 1963. 1965, Kenneth Noland. Text by Michael Fried.
212. Reviews: lonngren, lillian. Art News, New York, 230. Reviews: Campbell, lawrence. Art News, New York,
vol. 62, no. 8, December 1963, p. 52. vol. 64, no. 1, March 1965, p. 12.
213. judd, donald. Arts, New York, vol. 38, no. 4, 231. judd, donald. Arts, New York, vol. 39, no. 6,
January 1964, p. 33. March 1965, p. 54.
214. greene, sue. Art Voices, New York, vol. 4, 232. judd, donald. "New York Letter", Art Inter-
no. 2, Spring 1965, p. 110. national, Lugano, vol. IX, no. 3, April 1965,
Robert Elkon Gallery, New York, April 10-30, 1965. p. 74.
215. Reviews: Johnston, jill. Art News, New York, vol. 64, Andre Emmerich Gallery, New York, November 10-28,
no. 2, April 1965, p. 10. 1964.
216. berkson, william, Arts, New York, vol. 39, 233. Reviews: kozloff, max. Arts, New York, vol. 39, no. 4,
no. 9, May
1965, p. 66. January 1965, p. 48.
Nicholas Wilder Gallery, Los Angeles, December 14, 234. ashton, dore. Studio International, London,
1965-January 8, 1966. vol. 169, no. 862, February 1965, p. 92.
217. Review: snyder, susan r. "Los Angeles", Artforum, 235. lippard, lucy R. "New York Letter", Art
Los Angeles, vol. IV, no. 6, February 1966, International, Lugano, vol. IX, no. 1, February
p. 15. 1965, pp. 34-35.
Andre Emmerich Gallery, New York, February 22-
March 13, 1966.
236. Revieu): lippard, lucy r. "New York Letter", Art
International, Lugano, vol. X, no. 4, April 20,
HOWARD MEHRING 1966, p. 74.
1931, Washington D.C.
Resident Washington, D.C.
A. M. Sachs Gallery, New York

218. ahlander, Leslie judd. "An Artist Speaks: Howard DAVID NOVROS
Mehring", Washington Post, Washington, September 2, 1941, Los Angeles, California
1962, p. 67. New York, 1964
A. M. Sachs Gallery, New York, April 27-May 15, 1965. Park Place Gallery, New York
219. Reviews: berrigan, ted. Art News, New York, vol. 64,
no. 3, May 1965, p. 16. Park Place Gallery, New York, January 23-February 24,
220. hoene, anne. Arts, New York, vol. 39, no. 10, 1966. David. Novros, Mark di Suvero and Dean Fleming.
September-October 1965, p. 65. 237. Reviews: ashbery, john. Art News, New York, vol. 65,
221. benedikt, michael. "New York Letter", Art no. 1, March 1966, p. 13.
International, Lugano, vol. IX, no. 6, Sep- 238. Adrian, dennis. "New York", Artforum, Los
tember 20, 1965, p. 61. Angeles, vol. IV, no. 8, April 1966, p. 48.
A. M. Sachs Gallery, New York, April 19-May 7, 1966.
222. Review: waldman, diane. Art News, New York, vol. 65,
no. 4, Summer 1966, p. 13.

LARRY POONS
1937, Tokyo, Japan
New York, 1938
KENNETH NOLAND Leo Castelli Gallery, New York
1924, Asheville, North Carolina
From Washington to New York 1961 Green Gallery, New York, November 4-23, 1963.
Vermont
Lives South Shaltsbury, 239. Reviews: swenson, g. r. Art News, New York, vol. 62,
Andre Emmerich Gallery, New York no. 7, November 1963, p. 19.
240. fried, michael. "New York Letter", Art In-
For a full bibliography see no. 229. ternational, Lugano, vol. VII, no. 10, January
223. greenberg, clement. "Louis and Noland", Art Inter- 16, 1964, p. 55-56.
national, Zurich, vol. IV, no. 5, May I960, pp. 26-29. 241. Harrison, jane. Arts, New York, vol. 38,
224. greenberg, clement. "After Abstract Expressionism", no. 4, January 1964, p. 31.
Art International, Zurich, vol. VI, no. 8, October 25, 242. The Solomon R. Guggenheim Museum, New York, Sep-
1962, pp. 24-32. tember-October 1964, American Drawings. Text by
225. Norman Mackenzie Art Gallery, Regina, Canada, January Lawrence Alloway.
 63

