http://www.kennethnoland.com/

It's interesting to see his progression through the decades, from circular forms and flat textures (Epigram, 1963) into angular forms (East-West, 1963) and non-square canvas (Burnt Beige, 1975), more complex textures in the 80s (Snow and Ice, 1985), and in Refresh (1999), the texture of the paint becomes a new element as well.

Personally, I like his more organic, earlier forms (Split, 1959). Epigram (1961) is captivating as well. I'm not terribly fond of his earlier angular work, but his later stuff in the 80s seems a little more interesting, less like "I'm going to experiment with plaid on a diamond canvas" and more like the idea is better developed (Gift of Reason, 1986, Doors: Time Ahead, 1989).

Refresh (1999) is...refreshing. I wouldn't like it on its own, not as a work from 1999 on its own. But in the context of its larger work, and of the traditions in which he worked (and still works), I actually rather like it.

On the technical side, using the texture of the paint itself seems to be a new element for this artist. Despite what he said in '77 about thinning paint to reveal color, this is to me a return to basics for him. Some of the work from the 80s appears to have more actual texture to it (I can't really tell if it's actual or implied), and by using the paint itself as texture in its simplest method, he is following his earlier tenets of using the minimum of technology to achieve his aims.

On the content side, the yellow paint beads are my least favorite part of the painting. The void in the center is a nice statement about Ad Reinhardt. The way the painting seems to minimalize that void, it seems to be a statement about art in general. Refresh is, in that sense, a millenial statement for the artist, a call to look past the void, to back up and see the larger picture.

His most recent works, the "Mysteries" series, I find individually disappointing, but collectively intriguing. I do hope there are more than two. :p