The Walter Darby Bannard Archive

Color, Paint, and Present-Day Painting (1966)
Artforum, Vol. 4, (April 1966) pp. 35 - 37.

New Talent USA (1966)
Art in America, Vol. 54, (July - August 1966) p. 48.

Present-Day Art and Ready-Made Styles (1966)
Artforum, Vol. 5, (December 1966) pp. 30 - 35. Subtitle: In which the formal contribution of Pop art is found to be negligible.

Sensibility of the Sixties (1967)
Art in America, Vol. 55, (January - February 1967) pp. 54 - 55.

Letter to the Editor (1968)
Artforum, Vol. 6, (February 1968) p. 4.

Cubism, Abstract Expressionism and David Smith (1968)
Artforum, Vol. 6, (April, 1968) pp. 22 - 32.

Letter to the Editor (1968)
Artforum, Vol. 7, (November, 1968) p. 4.

Willem de Kooning's Retrospective at the Museum of Modern Art (1969)
Artforum, Vol. 7, (April, 1969) pp. 42 - 49. Includes letter of comment by Fairfield Porter in following issue of Artforum, with Bannard reply.

Beyond Modern Sculpture by Jack Burnham (1969)
Artforum, Vol. 7, (May 1969) pp. 70 - 71. Book review.

Hofmann's Rectangles (1969)
Artforum, Vol. 7, (Summer, 1969).

Walter Darby Bannard (1970)
Art Now: New York, Vol. 2, #7 (1970).

Notes on American Painting of the Sixties (1970)
Artforum, Vol. 8, (January, 1970) pp. 40 - 45.

Color Painting and the Map Problem (1970)
Artforum, Vol. 8, (March, 1970) pp. 60 - 61.

Notes on an Auction (1970)
Artforum, Vol. 9, (September, 1970).

The Artist and Politics (1970)
Artforum, Vol. 9, (September, 1970).

The Structure of Color (1971)
Whitney Museum of American Art, p. 12. From the catalog of the exhibit "The Structure of Color" at the Whitney Museum.

Touch and Scale: Cubism, Pollock, Newman and Still (1971)
Artforum, Vol. 10, (June 1971) pp. 58 - 66. Reprinted with extracts of other pieces in Picasso's Guernica by Ellen C. Oppler, "Analysis and General Essays - Darby Bannard," pp. 299 - 305 and various.

Morris Louis, by Michael Fried (1971)
Print Collector's Newsletter, Vol. II, #3, (July - August, 1971) p. 58. Book review.

Noland's New Paintings (1971)
Artforum, Vol. 10, (November, 1971).

Caro's New Sculpture (1972)
Artforum, Vol. 10, (June, 1972).

Barnett Newman, by Thomas B. Hess (1972)
Print Collector's Newsletter, Vol. 3, #3, (July - August, 1972) p. 63. Book review, with replies from Hess and Bannard.

The War Against the Good in Art (1972)
New York Times, August 6, 1972, section 2, p. 17.

Quality, Style and Olitski (1972)
Artforum, Vol. 11, #2, (October, 1972) pp. 64 - 67.

Catalogue statement (1972)
Catalog Statement for a solo exhibition at the Newport Harbor Art Museum, Newport Harbor, California, December 1972.

Curator's Choice (1973)
Catalog Statement: New Jersey State Council on the Arts, February, 1973.

Letter to the Editor (1973)
Artforum, Vol. XI, #6, (February, 1973) p. 9.

He Comes to Praise the Met (1973)
New York Times, June 2, 1973, Sect. 2, p. 24. Includes response to reply by John L. Hess in the New York Times, July 1, 1973, Section 2, p. 19.

Juror's statement (1974)
Juror's Statement for catalogue of the "Davidson National Print and Drawing Competition", March 1974; p. 2.

Morris Louis and the Restructured Picture (1974)
Studio International, Vol. 188, #968, (July - August, 1974).

Art Quality and the Formalist Controversy (1974)
Quadrille, Bennington College, Fall, 1974, pp. 4 - 7.

The Art Museum and the Living Artist (1974)
Essay in the book On Understanding Art Museums, New York: Prentice-Hall, 1975. First printed for the forty-sixth American Assembly, October, 1974.