243. Review: judd, donald. Arts, New York, vol. 39, no 2, 257. Review: tyler, parker. Art News, New York, vol. 55,
November 1964, p. 59. no. 8, December 1956, p. 11.
Green Gallery, New York, February 10-March 6, 1965. Camino Gallery, New York, January 24-February 13,
244. Reviews: baker, Elizabeth c. Art News, New York, 1958.
vol. 64, no. 1, March 1965, p. 12. 258. Review: ashbery, john. Art News, New York, vol. 56,
245. judd, donald. "New York Letter", Art In- no. 9, January 1958, p. 19.
ternational, Lugano, vol. IX, no. 3, April 1965, Section 11, Betty Parsons Gallery, New York, November
pp. 74-75. 10-29, 1958.
246. tillim, Sidney. "The Dotted Line", Arts, New York, 259. Reviews: burckhardt, edith. Art News, New York,
vol. 39, no. 5, February 1965, pp. 16-21. vol. 57, no. 7, November 1958, p. 16.
247. JOHNSON, E. H. "Three Young Americans: Hinman, 260. b. b. Arts, New York, vol. 33, no. 2, November
Poons, Williams", Oberlin College Bulletin, Oberlin 1958, p. 58.
College, Oberlin, Ohio, vol. 22, no. 3, Spring 1965, Section 11, Betty Parsons Gallery, New York, February
pp. 82-86. 9-27, 1960.
248. Reprinted with minor changes as "Three New, Cool, s., Art News, New York, vol. 58, no. 10,
261. Reviews: a.
Bright, Imagists", Art News, New York, vol. 64, no. 42, February 1960, p. 15.
Summer 1965, pp. 42-44, 62-64. 262. mott, helen de. Arts, New York, vol. 34,
249. kozloff, max. "Larry Poons", Artforum, San Francisco, no. 5, February 1960, p. 67.
vol. 3, no. 7, April 1965, pp. 26-29. 263. "Leon Polk Smith", Quadrum, Brussels, no. 12, 1961,
250. coplans, JOHN. "Larry Poons", Artforum, San Francisco, pp. 150-151.
vol. 3, no. 9, June 1965, pp. 33-35. See bibliography no. 144.
Stable Gallery, New York, January 2-20, 1962.
264. Reviews: raynor, vivien. Arts, New York, vol. 36, no. 5,
February 1962, p. 41.
265. swenson, g. r. Art News, New York, vol. 60,
EDWIN RUDA no. 10, February 1962, p. 12.
1922, New York 266. ashton, dore. "New York Commentary",
Resident New York Studio, London, vol. 163, no. 828, April 1962,
Park Place Gallery, New York p. 157.
267. gray, cleve. "The Artist in America: Anniversary
Feiner Gallery, New York, March 9-April 6, 1963. Album", Art in America, New York, vol. 51, no. 1,
251. Review: sharpless, ti-grace a. Art News, New York, February 1963, pp. 64, 76, 81.
vol. 62, no. 2, April 1963, p. 56. Stable Gallery, New York, March 12-April 6, 1963.
Globe Gallery, New York, April 10-May 6, 1962. 268. Reviews: Campbell, Lawrence. Art News, New York,
252. Review: edgar, Natalie. Art News, New York, vol. 61, vol. 62, no. 1, March 1963, p. 14.
no. 4, Summer 1962, p. 58. 269. tillim, Sidney. Arts, New York, vol. 37, no. 9,
Great Jones Gallery, New York, May 3-20, 1960. Spoerri, May 1963, p. 107.
Kim, Forakis, Ruda. 270. alloway, Lawrence. "Leon Smith: New Work and Its
253. Review: Schuyler, james. Art News, New York, vol. Art International. Lugano, vol. VII, no. 4,
Origin",
59, no. 3, May 1960, p. 20. April 25, 1963, pp. 51-53.
Park Place Gallery, New York, May 8-June 9, 1966. 271. brown, Gordon. "International Art Trends: U.S.A.: The
Edwin Ruda and Peter Forakis. Purists", Art Voices, New York, vol. 2, no. 5, May 1963,
