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Tag: Kenneth Noland
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A New Academy
As further research into painting in the 21st Century, this blog looks at some modernist art criticism from the 1960’s & ’70’s. It briefly reviews how two major art critics of that era shaped current attitudes toward painting. It argues that their perceived need to develop a comprehensive and defensible explanation for why certain works of art can be considered “good”, and others not, has had a profound effect on the direction of modern & post-modern art. It has led to the creation of A New Academy of Art that is just rigid as the French Academy the Impressionists rebelled against. This piece also suggests that the influence of these critics has created an emphasis on the cerebral aspects of the visual arts as a whole, not just art criticism. Further, that this emphasis on the cerebral has been instrumental in shaping attitudes to what is, or is not ,acceptable painting practice. This cerebral focus has been promoted by institutions to serve their own ends and these institutions have skewed the discipline of painting in a direction that it may not otherwise have gone.
Though many, if not most, self-defined post-modernists would seek to differentiate their views from those of Clement Greenberg‘s, there is a clear link between his theories and post-modern attitudes toward painting.Greenberg’s theory was that the point of painting was to “… determine the irreducible working essence of art…. Under Modernism, more and more of the conventions of the art of painting have shown themselves to be dispensable, unessential…the irreducible essence of pictorial art consists in but two constitutive conventions or norms: flatness and the delimitation of flatness…” Greenberg also insisted that painting establishes a purely visual or “optical space”, one addressed to eyesight alone and unmodified or revised by tactile associations.(1)
Onement 1, 1948, by Barnett Newman Though disparaged and eventually de-throned, Greenberg’s views have had an overwhelming impact on contemporary art practice up to the present and they have been widely accepted as unassailably true. The creative path of artists like Mondrian or Picasso might have been the source of Greenberg’s theory that painting is on an unswerving trajectory toward perfecting itself through jettisoning the inessential.
How artists were to define what is inessential Greenberg left up to individual self-criticism, but it soon became clear that only what artists that Greenberg admired deemed inessential led to irreducibly “good” paintings.
Later, Michael Fried took on the Minimalists (whom he also refers to as Literalists) for their wholly literal approach to painting & sculpture. By that he meant that they followed Greenberg’s idea about finding the irreducible essence of art to its logical conclusion which was “the surpassing of painting (or sculpture) in the interests of literalness” or what he called “objecthood”.
Tony Smith Night, 1962, Steel, painted black 
Piet Mondrian, Evening; Red Tree, 1910, oil on canvas, 
Piet Mondrian, Composition No. 10 (1939–42), 
Kenneth Noland, Reflections Alit, 2003, acrylic on canvas, 18-3/8″ x 51″ (46.7 cm x 129.5 cm) © The Paige Rense Noland Marital Trust / Artists Rights Society (ARS), New York
Fried drew an analogy between the works of Henri Matisse and Kenneth Noland as both having “unbrokenness, uniform intensity and sheer breadth of colour”.
The Dessert:Henri Matisse, 1908, “Harmony in Red” 
Donald Judd, Untitled 1980, set of six aquatints, 28 3/4″ x 33 3/4″ each Greenberg and Fried were writing at a time when the modernist experiment still had life in it and they could see that the direction of painting could either go toward work that “deadened its expressiveness, denied its sense of humanness” or work that could “stand in comparison with the painting of both the modernist and the premodernist past & whose quality is be beyond question.” They were living & writing during a period when what was considered to be important paintings were works that they had in large part encouraged through their criticism. These were hard-edged, non-pictorial, intellectual works, some of which retained some aspects of painterlyness and others that had rejected any claims to be arty. They both assumed that the direction they had pointed to in their critiques was based on a more-or-less objective assessment of the art world in which they found themselves. But a remove of a few decades reveals that their criticism was not objective in any way but emerged from their own desires to ennoble art criticism and themselves as art critics.
Fried considered that what Nolan has done is to make work like Matisse’s “radically abstract”. This agrees with Greenberg’s assertion that progress in painting has to do with discovering its essence, its irreducibility.
