CLICK IMAGE ABOVE TO READ 2016 WALTER DARBY BANNARD CATALOGUE ONLINE
A leading figure in the development of Color Field Painting in the late 1950s and an important American abstract painter, Walter Darby Bannard (better known as Darby Bannard) has been committed to color-based and expressionist abstraction for over six decades.
During his undergraduate years at Princeton University, he joined fellow students, the painter Frank Stella and the critic and art historian Michael Fried in conversations that expanded aesthetic definitions and led to an emphasis on opticality as the defining feature of pictorial art. Bannard has continued to explore attributes of color, paint, and surface through innovative methods, striving throughout his career for vital and original expressive means. He has also been an important writer on formalist issues in art, serving as an editor for Artforum and a contributor to Art International. His extensive publications date from the 1960s to the present. In the early 1990s, Bannard moved to Miami. He currently serves as professor and head of painting at the University of Miami, Coral Gables.
Bannard was born in 1934 in New Haven, Connecticut. He attended Phillips Exeter Academy and in 1956 graduated from Princeton University.. Bannard, who made drawings and watercolors throughout his youth, was self-taught as a painter. He derived inspiration for his earliest paintings from the art of William Baziotes, Theodoros Stamos, and Clyfford Still. In a 2015 interview with Franklin Einspruch for Artcritical.com, Bannard states, “That’s how it is with abstract painting, it just takes you over. I remember looking at one of these little intellectual magazines when I was sixteen and I saw a de Kooning painting, and thought, wow, that’s really cool.”By the late 1950s, he abandoned the sensitivity inherent in the expressionistic style, instead creating austere minimal paintings characterized by large areas of contrasting color.
In the next decade, he was one of the first artists to blend artist’s materials with commercially produced tinted alkyd resin house paints in a search for greater color options. In a 2015 Artforum review of his second solo exhibition at Berry Campbell, Phyllis Tuchman discusses these early paintings: “The bands, circles, and rectangles tend to be shiny and reflect light, while the other parts of these canvases are covered with matte paint. Bannard mixed pinks and beiges as well as light blues and greens with lots of white. These colors are still radiant. And the artist’s pale palette is as uniquely personal today as it was fifty years ago. You can’t even apply a name to his hues.”
In 1964, Bannard was included in the landmark exhibition, “Post-Painterly Abstraction,” organized by Clement Greenberg and held at the Los Angeles County Museum of Art. His first solo exhibitions were in 1965, at Kasim Gallery, London; Richard Feigen Gallery, Chicago; and Tibor de Nagy Gallery, New York. He was also included that year in the Museum of Modern Art’s, “The Responsive Eye.” In 1968, Bannard received a Guggenheim Foundation Fellowship and a National Foundation of the Arts Award.
Around 1970, Bannard’s focus shifted to an exploration of the liquid quality of paint. Drawn to the new acrylic mediums that were becoming available, he began working on the floor using thick gel surfaces and color suspended in Magna or polymer mediums. At the time, he “thought of color as a liquid, flowing over and settling on a roughened surface, changing as it mixed and dried.” His method involved stapling his canvases to slightly raised wooden platforms. After tightly sizing his canvases, he scraped on colored gel with squeegee-like tools. When the surface was dry, he poured colored polymer over it in layers, allowing the paint to find its place. He was drawn at the time to close-valued rather than strong colors and often allowed his pale warm grounds to serve as colors in their own right rather than acting as supports for other colors. Karen Wilkin stated in Color as Field (2007): “Bannard probed just how subtle chromatic nuances could be before they became unbroken expanse. In these pictures, even composition could be reduced to a kind of near-negative, an echo of something no longer there.” In the late 1970s, Bannard was instrumental in the retrospective exhibition of the work of Hans Hofmann. He curated the 1976-77 exhibition and wrote the catalogue that accompanied it.
During a painting workshop in Saskatchewan Canada in 1981, Bannard developed a kind of gel “drawing” on canvas, in which he applied his paint on large sheets of fiberglass. By the middle of the decade, he had returned to a slower, more subtle system of marking his gel, while also returning to pouring colored polymer. He also reincorporated expressionist methods in his art. In 1987, he began his “brush and cut” paintings, consisting of large scale canvases in which he applied transparent tinted gel with large street brooms and industrial floor squeegees to make painted “drawings,” featuring vigorous brushwork and three-dimensional illusions. After moving to Miami, he incorporated more color into his large paintings, while producing small mixed-media “landscapes” on paper, inspired by the flat land and water and the lowering sun of the Florida Everglades.
