Word: olitski
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Nudes also interest Abstractionist Jules Olitski but mainly as an excuse to keep his draftsmanship in shape. Ever so often, a nude model poses for him while he, Critic Clement Greenberg and a couple of friends sketch from life. When Olitski settles down to serious painting, he turns out tinted canvases whose miragelike effects derive from the absence, indeed the positive negation, of the penciled line in any shape or form (see opposite...
...logic of color," says the artist, "to be the structure of my paintings, to open them up, to make them expand and breathe. I want my paintings to come out of color and not drawing. I just roll out the canvas and begin and let it grow." Lately, Olitski has been rolling out a lot of canvas. He is preparing for three one-man shows, to be held this summer and fall in London, Los Angeles and New York City. In addition, his work will be shown later this month at West Germany's prestigious Dokumenta...
...Bacchus" and two are now making a movie of Rodin's "Burghers of Calais," starting from the collection of Rodin sculptures left to the Fogg by Grenville Winthrop. In 1965, a graduate student named Michael Fried wrote the introduction to the catalogue of the Fogg's 1965 Noland, Olitski, and Steela exhibition, and that essay has been highly influential in developing an approach to these flat, color-preoccupied, conceptual paintings...
...First prize: Jules Olitski. 44, for his lightly brushed, veil-like Pink Alert. >Second prize: Paul Jenkins, 44, for a cloudlike abstraction, Astral Signal. > Third prize: John McLaughlin, 68, California abstractionist, for No. 14. >Fourth prize: Kenneth Noland, 42, for a hard-edged, blue-banded Pause...
...granny spectacles who is so appealing that he has been rendered by several artists as a pop statue. Even French Artist Martial Raysse entered a portrait of the U.S. commissioner at the Biennale. Geldzahler chose a diverse group of hard-edge and stained-canvas abstractionists-Helen Frankenthaler, Jules Olitski, and Ellsworth Kelly-and included, perhaps for poignancy, Roy Lichtenstein's cartoons. He wound up his brief introduction to the U.S. catalogue with the crashing conclusion that "their experiments are successful. They paint beautiful pictures." When all Americans lost, Geldzahler petulantly handed out a statement denouncing prizes as meaningless...