Kenneth Noland, “Shoot, – Acrylic On Canvas – 264 x 322 cm – 1964 But perhaps in searching for the irreducible essence of painting, the baby has been thrown out with the bathwater. What artists like Nolan may have felt were inessential were aspects of painting that convey life, the human factor, nature, a sense of place, joy, warmth, paint strokes & images to name a few of what Greenberg would term inessential “conventions”. Because some artists &critics did not consider these “conventions” to be essential does not mean they were & are inessential. They may have been inessential to those particular artists at that particular time, but may be essential to another time & place. However, this idea of whittling away everything extraneous to reveal the essence of art took hold as the dominant paradigm until painting itself became dispensable.
This ennobling desire on their part, and on the part of most art critics today, is understandable and defensible, especially in an art world that has become increasingly focused on monetary value rather than the intrinsic values of a work of art. And at the time they were writing, Greenberg & Fried were both wrestling with the emerging permission to create anti-art or non-art and demand that it be called art.
Marcel Duchamp, “Fountain
1917, ready-made, 23.5 x 18 cmor non-art
Anonymous, Bas relief, Stocking nailed to wooden plank So they felt the need to formalize their objections to these emerging trends by expressing their ideas in a quasi-theoretical, quasi-intellectual mode. Much of their cogitations appear to be long digressions with no useful result – as worthwhile as the angels-on-head-of-pin debates of yore.
But through their convoluted writings they paved the way for a new attitude toward the visual arts for artists, curators, critics and viewers. This new attitude assumes that art is primarily a cerebral activity that can only be appreciated through close mental study of an art work. In other words, it is not enough to feel enchanted with a painting through its immediate visual impact transmitted to the nerves and sinews and bypassing the analytical brain.
These assumptions have been transported to institutions of higher learning where students learn the words and phrases that will convey their superior understanding of art to the outside world as well as a belt of intellectual rather than technical tools. Universities have been transformed in the late twentieth century into emasculated centres of learning where the broadly humanist educational curricula of the past have been replaced by a free-market model of learning and where the assumptions of moral relativism is scarcely challenged.
As David Balzer explains in Curationism, It is no longer adequate to go to art school, once must have a Masters of Fine Arts to be taken seriously as someone who understands art. He describes how critical theory imported from Europe, mainly from France, became trendy in the 1980’s and colonized universities in the 1990’s. One of the main objectives of this critical theory, particularly post-structuralism, is to explode assumptions about language, tradition and privilege. These ideas are explored in more detail in the next blog,The Consolation of Philosophy. Graduates of programs based on these new theories were embraced by contemporary museum and gallery curators as a way to ostensibly break free from their image of themselves as having a stodgy, dead-white-male-focus. Artists thus came under pressure to professionalize by taking graduate degrees from the institutions that offered these new theories, especially for those working outside painting, drawing and traditional sculpture.
For instance, in my home-town of Vancouver, the Vancouver School of Art founded in1925 has morphed into the Emily Carr University of Art & Design.
Vancouver School of Art (1930) Photo Credit: City of Vancouver Archives 
A lecture hall at the new Emily Carr University campus in Vancouver. (Emily Carr University) This university-based approach has spawned a network of artists, critics, curators and funders who speak the same language and are comfortable that they are promoting a true appreciation of art based on Greenbergian ideas about determining the irreducible working essence of art by jettisoning technique, meaning, and especially aesthetics. Conceptualist practice in particular was readily abetted by such academic training given obvious overlaps between those working in institutions and those working in academe.
An Oak Tree by Michael Craig-Martin. 1973 The institutions of higher learning have a stake in continuing to be the arbiters of intellectual taste in the arts and have created a new Academia whose rigid conformity to the Greenberg/Fried intellectual tradition rivals that of its predecessor in pre-modernist France. This intellectual tradition – the stripping away of anything extraneous (ie visual, visceral, sensuous) – leads to major galleries mounting exhibitions that are monotonous in the extreme
and comprehensible only to those willing to read the page of explanatory text beside each piece describing why it is important and meaningful.
pieces in Vancouver Art Galery, Entanglements show, 2017 
This does not suggest that we should dumb-down art or that there is no place for art criticism. Instead it suggests that there is a greater-than-ever need for art criticism that can shake itself free from the overwhelming influence of A New Academy and re-examine the critical tradition inherited from the 1960’s. There is no denying the fact that writing about the visual arts is difficult, as any artists trying to describe what s/he is doing for an exhibition, grant or other application can attest.
