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position and the efforts of a few others and their current importance. I cannot believe this whatsoever. 

The paintings of Olitski and Bannard lack contemporary pertinence and are of such poor quality as to be utterly irrelevant. (The need for fine quality production to represent art is [[strikethrough]] wanting [[/strikethrough]] continuing to wane but not in the area of finished painting by painting where the attempt to beautify a surface is still mandatory.) Noland's effort has declined into ever more over extended slick shifts in parti-colored paint practice. His "struggle" to "compose" his stripes is one of the most highly publicized and insignificantly accomplished gambits in recent "respectable" pre-mature art "felt" history. The collapse of Frank Stella's projected thought has been noted by many artists as one of the most appalling and regrettable consequences of high pressure gallery connected commerce. It would appear that Frank has become so engaged with his financial career and with extending his painting to satisfy gallery production quotas that, as one of his old close friends, an artist, explained, and I paraphrase, Frank hasn't been able to think for himself for sometime. Another artist-writer projected himself bluntly thusly, "Stella hasn't