Recently, Bannard increased the intensity and juxtoposition of color. The more neutral backgrounds of the past have shifted to all-over color. The surfaces of the paintings are flat and three-dimensional all at once: hot pink and fluorescent green geometric shapes appear to float above and protrude from the flat canvas. These circles reference earlier days, but added now are hard-edge trapezoids. Flat areas of color are spiked by splatters of sparkly gels and raised areas of large sweeping brush-work creating a dance across the surface. Methods and techniques from earlier paintings are combined and used in unison in these dynamic compositions. In 2015 and 2016, Bannard continued to paint with increase vigor creating large-scale paintings up to thirteen feet wide.
Throughout his career, Bannard moved between the poles of Expressionism and Color Field Painting, resulting in a body of art that has constantly evolved as the artist forthrightly faced the situations that his art presented, reacting to them with rigor and intuition.
In 1983, Bannard held an Invitational Residency at the National Endowment for the Arts. In addition to his current position at the University of Miami, he has taught at many art schools, including the School of Visual Art, New York. Over the course of his career, Bannard has had almost one hundred solo exhibitions and he has been included in an even greater number of group shows. In 2016, noted art historian, Barbara Rose, curated a major exhibition for Roberto Polo Gallery in Brussels, Belgium entitled, “Post-Painterly Abstraction: Belgium-USA” featuring paintings by sixteen US and Belgian artists including Walter Darby Bannard, Ed Moses and Larry Poons.
Bannard is represented in public collections across the country as well as abroad. A selection of his museum collections include Albright-Knox Art Gallery, Buffalo, New York; Allen Memorial Art Museum, Oberlin College, Ohio; Baltimore Museum, Maryland; Blanton Museum of Art, The University at Texas, Austin; Brooklyn Museum, New York; Centre Georges Pompidou, Paris; Cleveland Museum, Ohio; Dallas Museum of Fine Art, Texas; Dayton Art Institute, Ohio; Edmonton Art Gallery, Alberta, Canada; Fogg Art Museum, Cambridge, Massachusetts; Honolulu Museum, Hawaii; Indianapolis Museum of Art, Indiana; Kenyon College Art Gallery, Ohio; Larry Aldrich Museum, Ridgefield, Connecticut; Lowe Art Museum, Coral Gables, Florida; McNay Art Museum, San Antonio, Texas; Metropolitan Museum of Art, New York; Montclair Art Museum, New Jersey; Museum of Fine Arts, Boston; The Museum of Fine Arts, Houston, Texas; Museum of Modern Art, New York; National Gallery of Victoria, Australia; New Jersey State Museum, Trenton; Newark Museum, New Jersey; Portland Art Museum, Oregon; Princeton University Art Museum, New Jersey; Rose Art Museum, Brandeis University, Waltham, Massachusetts; Smithsonian American Art Museum, Washington, DC; Solomon R. Guggenheim Museum, New York; Storm King Art Center, New Windsor, New York; the Toledo Museum of Art, Ohio; Whitney Museum of American Art, New York; and Williams College Museum of Art, Williamstown, Massachusetts.
Born, 1934 New Haven, Connecticut
1956, Princeton University
1983, National Endowment for the Arts, Invitational Residency
Died, 2016, Miami, Florida
1968, Guggenheim Foundation Fellowship
1968, National Foundation of the Arts Award
1981, Distinguished Classmate Award, Princeton University Class of 1956
1986, Francis J. Greenburger Foundation Award
1991, Richard A. Florsheim Art Fund Grant
SELECTED SOLO EXHIBITIONS
Kasmin Gallery, London, 1965.
Richard Feigen Gallery, Chicago, 1965.
Tibor de Nagy Gallery, New York 1965.
Tibor de Nagy Gallery, New York, 1966.
Nicholas Wilder Gallery, Los Angeles, 1967.
Tibor de Nagy Gallery, New York, 1967.
Kasmin Gallery, London, 1968.
Tibor de Nagy Gallery, New York, 1968.
Bennington College, Vermont, 1969.
David Mirvish Gallery, Toronto, 1969.
David Mirvish Gallery, Toronto, 1970.
Joseph Helman Gallery, St. Louis, Missouri, 1970.
Kasmin Gallery, London, 1970.
Lawrence Rubin Gallery, New York, 1970.
Tibor de Nagy Gallery, New York, 1970.
Neuendorf Gallery, Cologne, Germany, 1971.
Kasmin Gallery, London, 1972.