254. Review: schjeldahl, peter. Art News, New York, p. 19.
vol. 65, no. 4, Summer 1966, p. 14. 272. "A Conversation between Leon Polk Smith and d'Arcy
Hayman", Art and Literature, Lausanne, no. 3, Autumn-
Winter 1964, pp. 82-103.
Galerie Chalette, New York, October 2-November 31,
1965.
ROBERT RYMAN 273. Reviews: goldin, amy. Arts, New York, vol. 40, no. 1,
1930, Nashville, Tennessee November 1965, p. 57.
New York, 1952 274. lippard, lucy R. "New York Letter", Art Inter-
national, Lugano, vol. X, no. 1, January 20,
1966, p. 92.
275. smith, leon. Portfolio of Draivings, Galerie Chalette,
New York, 1965.
LEON POLK SMITH
1906, Chickasha, Oklahoma
New York, 1950
Galerie Chalette, New York
FRANK STELLA
Mills College of Education Gallery, New York, November 1936, Maiden, Massachusetts
22-December, 1955. New York, 1958
255. Reviews: mellow, james r. Arts, New York, vol. 30, Leo Castelli Gallery, New York
no. 3,December 1955, p. 54.
256. tyler, parker. Arts News, New York, vol. 54, 276. "Three Young Americans", Oberlin College Bulletin,
no. 9, January 1956, p. 68. Oberlin College, Oberlin, Ohio, vol. 17, no. 1, Fall 1959,
Camino Gallery, New York, December 1956. pp. 18-19.
 See bibliography no. 142. 300. leider, philip. "Frank Stella", Artforum, San Francisco,
Leo Castelli Gallery, New York, September 27-October vol. Ill, no. 9, June 1965, pp. 24-26.
15, 1960. Ferus Gallery, Los Angeles, January 26, 1965.
277. Reviews: mott, helen de. Arts, New York, vol. 35, no. 1, 301. Review: marmer, nancy. "Los Angeles Letter", Art
October 1960, p. 64. International, Lugano, vol. IX, no. 4, May
278. Petersen, valerie. Art Neivs, New York, 1965, pp. 43^4.
vol. 59, no. 7, November 1960, p. 17. 302. kozloff, max in Critic and the Visual Arts, New
The
279. sandler, irving H. "New York Letter", Art York, A.F.A., 1965, pp. 46-54. Paper given at A.F.A.
International, Zurich, vol. IV, no. 9, Decem- 52nd Biennial Convention, Boston.
ber 1, 1960, pp. 25-26. 303. Reprinted as "Critical Schizophrenia and the Intentionalist
Leo Castelli Gallery, New York, April 28-May 19, 1962. Method", The New Art, edited by Gregory Battcock,
280. Reviews: Campbell, lawrence. Art News, New York, New York, E. P. Dutton & Co., Inc., 1966, pp. 123-135.
vol. 61, no. 4, Summer 1962, p. 17. Leo Castelli Gallery, New York, March 5-29, 1966.
281. judd, donald. Arts, New York, vol. 36, no. 10, 304. Reviews: kozloff, max. The Nation, New York, vol.
September 1962, p. 51. 202, no. 13, March 28, 1966, p. 370-372.
Leo Castelli Gallery, New
York, October 16-November 7, 305. lippard, lucy R. "New York Letter", Art
1962. Frank Stella and John Chamberlain. International, Lugano, Switzerland, vol. X,
282. Reviews: ashton, dore. Das Kunstwerk, Baden-Baden, no. 10, Summer 1966, p. 113.
vol. XVI, November 1962, p. 69.
nos. 5-6,
283. fried, michael. "New York Letter", Art
International, Zurich, vol. VI, no. 9, Novem-
ber 1962, pp. 54-55.
284. raynor, vivien. Arts, New York, vol. 37, no. 3, NEIL WILLIAMS
December 1962, p. 46. 1934, Bluff, Utah
285. sandler, irving h. Art News, New York, vol. New York, 1959