Trying to put a purely visual/visceral/sensuous experience into words is an attempt to describe the indescribable. To paraphrase, writing about the visual arts is like dancing about architecture, a category error. A writer can either surround each thought with clouds of verbiage, as Fried has done, in an effort to finally get close to the germ of the idea struggled with or, like Greenberg, simply state that s/he has good taste, knows art and knows what’s good. In order to avoid these shoals of garrulousness and ego, later writers have acceded to the belief that art criticism is necessarily subjective and that criticism can only consist of detailed descriptions of one’s personal experience of the subject artworks. None of these approaches is ideal and finding a workable alternative is the challenge for art critics today.
Fortunately, I am an artist rather than an art critic, so the task of finding a more relevant and constructive approach to art criticism is not mine, though I assume the role of critic-of-art-critics in these blogs. But my purpose is to understand what is meaningful in my painting practice and analyze the temporal/historical space in which I work and the influence of A New Academy on the arts.
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Even more on Painting
This and other posts that discuss painting, more on painting and even more on painting, are an effort to understand how painting has become a suspect art form. How had it become assumed, among the cognoscenti, that painting has an irredeemable connection to everything that was wrong with art and society before the post-modern revolution? These blogs also explore the role of painting in the wider Western socio-political realm outside the arts. Modernist painting (and less so sculpture) has been singled out as representing the cultural sins of the current epoch and its repudiation was to be an expiation. However, radical changes in painting, how painting is defined and ways paintings are evaluated, have made no improvements to Western society. It could even be said that the current place of painting and other arts, is worse than at any time in history. This is because, in the last half-century, the culture of getting and spending has come to dominate most areas of life including painting and the arts. The commodification of the visual arts is such that it is now the second most lucrative area for investment after real estate and this has had a deleterious effect on Western culture.
The question is whether painting is relevant and can have an impact on the wider society, or whether it is an art form that is only about the painters’ connection to the painting and the viewer’s personal connection to the painting. Is it a passive art form or can it make the leap from canvas to galvanizing political action?
Paintings in History
In many periods of history, painting has played a powerful role as political propaganda. Earlier civilizations such as the Egyptians, Assyrians, Greeks and Romans used murals, bas-reliefs and sculptures to celebrate political triumphs and the power of the elites. This tradition continued through the 20th century with the commissioning of paintings and sculptures commemorating battles won and their victorious winners. As the last centuries’ winners have been outed as ruthless and immoral by any standards, there has been demands for removal of these sculptures and paintings from the public realm. So in that sense, paintings depicting the triumphs of ruthless men have had a strong political impact even in the present day.
Napoleon Crossing the Alps, oil on canvas, Jacques-Louis David, 1801. There have been powerful paintings that generated controversy and influenced public attitudes and even political outcomes that were not sanctioned by ruling elites. For example, the painting below, Raft of the Medusa, had scandalous political implications in France; the incompetent captain, who had gained the position because of connections to the Bourbon Restoration government, fought to save himself and senior officers while leaving the lower ranks to die, so Géricault’s picture of the raft and its inhabitants was greeted with hostility by the government. As Jake Hirsch-Allen says in his analysis, “the power of The Raft as a political tool of propaganda was immediately apparent and has been its most enduring historical facet. As the story of the Medusa became a cause célebré, embroiled in the complexities of
Bourbon-restoration politics and tensions between the Liberal and Royalist factions…and, as
events progressed, with the highly emotive subject of the slave trade, the Raft of the Medusa
itself became a symbol these debates.”Though Géricault’s painting was still part of in the heroic “history painting” style, this muscular work was transformative in re-defining the scope of painting’s subjects and impacts.
Raft of the Medusa, 1818–19, Théodore Géricault, oil on canvas, 4.91 x 7.16m The Impressionists
While Impressonists such as Claude Monet and Edouard Manet are not usually associated with shaping political attitudes, their work had influence. As art historian Nancy Locke said in transcripts of her talk to students at Penn State University, “By painting the homeless, for example, Manet depicted the social implications of poverty. Similarly, by painting scenes which blurred class lines (like many subjects of the Impressionist canvas), artists influenced shifts in society.”
