Art in America Magazine
The Lookout: A Weekly Guide to Shows You Don't Want to Miss, by Leigh Anne Miller
June 21, 2011
Pairs of jiggly biomorphic circles jostle in richly hued fields in 10 large, super-mod abstractions from the early 1960s, a key period in Jules Olitski’s career. Seeing these paintings in person helps you understand why Clement Greenberg and legions of other admirers fell head-over-heels for Olitski’s work
The New York Sun
Embracing Jules Olitski, by Franklin Einspruch
May 13th, 2011
The inaugural exhibition of FreemdanArt begins today with a series of large-scale paintings by Jules Olitski that until recently have been kept out of view.
Circle in the Square, by Barbara A. MacAdam
August 8, 2011
Throughout his career, Jules Olitski stood just off-center of the core American Abstract Expressionists. This enlightening (all puns intended) exhibition, “Embracing Circles 1959–1964,” shows the artist at a concentrated moment in a career marked by various styles, the most signature being his multi-toned, spray-painted works.
Kemper Museum of Contemporary Art, Kansas City, Missouri
Revelation: Major Paintings by Jules Olitski
June 11 2010
This exhibition draws together more than 30 significant works from public and highlights important periods and themes from Olitski’s career. With works from his early Stain Paintings of the 1960s to his Late Paintings, this is the first exhibition of the artist’s paintings since his death in 2007. Russian-born artist Jules Olitski (1922–2007) first received international acclaim as a Color Field painter and continued to experiment throughout his career. A fully illustrated catalogue will accompany the exhibition, organized by the Kemper Museum of Contemporary Art and curated by E.A. Carmean Jr., Alison de Lima Greene, and Karen Wilkin. After its showing at the Kemper Museum, the exhibition travels to The Museum of Fine Arts-Houston; Toledo Museum of Art, Ohio; and American University Museum, Washington, D.C.; in 2012.
Kemper Museum of Contemporary Art Weblink
May 31, 2012
This exhibition draws together more than 30 significant works from public and highlights important periods and themes from Olitski’s career. With works from his early Stain Paintings of the 1960s to his Late Paintings, this is the first exhibition of the artist’s paintings since his death in 2007. Russian-born artist Jules Olitski (1922–2007) first received international acclaim as a Color Field painter and continued to experiment throughout his career. A fully illustrated catalogue will accompany the exhibition, organized by the Kemper Museum of Contemporary Art and curated by E.A. Carmean Jr., Alison de Lima Greene, and Karen Wilkin. After its showing at the Kemper Museum, the exhibition traveled to The Museum of Fine Arts-Houston, is currently at Toledo Museum of Art, Ohio, and will travel to American University Museum, Washington, D.C.
Caro and Olitski: Masters of Abstraction Draw the Figure
October 11, 2012
FreedmanArt is pleased to present Caro and Oltaki: Masters of Abstraction Draw the
These drawings, many seen for the first time, convincingly express for Anthony Caro
and Jules Olitski their common interest and long commitment to working directly
from the model, also known as “life drawing”.
Our exhibition is a reprisal of the one in L996, held at The New York Studio School.
An expanded selection and publication is being planned for institutional venues.
Prime examples of the abstract work of Olitski and Caro will offer both a context, as
well as further understanding to the relationships between their figurative and
Figure drawings by Anthony Caro and Jules Olitski on view in exhibition at FreedmanArt, By Karen Wilkin
Tuesday, November 20, 2012
British sculptor Anthony Caro and American painter Jules Olitski are an unlikely pair, each specializing in widely different forms of art from one another. However to the naked eye, the two men are closely linked in talent.
The Pink Line Project
Jules Olitski: On an Intimate Scale, Exhibitions
Friday, September 21, 2012
This fall, three institutions are celebrating the art of Jules Olitski (1922-2007). Olitski, Kenneth Noland, Morris Louis and the British sculptor Anthony Caro were brought into public prominence by art critic Clement Greenberg, who coined the term “post-painterly abstraction.” Olitski was a close friend and neighbor of Noland’s, when Olitski taught at Bennington College, Bennington, Vermont, and Noland lived nearby. In the 1960s Olitski generally shared with Noland, and other members of the Washington Color School, an approach to painting in which the canvas is covered with pure areas of color, characterized, as well, by experimentation with color and pigments. Olitski applied the paint by staining, then spraying, and later used unconventional tools such as brooms, mops, and leaf blowers, among other things. His richly diverse surfaces diffused color and light, often with rich variations in texture.
The Jewish Daily Forward
Painter Jules Olitski Enjoys a Second Life, By Menachem Wecker
Tuesday, October 29, 2012
The Washington Post
Revelation: Major Paintings by Jules Olitski , By Maura Judkis
Friday, October 12, 2012
Working with an unusual arsenal.
No artist could wield a brush quite like Jules Olitski. Critic Clement Greenberg once called him “the best painter alive.”
No one could wield a leaf blower quite like him, either. Considered a master of Color Field painting for his richly chromatic work, Olitski earned Greenberg’s accolade in part by embracing unorthodox tools. Squeegees, leaf blowers, paint guns and industrial brushes — the implements of commercial painters and handymen — were all in his arsenal, creating textured canvases that exude indulgence and restraint, sometimes simultaneously. His paint fell on his canvas as lightly as the fine mist of a sneeze, or as thick as icing on a cake.
The Reading Eagle
Sunday, February 17, 2013
With all of the information available online, one would think it would be nothing at all to write an article about the renowned painter Jules Olitski. Yet even with as much information as one can gather, it does nothing to satisfy the senses as much as actually being in front of his physical and luminescent abstractions, which for much of his career have been of epic dimensions.