Art and Politics (1975)
Printed extract from statements made on the "Art and Politics" panel of the symposium "The Arts: Years of Development, Time of Decision," University of Texas at Austin, September 29, 1975.

Activity of Criticism (1975)
Studio Magazine, March - April, 1975, pp. 84 - 85. Interview with Max Kozloff.

Catalogue introduction (1975)
Introduction to catalogue for Nova at "Park Center Invitational Painting Show", Cleveland, Ohio; April 15 - May 5, 1975, p. 3.

Hans Hofmann (1976)
Catalog text for Hirshhorn Museum exhibition, travelling to Museum of Fine Arts, Houston, Texas, October 1976.

Letter to the Editor (1976)
Artforum, May, 1976, pp. 8 - 9.

The Late Cézanne: A Symposium (1978)
Art in America, March - April, 1978, p. 83.

Senate testimony (1978)
Witness on behalf of S.2645, "The National Art Bank of 1978," Transcript of testimony before the Senate Committee of Human Resources, Harrison A. Williams Jr., Chairman, August 22, 1978.

The Artist in the Museum Organization (1979)
Published in "On Trusteeship," Art Galleries Association of Australia, Adelaide, Australia, 1979.

New Jersey Masters, 1980 (1980)
Catalog statement for the exhibition "New Jersey Masters," Gill/St. Bernard's School, Gladstone, New Jersey, April 1980.

Art and Nonsense: A Non-Creative Look at the Creative Process (1980)
Perspectives on Creativity and the Unconscious, D. W. Fritz, ed.. Miami University, Ohio, 1980.

Art Darts (1980)
Houston City Magazine, May 6, 1980. Letter to the editor.

Letter to the Editor (1980)
New York Times, November 30, 1980, p. 170.

The Seminar (1981)
Twenty-Fifth Reunion Book, Class of 1956. Princeton University, June 1981, pp. 24 - 32.

Catalogue essay (1981)
"New Works in Clay III," catalogue for traveling exhibition organized by the Everson Museum, Syracuse, NY, 1981. Includes notes submitted to curator.

Michael Steiner's New Sculpture (1981)
Catalog essay. Houston: Meredith Long & Co., October 1981. Reprinted in Cover #6, (Winter, 1981 - 82).

Scrimshaw from the Barbara Johnson Collection (1982)
Art at Auction, Sotheby Publications, 1982, pp. 382 - 385 (4 color and 1 b&w illustration).

The Emperor's Old Clothes (1982)
Arts, September, 1982, pp. 81 - 83.

Biennial Exhibition of Piedmont Painting and Sculpture (1983)
Catalog statement: Charlotte, North Carolina: Mint Museum, January, 1983.

Carol Sutton's New Paintings (1983)
Catalog essay for the exhibition at Gallery One, Toronto, Canada, November 19 - December 8, 1983.

Painting of the '50s: Another Look (1983)
Catalog essay for the exhibition at Duke University Museum of Art, October 3 - November 27, 1983, pp. 7 - 23.

Structures - Thirteen New Jersey Artists (1984)
Catalog statement: Montclair Art Museum, Montclair, New Jersey, January 22 - March 25, 1984, p. 5.

On Postmodernism (1984)
Arts, February 1984, p. 69. Originally a paper entitled "Excellence vs. Postexcellence" given at the MLA Convention, December, 1983.

On Taste (1984)
Arts, April 1984, p. 128. Originally a paper read at New York University, February 1984.

Anthony Caro's New Sculpture (1984)
Arts, Summer 1984, pp. 128 - 130.

Letter of comment (1984)
Letter published in I Stand Corrected: More On Language, by William Safire. New York: Time Books, 1984, p. 390.

On Criteria (1984)
Arts, September 1984, p. 128.

Catalogue statement (1984)
Juror's catalogue statement for the "30th Annual Juried Art Show", Durham Art Guild, Durham, North Carolina, November - December, 1984.

Academic Death (1984)
Princeton Alumni Weekly, December 5, 1984. Letter to the editor.

On Content (1985)
Arts, March 1985, pp. 84 - 85.

On Originality (1985)
Arts, September 1985, pp. 132 - 133.

