Classifier Instance:

Anchor text: Jewish Museum (New York)
Target Entity: Jewish_Museum_\u0028New_York\u0029
Preceding Context: Most of Noland's paintings fall into one of four groups: circles, or targets (see Beginning illustrated), chevrons, (see infobox), stripes, and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings, or bull’s-eyes, or as they were known - Targets - like the one reproduced here called Beginning from 1958, using unlikely color combinations. This also led him away from Morris Louis in 1958. In 1964 he was included in the exhibition Post-Painterly Abstraction curated by Clement Greenberg which traveled the country and helped to firmly establish Color Field painting as an important new movement in the contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center. During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity. In 1964 Noland occupied half the American pavilion at the Venice Biennale. In 1965 his work was exhibited at the Washington Gallery of Modern Art and the
Succeeding Context: . In 1949 he had his first solo exhibition: Kenneth Noland, at the Galerie Creuze, in Paris. In 1957 he had the first solo exhibition of his paintings in New York at the Tibor de Nagy Gallery and he had the final solo exhibition of his lifetime - Kenneth Noland Shaped Paintings 1981-82, which opened Oct 29 2009 at the Leslie Feely Fine Art Gallery on E.68th St. in and was scheduled to close January 9, 2010, though, the closing date was later extended to January 16.
Paragraph Title: Career
Source Page: Kenneth Noland

Ground Truth Types:

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