Kenneth Noland

Another Line

1970

© The estate of Kenneth Noland /VAGA, New York/DACS, London 2020

License this image

Not on display

Artist: Kenneth Noland 1924–2010
Medium: Acrylic paint on canvas
Dimensions: Support: 1667 × 2896 mm
Collection: Tate
Acquisition: Purchased 1972
Reference: T01686

Display caption

Noland's interest in visual effects, such as the illusion of rotation, is evident in his 'target' paintings. In the late 1960s he extended the optical and psychological implications of his work in vast, horizontal stripe paintings. 'Another Line' belongs to a series of large works characterised by a single colour traversed by a number of narrow horizontal stripes. The effect of the size of these works is to reverse the usual relation of spectator and picture. Normally, the viewer looks into a painting. Here, the painting envelops the viewer and its pictorial elements extend beyond their field of vision. In this way the painting's presence as a physical object is asserted.

Gallery label, September 2004

Does this text contain inaccurate information or language that you feel we should improve or change? We would like to hear from you.

Catalogue entry

Kenneth Noland born 1924

T01686 Another Line 1970

Inscribed '"ANOTHER LINE" 1970 Kenneth Noland' on turn-over of canvas at top, '"ANOTHER LINE" 1970' on stretcher and '"ANOTHER LINE" | Kenneth Noland | 65 1/2" x 9 1/2' | 1970' on back of canvas
Acrylic on canvas, 65 5/8 x 114 (166.7 x 289.5)
Purchased from Kasmin Ltd. (Grant-in-Aid) 1972
Prov: With Kasmin Ltd., London (purchased from the artist)
Exh: Kasmin Artists, Kasmin Ltd., London, August-September 1970 (no catalogue); Amerikansk Kunst 1950-70, Louisiana Museum, Humlebaek, September-October 1971 (45); Group Show, Kasmin Ltd., London, August-September 1972 (no catalogue)
Repr: exh. catalogue Kenneth Noland: New Paintings, Kasmin Ltd., and Waddington Galleries, London, June-July 1970, in colour (but not hung)

Kenneth Noland says that he does not like to make comments about his pictures, beyond the obvious fact that his work is primarily concerned with colour and that he tends to move between strong, positive colour contrasts and paler, more atmospheric effects of colour. This work comes from a series with a large expanse of a single, hazy colour, offset by narrow horizontal stripes of contrasting or more positive colour mainly clustered together along the top and the bottom. Most of the pictures of this particular series were shown at Kasmin's or the Waddington Galleries (the joint catalogue lists and reproduces eight paintings), but there were also a few others which did not come to London.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.564, reproduced p.564