Monet's The Seine at Bougival (1985)
Update (Edmonton Art Gallery), Vol. 6, #5, (September - October, 1985) pp. 17 - 18.

Painting: The State of the Art (1985)
The Centennial Review (Michigan State University), Vol. XXIX, #4, (Fall, 1985) pp. 449 - 456.

On Pluralism (1986)
Arts, Summer, 1986, pp. 84 - 85.

Craft and Art Envy (1986)
New Work, #27, (Autumn 1986) pp. 28 - 33. Delivered as a lecture at the Second Pilchuck Conference, Stanwood, Washington. August 1985.

Prints From Glass (1986)
Catalog statement for an exhibition of prints from glass plates, Belk Museum, Western Carolina University, Culowee, North Carolina, 1986.

The Art Glut (1986)
Arts, December 1986, pp. 22 - 23.

The Unconditional Aesthete (1987)
Arts, September 1987, pp. 59 - 61.

Catalog statement (1987)
Catalog Statement for the "Inaugural Exhibition of the Permanent Collection of Rider College", October, 1987.

In Search of Quiet Time for Art Lovers (1988)
New York Times, Section 2, June 19, 1988, p. 15. Letter to the editor.

James Walsh (1988)
Essay for exhibition catalog, Galleria Joan Prats, NY, September 1988.

American Art: An Artist's Perspective (1989)
Catalog essay: "Exhibition Made in America." Virginia Beach Arts Center, Virginia Beach, Virginia, April, 1989.

Artstravaganza (1989)
Juror's Statement: exhibit of the Association of Visual Artists, Chattanooga, Tennessee, May, 1989. Includes related interview by the Chattanooga News, April 9, 1989.

The Mystery of Scrimshaw (1989)
Catalog essay for an exhibition of scrimshaw from The Barbara Johnson Whaling Collection at the Brandywine River Museum, Chadds Ford, Pennsylvania, May 1989.

Walter Darby Bannard: "The Barcelona Run Series" (1989)
Catalog statement for solo exhibition at Rider College, Lawrenceville, NJ, October 20 - November 20, 1989.

Goodness in Art (1990)
Unpublished paper given at a seminar at the Institute for the Humanities, University of Michigan, March, 1990.

Catalogue statement (1990)
Chairman's Statement, University of Miami Student Exhibition catalog, Lowe Art Museum, April 5 - May 27, 1990.

Time to go Back to the Ivory Tower (1990)
New York Times, July 29, 1990. Letter to the editor.

Miserable Level of Discourse (1990)
New York Times, August 12, 1990. Letter to the editor.

Free Expressions (1990)
Juror's Statement: Bakehouse Art Complex, Miami, Florida, September 9 - 29, 1990.

Monster of Irony (1990)
New York Times, October 14, 1990. Letter to the editor.

Clash of Cultures (1990)
New York Times, November 4, 1990. Letter to the editor, with reply by Francoise Gilot.

Some Comments on the Paintings - by the Artist (1990)
Catalog essay for the exhibition "Walter Darby Bannard - Paintings from the '70s and '80s", at Miami-Dade Community College, South Campus Art Gallery, Miami, Florida, November 19 - December 21, 1990.

Dumbfounded (1991)
New York Times, June 2, 1991. Letter to the editor.

Misunderstood All Around (1991)
New York Times, July 21, 1991. Letter to the editor.

What It's Like to be an Artist (1992)
Miami Magazine, Vol. 3, No. 2 (Winter 1992), p. 32. Reprinted in The Edmonton Review, Vol. 2, Issue 3, Winter 1995/1996, p. 9.

The Unvarnished Truth about Art and Money (1992)
USA Today, July, 1992. pp. 65-67.

Statement (1993)
University of Miami Bachelor of Fine Art Exhibition, Lowe Museum, Spring 1993.

Kate Borcherding (1993)
Mary Kate Borcherding exhibition, Miami-Dade Community College Kendall Campus Gallery, March 1993.

Introduction to "Chihuly: Form from Fire" (1993)
The Museum of Arts and Sciences of Daytona Beach in association with University of Washington Press. Also used as the foreward essay for the catalog of the exhibition organized by the Lowe Art Museum, January 28, 1993, travelling to 6 museums. Excerpt reprinted in the Chronicle of Higher Education, May 11, 1994, pg. 44.

