Inward and Outward Bound, 1973 by Kenneth Noland

Inward and Outward Bound, 1973 by Kenneth Noland

Inward and Outward Bound, 1973; Acrylic on canvas; signed and dated 'Kenneth Noland 1973' verso; Mounted to a wooden stretcher; Pictured on pg. 75 of the book "Kenneth Noland" by Kenworth Moffett, 1977; Size - Canvas: 102 1/8 x 164"; Unframed.

“The plaid paintings kind of came out of when I’d been making horizontal stripe pictures … I was worried … in the horizontal pictures the stripes were horizontal … it’s probably the most removed from any kind of associations … The colors are non‑descriptive. … I was looking for ways of getting into vertical quality … I got the idea of crossing colors … but … presented a lot of problems. … Those intersections of colors become very specific in a painting … they’re details … you come to something going across.” - Kenneth Noland

Kenneth Noland (1924–2010) was a seminal American painter and one of the leading figures in the Color Field movement. Born in Asheville, North Carolina, Noland initially studied at Black Mountain College, where he was influenced by modernist figures such as Josef Albers and the Bauhaus-inspired curriculum. His early work was rooted in abstract expressionism, but over time he became increasingly interested in the purity of color and the structural clarity of geometric forms. Noland is widely celebrated for his innovative use of color as the primary subject of a painting, a focus that led to his distinctive visual vocabulary of targets, chevrons, stripes, and grids. His contributions to 20th-century art positioned him alongside contemporaries such as Morris Louis, Mark Rothko, and Barnett Newman, shaping the trajectory of postwar American abstraction.

Kenneth Noland’s Inward and Outward Bound exemplifies his rigorous exploration of color, form, and spatial perception, while also marking a departure into the plaid motif, a less commonly explored aspect of his oeuvre. While Noland is most often associated with concentric circles and chevron compositions, in this work he investigates the dynamic possibilities of intersecting horizontal and vertical bands. The title, Inward and Outward Bound, reflects Noland’s interest in the dual movement of visual perception: the composition simultaneously draws the viewer’s attention inward toward the intersections of color while radiating outward, creating a dynamic and immersive experience.

The painting is characterized by its border plaid structure, composed of carefully measured intersecting bands of color. Each intersection and overlapping stripe is meticulously considered, producing vibrant optical effects that demonstrate Noland’s mastery of color relationships. His understanding of hue, value, and saturation allows the colors to interact in ways that create movement, depth, and energy, transforming a simple geometric grid into a visually pulsating field. The arrangement of bands encourages the viewer’s eye to travel both along the lines and across the surface, reflecting Noland’s enduring interest in how compositional structure and color can generate both rhythm and emotion.

Despite the precision inherent in the plaid motif, Inward and Outward Bound retains a sense of vitality and organic tension. The work balances the rigor of geometry with the fluidity of color, suggesting motion and interaction among the intersecting forms. The subtle modulation at intersections and the careful selection of color harmonies prevent the grid from feeling static, producing a complex interplay of inward focus and outward projection that embodies the duality suggested by the title.

Moreover, the painting reflects Noland’s belief in color as an autonomous expressive force. In this composition, color is not merely decorative but serves as the structural and emotional foundation of the work. The intersecting bands function simultaneously as vessels for chromatic experimentation and as frameworks guiding perceptual engagement. Viewers are invited to experience both the immediate visual impact of contrasting hues and the contemplative effect of layered color relationships, reinforcing Noland’s philosophy that abstraction can evoke mood, perception, and introspection without representational imagery.

Inward and Outward Bound stands as a remarkable example of Noland’s late-career innovation. By translating the plaid motif into a sophisticated study of color interaction, spatial perception, and optical movement, the work demonstrates his enduring dedication to exploring the subtleties of visual experience. It is a testament to Noland’s pioneering role in Color Field painting and his lasting influence on modern abstraction. The painting’s dynamic rhythm, structural clarity, and chromatic brilliance make it a compelling and essential addition to any modern art collection, offering viewers both a contemplative and visually exhilarating experience.

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