61, no. 8, December 1962, p. 54. Andre Emmerich Gallery, New York
286. Gottlieb, carla. "Pregnant Woman, the Flag, the Eye:
Three New Themes in Twentieth Century Art", Journal Green Gallery, New York, May 6-30, 1964.
of Aesthetics, Cleveland, vol. 21, no. 2, Winter 1962, p. 181 306. Reviews: fried, michael. "New York Letter", Art In-
Leo Castelli Gallery, New York, Januarv 4-February 6, ternational, Lugano, vol. VIII, nos. 5-6,
1963. Summer 1964, p. 82.
287. Revieiv: ashton, dore. Studio, London, vol. 165, no. 307. Johnston, jill. Art News, New York, vol. 63,
838, February 1963, p. 67. no. 4, Summer 1964, p. 17.
Ferus Gallery, Los Angeles, February 18, 1963. 308. judd, donald. Arts, New York, vol. 38, no. 10,
288. Reviews: langsner, jules. "Los Angeles Letter", Art September 1964, p. 62.
International, Lugano, vol. VII, no. 3, March See bibliography no. 247 and no. 248.
25, 1963, p. 75. 309. lippard, lucy r. "New York Letter", Art International,
289. factor, donald. "Los Angeles", Artforum, Lugano, vol. IX, no. 2, March 1965, pp. 46+
San Francisco, vol. 1, no. 11, May 1963, p. 44. Dwan Gallery, Los Angeles, February 15-AIarch 12, 1966.
Leo Castelli Gallery, New York, January 4-30, 1964. 310. Revieivs: factor, don. "Los Angeles", Artforum, Los
290. Review: swenson, g. r. Art News, New York, vol. 62, Angeles, vol. IV, no. 8, April 1966, p. 14.
no. 10, February 1964, p. 11. 311. von meier, kurt. "Los Angeles Letter", Art
291. lippard, lucy r. "New York", Artforum, San International, Lugano, vol. X, no. 5, May 1966,
Francisco, vol. II, March 1964, p. 19.
no. 9, p. 58.
292. fried, michael. "New York Letter", Art
International, Lugano, vol. VII, no. 3, April
25, 1964, p. 59.
293. kozloff, max. "New York Letter", Art In-
ternational, Lugano, vol. VII, no. 3, April 25, JACK YOUNGERMAN
1964, p. 64. 1926, Louisville, Kentucky
See bibliography no. 227. New York, 1956
Kasmin Limited, London, September 29-October 24, Betty Parsons Gallery, New \ ork
1964.
294. Reviews: lynton, norbert. "London Letter", Art In- Betty Parsons Gallery, New York, March 10-28, 1958.
ternational, Lugano, vol. VIII, no. 10, Decem- 312. Reviews: dash. r. warren. Arts. New York, vol. 36,
ber 1964, pp. 44-^5. no. 6, March 1958, p. 57.
295. BARO, gene. Arts, New York, vol. 39, no. 4, 313. schuyler, james. Art News, New York, vol.
January 1965, p. 73. 57, no. 1, March 1958, p. 16.
296. judd, donald, "Local Historv", Arts Yearbook 7, New 314. "New Talent USA", Art in America, New York, vol. 47,
York 1964, pp. 22-35. no. 1, Spring 1959, p. 47.
297. "APortfolio of Recent Paintings", Arts Yearbook 7, New See bibliography no. 142.
York, 1964, p. 61. Betty Parsons Gallery, New York, January 11-30, 1960.
298. leider, philip. "Small but Select", Frontier, Los Angeles, 315. Reviews: a. s. Art News, New York, vol. 58, no. 10,
vol. 16, no. 5, March 1965, pp. 21-22. February 1960, p. 14.
299. rosenblum, Robert. "Frank Stella: Five Years of Varia- 316. judd, donald. Arts, New York, vol. 34, no. 5,
tion on an 'Irreductible' Theme", Artforum, San Fran- February 1960, p. 59.
cisco, vol. Ill, no. 6, March 1965, pp. 21-25. 317. ashton, dore. Arts and Architecture, Los
 65