Quoted at length in "Modernism in Dispute: Art Since the Forties" (1993)
(Illustration in color: Mandragora #3, 1969, Collection MOMA).

Remembering Clement Greenberg (1994)
The Edmonton Review, Vol 1, Issue 3, Fall-Winter, 1994.

Jules Olitski (1994)
Catalog essay for the exhibition at the New Gallery, University of Miami, Coral Gables, Florida, February 25 - March 25, 1994.

Chairman's Statement (1994)
1994 Student Exhibition, Lowe Art Museum, March 10-24, 1994.

Chairman's Statement (1994)
Master of Fine Arts Exhibition, Lowe Art Museum, March 30 - April 17, 1994.

Jules Olitski (1994)
Catalog essay, exhibition at Salander-O'Reilly Galleries, New York City, New York, October 4-29, 1994.

Catalogue entries (1995)
Entries in the "Handbook of the Permanent Collection of the Lowe Art Museum: Theodorus Stamos, Hans Hofmann, Jack Tworkov."

Letter of comment (1995)
Princeton Alumni Weekly, Jan. 20, 1995, p. 6.

George Bethea: Painted Collage (1995)
Catalog essay for exhibition at the Dorsch Gallery, Miami, FL, April 1995. Reproduced as catalog notes for George Bethea exhibition at Gulf Coast Community College, Pensacola, FL, November 1995.

Chairman's Catalog Statement (1995)
Student Exhibition, Lowe Museum, Apr. 12-30, 1995.

Artists/Teachers (1996)
Quoted in brochure for "Artists/Teachers," Ft. Lauderdale Museum, Summer show, 1996.

Catalogue statements (1996)
Catalog Statements for University of Miami Student Exhibition (March 1996) and MFA exhibition (May 1996). Missing.

Common Ground (1996)
Introduction to catalogue for "Common Ground: Christine Federighi and her students over 20 years", Clayspace, Miami Beach, FL, May 11, July 6 1996.

Letter of comment (1996)
Consumer Reports, June 1996, p. 4.

Watching My Language (1997)
Bannard quote in book by William Safire, p. 272.

Statement (1997)
Statement for retrospective exhibition of Bannard Paintings, Scarfone Art Gallery, Univertsity of Tampa, Tampa, FL, October 1997.

Catalog essay (1998)
Catalog Essay, University of Miami MFA Exhibition, Lowe Museum, Spring 1998.

Daniela Wicki (1998)
Brochure statement for the Daniela Wicki exhibition, Schwartz & Martinez Gallery, Coral Gables, Florida, March/April 1998.

Tim Curtis (1998)
Catalogue essay for exhibition of sculpture by Tim Curtis, Lowe Art Museum, Coral Gables, FL, Aug. 7 - Oct. 4 1998.

Catalog essay (1999)
Catalog Essay, University of Miami MFA Exhibition, Lowe Museum, Spring 1999.

Statement (1999)
Statement for retrospective exhibition of Bannard paintngs, Lowe Art Museum, Coral Gables, FL, August, 1999.

Abstract Painting and Content (1999)
Excerpted from a talk given on the occasion of a retrospective of Darby Bannard's paintings at the Lowe Museum of Art, Aug 26, 1999.

Excellence and Postexcellence (2000)
The Edmonton Review, Vol. 6, Issue 1, Summer 2000, pp. 6-9. Edited from a talk given by Darby Bannard to the Edmonton Contemporary Artist's Society, Edmonton, Alberta, Canada, Oct. 9, 1999. Posted on newCrit 2000. Reedited and revised version published in Critical Perspectives on Art History, McEnroe & Popinski, Eds., Prentice-Hall, 2001.

Letter to Karen Wilkin (2000)
Written upon request for information for Wilkin's 50th anniversary book for Tibor de Nagy Gallery, July 6, 2000.

Virtual Museums: Just Click on a Name (2000)
New York Times, Sunday, Oct 1, 2000. Letter of comment.

Pollock Got Away: A Review of the Movie Pollock (2001)
Miami Art Exchange and newCrit, March 23, 2001.

