Sayart.net - Kenneth Noland’s Legacy of Color and Form Unveiled at Pace Gallery Seoul

Pace Gallery Seoul is set to present Kenneth Noland: Paintings 1966-2006, a comprehensive exhibition tracing the evolution of the iconic American abstract painter’s work. Running from January 10 to March 29, 2025, the show marks the first chapter of a two-part retrospective, with the second installment to follow at Pace Gallery Tokyo from March 7 to April 19, 2025. This exhibition offers a rare opportunity to experience Noland’s seminal works from the 1960s through the early 2000s, highlighting the profound impact he had on the development of postwar abstract art.

Kenneth Noland (1924–2010) is celebrated as a pivotal figure in American Color Field painting, known for his pioneering exploration of color, form, and spatial dynamics. Having studied at the progressive Black Mountain College between 1946 and 1948—a crucible for American avant-garde art—Noland was deeply influenced by the ideas of Bauhaus color theory and the modernist emphasis on pure form. His early experimentation with abstract expressionism soon gave way to a more rigorous exploration of color relationships, leading to the creation of his iconic Circle series, which would set the tone for the rest of his career.

The Seoul exhibition focuses on five major series that define Noland’s oeuvre: Circle, Chevron, Diamond, Stripes, and Shaped Canvas. Each series reveals his deep commitment to the study of color as both a structural and emotional force. In the Circle series, concentric rings of vivid hues pulse outward from the center, creating a visual harmony that reflects Noland’s desire to eliminate depth and narrative in favor of pure visual experience. These works established his reputation as a master of color theory and spatial dynamics.

Moving into the Chevron and Diamond series, Noland began to manipulate geometric forms with bold, directional compositions that emphasized movement and tension. The Chevron works, with their V-shaped motifs, introduced a dynamic interplay between symmetry and disruption, while the Diamond series challenged the traditional rectangular canvas, tilting it into a diamond shape to push the boundaries of compositional balance.

In the late 1970s and 1980s, Noland’s focus shifted toward Stripes and Shaped Canvas works, where he explored the rhythmic possibilities of linear arrangements and the sculptural quality of the canvas itself. His use of shaped canvases—non-rectangular supports that break away from conventional framing—allowed him to integrate painting and objects, blurring the line between two-dimensional and three-dimensional space. These pieces highlight Noland’s commitment to the purity of form and his continuous quest to push the boundaries of abstract painting.

A distinctive feature of Noland’s process was his use of unprimed canvas and acrylic paint, which allowed the pigments to soak directly into the fabric, creating a flat, matte finish that emphasized color over texture. This staining technique became a hallmark of Color Field painting, influencing contemporaries such as Morris Louis and Helen Frankenthaler.

Kenneth Noland: Paintings 1966-2006 also examines the emotional undercurrents of his work. While Noland often distanced himself from the gestural intensity of abstract expressionism, his precise handling of color and form evokes a meditative stillness that invites viewers into a deeply contemplative space. The exhibition’s chronological arrangement allows visitors to witness the evolution of Noland’s approach—from the explosive energy of the Circle series to the serene minimalism of his later-shaped canvases.

Noland’s influence on American abstraction cannot be overstated. As a central figure in the Color Field movement and a key contributor to the Washington Color School, he helped redefine the role of color in modern painting, advocating for its power as an autonomous force rather than a vehicle for representation.

The Seoul iteration of the exhibition presents works rarely seen outside major American institutions, offering a fresh perspective on Noland’s extensive career. By bridging the gap between geometric abstraction and pure color aesthetics, Noland’s paintings continue to resonate within the global discourse of contemporary art.

Sayart / Jason Yim, yimjongho1969@gmail.com