The Ragpicker,1865-1870, Eduard Manet In his paper on Intersections of Art and Politics, John Kim Munholland, argues that Monet also communicated a strong political message, “The Rue Montorgueil, Celebration of June 30,1878 and its twin The Rue Saint-Denis, Celebration of June 30, 1878, in which the words “Vive la République” appear on a flag…blurred class differences with their patriotic, republican messages. Set in the streets of a popular quarter of Paris, they reminded viewers that the Commune uprising also had been an expression of outraged and frustrated nationalism among the people of Paris, who had held out against the Prussians during the siege, but had been forced to capitulate by the Versailles government.”
Rue Saint Denis, Fête du 30 Juin, 1878, Claude Monet Early-Modernism
The “history painters” and Impressionists sought to influence the direction of their societies through content, or depiction of their subjects. The modernists scorned content and expressed themselves only through form. For instance, Piet Mondrian, working during the appalling upheavals in Europe during the 1930’s & 40’s, believed that his work was a “plastic vision” that would help to set up ” …a new type of society composed of balanced relationships”.
According to the online Encyclopedia Britannica, Mondrian’s artistic direction was “Rooted in a strict puritan tradition of Dutch Calvinism and inspired by his theosophical beliefs, he continually strove for purity during his long career, a purity best explained by the double meaning of the Dutch word schoon, which means both “clean” and “beautiful.” Mondrian chose the strict and rigid language of straight line and pure colour to produce first of all an extreme purity, and on another level, a Utopia of superb clarity and force. When, in 1920, Mondrian dedicated Le Néo-plasticisme to “future men,” his dedication implied that art can be a guide to humanity, that it can move beyond depicting the casual, arbitrary facts of everyday appearance and substitute in its place a new, harmonious view of life. This kind of magical thinking is like a poignant glimmer of a previous era’s optimism about art and the human imagination. Mondrian’s philosophy could be thought of as self-indulgent navel-gazing, except for the fact that it produced these astounding works of art and revolutionized thinking about painting.
Modernism
From a twenty-first century perspective, the conviction that rigidly controlled lines and blocks of colour could contribute to world peace seemed laughable. Modernists, like the Minimalists who came after Mondrian, did not share his belief in the power of art to transform society. Like Frank Stella they had a reductionist approach to art, wanting only to demonstrate that every painting is “a flat surface with paint on it—nothing more”, and rejected the idea art as a means of expressing emotion. He summarized his apolitical and anti-social approach by saying, “My painting is based on the fact that only what can be seen there is there. It really is an object… All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion…. What you see is what you see.“
So with Modernism, painting became what in another blog is described as “self-reflexive”, or concerned only about itself. This could be considered to be a political statement as it is in keeping with the growing individualism of the second half of the twentieth century. Ties to community were weakening and western governments pressured their citizens to become individualistic consumers to bolster the economy.
The drive for purity by Modernists like Frank Stella, Ellsworth Kelly, and Kenneth Noland influenced, and was strongly influenced by, the thinking of the American art critic, Clement Greenberg. His theories could be said to have built on the ideas about purity that inspired Mondrian, but lacked the painter’s Calvinist & Theosophical zeal.
Frank Stella – The Marriage of Reason and Squalor, II, 1959, Enamel paint on canvas, 91 x 133 in. Greenberg believed in progressively purifying painting of all representation and illusion and promoted the hard-edged and colour-field abstractions of his favourite artists. Mondrian believed that his painting would contribute to a more harmonious and peaceful world. The only rationale provided by the Modernists for cleansing away any spatial depth or sculptural qualities in painting, was that it is ridiculous to try to create spatial illusions on a flat surface. Modernists did not feel that art should play a role in the larger world, but believed in “art for art’s sake”. The rise of a consumer culture and the commodification of art during this period was not a concern.