Critical Notes (2001)
Miami Art Exchange and newCrit, March 28, 2001. Reviews of "Making Art in Miami" and "Mythic Proportions" at MoCA, North Miami, Jordan Massengale and Ramon Fernandez-Bofill at Dorsch Gallery, and Miriam Schapiro at the Lowe Museum.

Accurate and Radical (2001)
New York Times, Aug 19, 2001. Letter of comment.

David Smith at the Lowe Museum; Four Painters at Dorsch (2001)
Miami Art Exchange and newCrit, November 7, 2001.

Milton Avery and Louise Nevelson at the Lowe Museum (2002)
Miami Art Exchange. Also posted on newCrit, January 2002.

Modern Lovers (2002)
New Republic, May 1, 2002. Letter of comment.

Big Culture and the Great Pomo Dumbdown (2002)
Transcribed for newCrit from a talk given at Emory & Henry College, November 2002.

Modernism and Postmodernism in Miami (2002)
newCrit. Also posted on Miami Art Exchange, November 2002. Reviews of "Unexpected Selections" at Florida International University and artists Bofill-Fernandez, Ware and Bethea at Dorsch Gallery.

Faces and Figures at FIU: A Hard Look (2003)
Miami Art Exchange.

Frankenthaler at MoCA (2003)
Miami Art Exchange.

The future of abstract art (2003)
New Criterion. Letter of comment, with Hilton Kramer reply.

Art Encounter (2003)
Artist's statement for exhibition at the Von Liebig Center, Naples, Florida, December 6, 2003 - January 17, 2004.

Quote (2004)
Quoted in From the Mayor's Doorstep by Piri Halasz.

Everybody's a Critic (2004)
Street Miami, June 18, 2004. Letter of comment.

Hitler Makes PAW Cover (2004)
Princeton Alumni Weekly, December 8, 2004. Letter of comment.

Proficiency and Pathology (2005)
Lecture delivered at College Art Associaton annual conference, February 2005; posted on newCrit.org, March 2005.

Hollis Jeffcoat (2005)
Essay for exhibit of Jeffcoat paintings at the C.A.S. Gallery, University of Miami, September 20 - October 14, 2005.

Real Painting (2005)
Catalogue essay for eponymous exhibition at DKR Gallery, December 2005.

Evolution vs. Revolution (2005)
Catalogue essay for exhibition at Buena Vista Building, December 2005.

Lucas Blanco (2006)
Exhibition statement for "Lucas Blanco: Blanco del Fuego" at Dorsch Gallery, 2006.

How I Did Not Get My First One-Man Show (2006)
Written for the Phillips Exeter Academy Bulletin and Class of 1952 Website, Winter 2006: Essays, Anecdotes and Archives.

George Bethea: Dharani: Journey of Dreams (2006)
Brochure essay for exhibition at Dorsch Gallery, January 7 - February 11, 2006.

Moving Into Color: Paintings 1987 - 1992 (2006)
Catalog essay for exhibition at Bob Rauschenberg Gallery, Edison College, Ft. Myers, Florida, January 20 - February 26, 2006.

Statement for Excellence in Teaching Award (2006)
Statement for Excellence in Teaching Award, solicited by the University of Miami.

Artbroken: What Art Is and How We Stopped Making It (2007)
A talk prepared for the Foundations in Art: Theory & Education (FATE) 2007 Conference, Milwaukee.

Eulogy for Jules Olitski (2007)
Delivered at the memorial service for Jules Olitski, March 2007.

Interview: From the Mayor's Doorstep (2007)
Supplement to the deluxe print edition of the newsletter published by Piri Halasz.

Larry Poons: Paintings of the 1970s (2007)
Catalogue essay for "Larry Poons: Throw, Pour, Drip, Spill & Splash" at Jacobson Howard Gallery, New York.

Brian Rutenberg (2008)
Introduction for a book on the artist, Radius Books, 2008.

Artbroken: Art on the Academic Rack (2009)
Revised version of 2007 paper, delivered at the 2009 FATE conference in Portland, Oregon.

Quotes (2009)
Compiled from the archive, online, and other sources by Robert Genn.

George Bethea's New Paintings (2009)
Catalogue essay for exhibition at Edge Zones, Miami, November 2009.