Newport Harbor Art Museum, Newport Beach, California, 1972.
Lawrence Rubin Gallery, New York, 1972.
Baltimore Museum of Art (traveled to High Museum, Atlanta; Houston Museum of Art, Texas) 1973.
Lawrence Rubin Gallery, New York, 1973.
Pasadena Art Museum, California, 1973.
Knoedler Contemporary Art, New York, 1974.
David Mirvish Gallery, Toronto, 1975.
Knoedler Contemporary Art, New York, 1975.
Knoedler Contemporary Art, New York, 1976.
Greenberg Gallery, St. Louis, Missouri, 1977.
Knoedler Contemporary Art, New York, 1977.
Lamont Gallery, Phillips Exeter Academy, Exeter, New Hampshire, 1977.
David Mirvish Gallery, Toronto, 1978.
Knoedler Contemporary Art, New York, 1978.
Knoedler Contemporary Art, New York, 1979.
Miami University, Oxford, Ohio, 1979.
Knoedler Contemporary Art, New York, 1980.
Ulrich Art Museum, Wichita State University, Kansas, 1980.
Knoedler Contemporary Art, New York, 1981.
Knoedler Contemporary Art, New York, 1982.
Edmonton Art Gallery, Edmonton, Alberta, Canada, 1983.
Knoedler Contemporary Art, New York, 1983.
Mint Museum of Art, Charlotte, North Carolina, 1983.
Knoedler Contemporary Art, New York, 1984.
Salander-O'Reilly Gallery, New York, 1986.
Brush Art Gallery, St. Lawrence University, New York, 1987.
Richard Love Gallery, Chicago, 1988.
Greenberg Wilson Gallery, New York, 1989.
Greenberg Wilson Gallery, New York, 1990.
Miami-Dade Community College, Florida, 1990.
Knoedler Gallery, London, 1991.
Montclair Museum of Art, New Jersey, 1991.
Farah Damji Gallery, New York, 1993.
Dorsch Gallery, Miami, Florida, 1996.
Lee Scarfone Gallery, University of Tampa, Florida, Walter Darby Bannard Retrospective of 47 paintings, 1997.
Lowe Art Museum, Coral Gables, Florida, Darby Bannard: Paintings 1987-1999, l999.
Emory & Henry College, Virginia, Darby Bannard: Recent Acrylic Paintings and Oilstick/MM Paintings of the 1990s, 2002.
Rauschenberg Gallery, Edison College, Fort Myers, Florida, Moving into Color: Paintings by Darby Bannard, 2006.
Western Michigan University, Kalamazoo, 2006.
Jacobson Howard Gallery, New York, 2007.
Center for Visual Communication, Miami, Florida, Darby Bannard, The Miami Years, Then and Now: A retrospective exhibit of 20 years of Painting, 2009.
Berry Campbell, Walter Darby Bannard: Dragon Water, 2014.
Berry Campbell, Walter Darby Bannard |Minimal Color Field Paintings : 1958-1965, 2015.
Berry Campbell, Walter Darby Bannard: Recent Paintings, 2016.
Institute of Contemporary Art, Miami, Early Paintings, 2018
SELECTED GROUP EXHIBITIONS
Los Angeles County Museum (traveled to Walker Art Center, Minneapolis, Minnesota; Toronto Art Museum, Toronto, Canada) Post Painterly Abstraction, 1964.
Chicago Art Museum, 1965.
Museum of Modern Art, New York (traveling United States museum tour), The Responsive Eye, 1965.
University of Pennsylvania, 1965.
Museum of Modern Art Embassies Program, 1966.
Smithsonian Institute, Washington DC, American Painters, 1966.
Detroit Institute of Arts, Michigan, Color, Image and Form, 1967.
Whitney Museum Annual, New York, 1967.
Museum of Modern Art, New York (tour of European and American museums), Art of the Real, 1968.
Corcoran Biannual, Washington DC, 1969.
Kunstmarkt, Cologne, Germany, One Tendency of Contemporary Art, 1969.
Washington University Gallery of Art, St. Louis, The Development of Modernist Painting: Jackson Pollock to the Present, 1969.
Whitney Museum of Art, New York, Annual, 1969.
Albright-Knox Art Gallery, Buffalo, New York, (traveling to Dayton Art Institute, Ohio; Cleveland Museum of Art, Ohio), Color and Field, 1890 – 1970, 1970.
Toledo Museum of Art, Ohio, The Form of Color, 1970.