Post-Modernism
The Postmodernists were more aware of consumerism and the emerging role of the art market but the movement tried to neutralize it by absorbing it. Postmodernists reversed the Modernist contempt for popular culture, the mass media and mass consumerism and looked for inspiration in the everyday. In his blog The Postmodern Revolution, David Adams comments that this approach “…seemed much more vital than modernist art. (See for example fig. 7, which also suggests the revival of painting that took place).”
Adams goes on to say, “…postmodernism refers to the end of an epistemologically centered philosophy based on the efforts of a knowing subject to know truth by achieving a true mental representation of objective reality (the Cartesian subject-object dualism). It argues (among many other things) that there is no temporally invariant truth since human understanding is always historically-based (or “contingent”).
Post-modern relativism, which has been discussed in other blogs, was a direct outgrowth of the individualist and anti-social introspection of the Modernist era. In this approach, not only does painting have no relation to anything outside itself, it assumes that there is nothing outside itself that is true – only what a particular individual might happen to believe. This brings us to the present day where relativism is widely held and could be called the dominant paradigm. Part of this paradigm is that there can be no possibility of an authoritative assessment of artistic worth or quality as everything is only relative. Anyone’s taste in art is equal to anyone else’s as there are no absolute or even conventionally accepted criteria. Into this moral and authoritative vacuum, the market has taken on the role that used to be held by what used to be called experts on art.
The Market Monster
In a culture of getting and spending where there are no other standards for gauging excellence in art, the marketplace is the logical arbiter. A painting is worthwhile if it can obtain a high price. A previous post, On Theories of Art, suggested that objective assessments of art are difficult to attain because art is about feelings rather than reason, but feels the need to be justified by some form of reason other than marketability. As in all aspects of life in a capitalist society, the market has skewed relations between artists and their work and between artists and viewers.Though written in 1975, Harold Rosenberg’s Art on the Edge, contains many ideas that remain highly relevant. Rosenberg calls the influence of the marketplace on the direction of contemporary art “…a process of transformation whose end is not in sight” (p.8) and over 40 years later, this transformation continues to mutate. For an artist, alternatives to the market are either art-as-criticism, (parody, irony, subversion) or making art for oneself. The irony is that ironic, subversive, parodies of art have been absorbed by the establishment so that they happily sponsor shows that are opposed to them. “To create the illusion of an adversary force, everything that has been overthrown must be overthrown again and again”. (p.90)
This relates to a discussion in the previous post describing the current epoch as not a changing culture but a culture of change. The ideology of constant change has, like the end of history, eliminated real change. It will not be possible to rescue art from the market’s perverse influences through renunciation of artistic sins that went before. And it is naive to believe that one art form or another can have an effect on a pervasive economic system that manipulates every aspect of life.
The Contemporary Era
As I am an artist not a scholar, this is a necessarily brief and sketchy overview of the social and political influence of the visual arts, especially painting, over the last 100 years. I have divided art history into three major art movements: Pre-Modernism, Modernism and Post Modernism. These divisions are only visible from historical perspective and the current era is made up of many disparate schools such as Post-Post-Modernism, Anti-Art, Conceptual Art, Site Specific Art, Installation Art, etc. Their commonality is the assumption that easel painting is dead, or at least irrelevant. But as I have argued here, jettisoning easel painting and conventional concepts of aesthetics, has done nothing to bring greater harmony or halt the commodification of art. Western societies teeter on the brink of instability and the art market continues to go from strength to strength. As I update this blog in April of 2024, I include the latest figures for the art market in 2023 from Artsy:
“The art market experienced a down year in 2023. Total sales in the art market fell by 4% year over year to $65 billion. The figure represents the lowest since the COVID-blighted year of 2020, but is still higher than pre-pandemic levels when sales were $64.4 billion”.
However, their good news for art market was:
“Most dealers and auction houses expect stable or improving sales in 2024, and those predicting lower sales were in the minority both for their own businesses and with their peers.“
This is not the Utopian, harmonious culture that Mondrian hoped to bring about through an extreme purity, superb clarity and force in painting. The modernists and post-modernist that followed, and the elimination of aesthetics and painterly painting they endorsed, have been happily absorbed by the market. So where does this leave contemporary art and artists? This is a topic for future blogs about even more on painting.
