There is hardly a living American abstractionist more laden with praise than that master of the peachy void, Jules Olitski. To call him the most suave and accomplished of color-field painters is one thing. But to claim him as a hero of history is weirdly premature. In a catalogue introduction to the Olitski retrospective that he organized for Boston's Museum of Fine Arts (it is currently on view at the Albright-Knox Museum in Buffalo), Curator Kenworth Moffett pronounced that "Olitski is ... saving the easel painting itself as a viable modernist idiom." No...
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