Angeles, vol. 77, no. 3, March 1960, p. 35. no. 1, March 1966, p. 66.
Bettv Parsons Gallery, New York, March 31-April 25, 338. krauss, ROSALIND. "New York", Artforum,
1964. Los Angeles, vol. IV, no. 8, April 1966, p. 48.
318. Reviews: edgar, natalie. Art News, New York, vol. 63, 339. kollmar, richard. Games, New York, A Lines Book,
no. 3, May 1964, p. 15. 1966. Cover bv Zox.
319. judd, donald. Arts, New York, vol. 38, no. 9,
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320. rose, Barbara. "New York Letter", Art
International, Lugano, vol. VIII, nos. 5-6,
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321. benedikt, MICHAEL. " Youngerman Liberty in Limits",
:

Art News, New York, vol. 64, no. 5, September 1965,

pp. 43-45, 54-55.
Betty Parsons and Byron Galleries, New York, Sep-
tember 28-October 23, 1965. (paintings and drawings
respectively)
322. Reviews: goldin, amy. Arts, New York, vol. 40, no. 1,
November 1965, p. 58.
323. ashton. dore. Studio International, London,
vol. 170, no. 872, December 1965, p. 250.
324. berkson, william. Arts, New York, vol. 40,
no. 2, December 1965, p. 51.
325. lippard, lucy r. "New York Letter", Art
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20, 1966, p. 92.
326. Worcester Art Museum, Worcester, Massachusetts, No-
vember 4, 1965-January 2, 1966. Paintings and Drawings
by Jack Youngerman. Text by Daniel Catton Rich.
327. rose, Barbara. "An Interview with Jack Youngerman",
Artforum, Los Angeles, vol. IV, no. 5, January 1966,
pp. 27-30.

LAWRENCE ZOX
1936, Des Moines, Iowa
New York, 1958
Kornblee Gallery, New York

American Gallery, New York, May 1962.

328. Review: swenson, g. r. Art News, New York, vol. 61,
no. 5, September 1962, p. 16.
Kornblee Gallery, New York, February 4-22, 1964.
329. Reviews: judd, donald. Arts, New York, vol. 38, no. 6,
February 1964, p. 71.
330. levin, kim. Art News, New York, vol. 62, no.
10, February 1964, p. 19.
331. rose, Barbara. "New York Letter", Art In-
ternational, Lugano, vol. VIII, nos. 5-6,
Summer 1964, p. 80.
Kornblee Gallery, New York, February 20-March 11,
1965.
332. Reviews: Johnston, jill. Art News, New York, vol. 63,
no. 10, February 1965, p. 14.
333. greene, sue. Art Voices, New York, vol. 4,
no. 1, Winter 1965, p. 103.
334. lippard, lucy R. "New York Letter", Art
International, Lugano, vol. IX, no. 2, March
1965, p. 61.
335. raynor, vivien, Arts, New York, vol. 39, no. 7,
April 1965, p. 66.
Kornblee Gallerv, New York, Januarv 8-February 3,
1966.
336. Reviews: berkson, william. Arts, New York, vol. 40,
no. 5, March 1966, p. 53.
337. berrigan, ted. Art News, New York, vol. 61,
PHOTOGRAPHIC CREDITS
All photographs except the following were made by Robert E. Mates and Paul Katz:
Oliver Baker Associates, New \ork: p. 13

Geoffrey Clements, New \ork: pp. 32, 46

John A. Ferrari, Brooklyn: p. 51

Jonathan Holstein, New York: p. 53

Edward Kasper, New York: pp. 14. 15

Marion F. Mecklenburg, Washington, D.C.: p. 37

Robert Murray, New York: p. 48
Hans Namuth, New York: p. 12
0. E. Nelson, New York: p. 52
Eric Pollitzer, Garden City Park, New York: pp. 29, 41, 50
\\ alter Rosenblum, Long Island City, New York: p. 33
Walter J. Russell. New York: p. 12
THE SOLOMON R. GUGGENHEIM MUSEUM

STAFF

Director Thomas M. Messer

Curator Lawrence Alloway

Associate Curator Louise Averill Svendsen

Research Fellows Diane Waldman and Rose-Carol W ashton

Librarian Mary Joan Hall

Public Affairs Everett Ellin

Membership Carol Tormey

Registrar Alice Hildreth Goldman

Conservation Orrin Riley and Saul Fuerstein
Photography- Robert E. Mates

Custodian Jean Xceron

Business Administrator Glenn H. Easton, Jr.

Administrative Assistant Viola H. Gleason

Office Manager Agnes R. Connolly

Purchasing Agent Elizabeth M. Funghini
Sales Supervisor Judith E. Stern

Building Superintendent Peter G. Loggin

Head Guard Fred C. Mahnken

Exhibition 66/4 September-November, 1966

2,000 copies of this catalogue

designed by Herbert Matter

have been printed by Joh. Enschede en Zonen, Haarlem, Holland

in August 1966

for the Trustees of The Solomon R. Guggenheim Foundation

on the occasion of the exhibition

"Systemic Painting"
THE SOI 0>I0\ II. i.l 4.4.IMItl>l MISIIM

071 FIFTH AVKM K. XKW VOIIK 1 002