University of Pennsylvania, Two Generations of Color Painting, 1970.
Venice Biennale, American Artists, 1970.
Albright-Knox Art Gallery, Buffalo, New York, (traveling to Baltimore Museum of Art, Maryland; Milwaukee Art Center, Wisconsin) Six Painters, 1971.
Fogg Art Museum, Cambridge, Massachusetts, 1971.
The Museum of Fine Arts, Houston, Texas, Toward Color and Field, 1971.
Whitney Museum of American Art, New York, The Structure of Color, 1971.
Cornell University, Ithaca, New York, American Art, 1972.
Dayton Art Institute, Ohio, 9 American Painters, 1972.
Edmonton Art Gallery, Alberta, Canada, (traveling to Winnipeg Art Gallery, Canada), Masters of the Sixties, 1972.
Galerie und Edition Merian, Krefeld, Germany, Bannard, Goodnough, Noland, Olitski, Poons, Stella, 1972.
Indianapolis Museum of Art, Indiana, Painting and Sculpture Today – 1972, 1972.
Museum of Fine Arts, Boston, Abstract Painting in the '70s, 1972.
Museum of Modern Art, New York, Acquisitions, 1972.
Whitney Museum of American Art, Annual, New York, 1972.
Musée d'art contemporain de Montréal, Canada, 11 American Artists, 1973.
New Jersey State Council on the Arts, Morris Museum, Morristown, New Jersey, Curator's Choice, 1973.
University of Texas, Austin, The Michener Collection, American Paintings of the 20th Century, 1973.
Cleveland Museum of Art, Ohio, Contemporary American Artists, 1974.
Museum of Fine Arts, Houston, Texas, The Great Decade of American Abstraction: Modernist Art 1960 to 1970, 1974.
Whitney Museum, Continuing Abstraction in American Art, 1974.
Museum of Modern Art, New York, American Art Since 1945, from the Collection of the Museum of Modern Art, 1975.
Galerie Ulysses, Vienna, Austria, 1976.
Galleria Civica, Modena, Italy, Cronaca, 1976.
Los Angeles County Museum of Art, Private Images: Photographs by Painters 1977.
Indianapolis Museum of Art, Indiana, Painting and Sculpture Today 1978, 1978.
Park-McCullough House, Bennington, Vermont, 15 Sculptors in Steel Around Bennington 1963 – 1978, 1978.
Knoedler Galleries, New York, 1979.
Solomon R. Guggenheim Museum, New York, Art in America After World War II, 1979.
International Communications Agency, Washington DC, 1981.
Sheldon Memorial Gallery, Kansas City, Missouri, 1981.
National Collection of American Art, Washington DC, Recent Trends in Collecting: 20th Century Painting from the National Museum of Art, 1982.
Butler Institute of American Art, Youngstown, Ohio, National Midyear Exhibition, 1983.
The Queens Museum, Flushing, New York, Twentieth Century Art from the Metropolitan Museum: Selected Recent Acquisitions, 1983.
Museum of Fine Arts, Boston, Directions in Contemporary American Ceramics, 1984.
List Art Center, Brown University, Providence, Rhode Island, Definitive Statements - American Art: 1964 – 1966, 1986.
Fort Lauderdale Museum of Art, Florida, The Moffett Collection, 1990.
Galerie 1900-2000, Paris, Free Market, 1990.
Fort Lauderdale Art Museum, Florida, Stars in Florida, 1992.
Galerie de Poche, Paris, Abstractions and Monochromes, 1992.
Denver Art Museum, Colorado, The Denver Art Museum, 1883-1993, 1993.
Butler Institute of American Art, Youngstown, Ohio, Masters of the Masters, 1997.
Butler Institute of American Art, Youngstown, Ohio, Masters of the Masters, 1998.
Mills College Art Museum, Oakland, California, The Rowan Collection: Passion and Patronage - Painting in Los Angeles and New York, 1999.
Portland Art Museum, Portland, Oregon, Clement Greenberg: A Critics Collection, 2001.
Haggerty Museum of Art, Marquette University, Milwaukee, Wisconsin, Color Field Revisited: Paintings from the Albright Knox Art Gallery, 2004.
Museum of Fine Arts, Boston, Minimalist Painting, 2004.
The Painting Center, New York, Hans Hofmann: The Legacy, 2005.
Palm Springs Desert Museum, California, Modernism and Abstraction, 2005.
Syracuse University Art Gallery, New York, Meaning and Metaphor, 2006.
