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APPRECIATING NOLAND

FLARES

IN THE "FLARES" (1990-94), this format has become even more radical, taking the emblematic panel picture to a further extreme.

For the first time the parts themselves detach from one another. Long curving panels have been reassembled so that a portion of each edge touches while for most of their lengths the units stand free. The whole assemblage remains parallel to the the wall and appears to derive from an originating rectangle. Paint application is generally smoother than it had been in the "doors," yet retains their thick, transparent shine.

The "flares" sit against the wall in a new and beautiful way. Demonstrating Noland's genius once again, they arrange color in a hitherto inconceivable format which in retrospect appears to be a logical consequence of his interests.