Dimensions: support: 1667 x 2896 mm
Copyright: © The estate of Kenneth Noland /VAGA, New York/DACS, London 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: This is Kenneth Noland’s *Another Line*, currently housed at the Tate. The lines feel almost architectural, like the frieze of a temple, but so simplified. What do you see in this piece? Curator: The horizontal lines, indeed, evoke a sense of architectural structure, but also consider them as boundaries. What do these lines contain, and perhaps more importantly, what do they exclude? Does the negative space between the lines hold as much significance as the lines themselves? Editor: That’s interesting. So, the symbolism isn’t just in the lines, but the spaces they create. Curator: Precisely. Noland invites us to contemplate the unspoken narratives within the composition, allowing the viewer to project their own meaning onto the work. This really gives us insight into Noland's exploration of perception and meaning.
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tate 3 months ago
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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
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