Denver Art Museum, Colorado, Color as Field, 2007
National Gallery of Victoria, Melbourne, Australia, Born in the USA, 2007.
Ackland Art Museum, University of North Carolina, Chapel Hill, Circa 1958: Breaking Ground in American Art, 2008.
Museum of Fine Arts, Houston, Texas, Color into Light, 2008.
Jacobson Howard Gallery, New York, Circa 1959: Transitions in the Work of Nine Abstract Painters, 2009.
McNay Art Museum, San Antonio, Texas, Art Since 1945: In a New Light, 2009.
Center for Visual Communication, Miami, Florida, Darby Bannard and the Miami School, 2010.
Rijksmuseum, Amsterdam, Netherlands, Abstract USA '58 - '68, 2010.
Galerie Konzette, Vienna, Austria, Mono, Poly, Concrete, 2011.
Taubman Museum, Roanoke, Virginia, Nature and the Non-Objective Realm, 2011.
Loretta Howard Gallery, New York, Color Field Revised, 2011.
Berry Campbell, New York, Summer Selections, 2015.
Berry Campbell, New York, Summer Selections, 2016.
Roberto Polo Gallery, Brussels, Belgium, Post-Painterly Abstraction: Belgium-USA, 2016.
Berry Campbell, New York, Summer Selections, 2017.
SELECTED MUSEUM COLLECTIONS
Ackland Art Museum, University of North Carolina, Chapel Hill
Albright-Knox Art Gallery, Buffalo, New York
Allen Memorial Art Museum, Oberlin College, Ohio
Arkansas Art Center, Little Rock
Art Gallery of Nova Scotia, Halifax, Canada
Art Museum of South Texas, Corpus Christi
Baltimore Museum, Maryland
Blanton Museum of Art, The University at Texas, Austin
Brooklyn Museum, New York
Centre Georges Pompidou, Paris
Cheekwood Museum of Art, Nashville Tennessee
Cleveland Museum, Ohio
Dallas Museum of Fine Art, Texas
Dayton Art Institute, Ohio
Denver Art Museum, Colorado
Edmonton Art Gallery, Alberta, Canada
Fogg Art Museum, Cambridge, Massachusetts
Honolulu Museum, Hawaii
Indianapolis Museum of Art, Indiana
Kenyon College Art Gallery, Ohio
LaSalle University Art Museum, Philadelphia
Larry Aldrich Museum, Ridgefield, Connecticut
Lawrenceville School Art Museum, New Jersey
Lowe Art Museum, University of Miami, Coral Gables, Florida
Marion Koogler McNay Art Institute, San Antonio, Texas
Metropolitan Museum of Art, New York
Miami University Art Museum, Florida
Mildred Lane Kemper Art Museum, Saint Louis, Missouri
Montclair Art Museum, New Jersey
Morris Museum, Morristown, New Jersey
Museum of Fine Arts, Boston
The Museum of Fine Arts, Houston, Texas
Museum of Modern Art, New York
National Gallery of Victoria, Australia
Nelson-Atkins Museum of Art
New Jersey State Museum, Trenton
Newark Museum, New Jersey
Neuberger Museum of Art, Harrison, New York
Parrish Art Museum, Water Mill, New York
Philadelphia Museum of Art, Pennsylvania
Portland Art Museum, Oregon
Portland Museum of Art, Maine
Princeton University Art Museum, New Jersey
Rose Art Museum, Brandeis University, Waltham, Massachusetts
San Francisco Museum of Modern Art, California
Sheldon Museum of Art, Lincoln Nebraska
Smith College Museum of Art, Northampton, Massachusetts
Smithsonian American Art Museum, Washington, D.C.
Solomon R. Guggenheim Museum, New York
Springfield Museum of Fine Arts, Massachusetts
Storm King Art Center, New Windsor, New York
The Toledo Museum of Art, Ohio
University of Lethbridge, Alberta, Canada
Weatherspoon Art Museum, Greensboro, North Carolina
Whitney Museum of American Art, New York
Williams College Museum of Art, Williamstown, Massachusetts
Winnipeg Art Gallery, Canada
Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey
This spring, the Institute of Contemporary...
How can we demonstrate that Mozart is...
When word broke on Facebook on October...
The magnificent painter Elisabeth...
American abstract painter Walter Darby...
Walter Darby Bannard, an American abstract...
The presence of Walter Darby Bannard in my...
Walter Darby Bannard made a big splash...
Altoon Sultan blogs about Walter Darby...
Walter Darby Bannard: Minimal Form, Lush...