WALTER DARBY BANNARD
SEE FIRST. NAME L ATER. PAINTINGS 1972-1976
VA N A D I U M, 1976, AC RY L I C O N C A N VA S, 49½ X 29¼ I N.
WALTER DARBY BANNARD SEE FIRST. NAME L ATER. PAINTINGS 1972-1976 JUNE 2 - JULY 1, 2022
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A L L A R T W O R K I M A G E S © E S TAT E O F WA LT E R D A R B Y B A N N A R D
C OV E R: VA N A D I U M (D E TA I L ), 1976, AC RY L I C O N C A N VA S, 49½ X 29¼ I N.
WALTER DARBY BANNARD (1934-2016)
A
leading figure in the development of Color Field
Still. By the late 1950s, he had turned from an expressionistic
painting in the late 1950s and an important Ameri-
style to working with large areas of contrasting color, creating
can abstract painter, Walter Darby Bannard (better
austere minimal paintings. In the next decade, he was one
known as Darby Bannard) was committed to color-based and
of the first artists to blend artist’s materials with commer-
expressionist abstraction for over five decades.
cially produced tinted alkyd resin house paints in a search
During his undergraduate years at Princeton University, he
for greater color options. In 1964, he was included in the
joined fellow students, the painter Frank Stella and the critic
landmark exhibition, Post-Painterly Abstraction, organized
and art historian Michael Fried, in conversations that expand-
by Clement Greenberg and held at the Los Angeles County
ed aesthetic definitions and led to an emphasis on opticality
Museum of Art. His first solo exhibitions were in 1965, at
as the defining feature of pictorial art. Bannard continued to
Kasmin Gallery, London; Richard Feigen Gallery, Chicago; and
explore attributes of color, paint, and surface through innovative
Tibor de Nagy Gallery, New York. He was also included that
methods, striving throughout his career for vital and original
year in the Museum of Modern Art’s, The Responsive Eye. In
expressive means. He was also an important writer on formalist
1968, Bannard received a Guggenheim Foundation Fellowship
issues in art, serving as an editor for Artforum and a contributor
and a National Foundation of the Arts Award.
to Art International. His extensive publications date from the
In about 1970, Bannard’s focus shifted to an exploration of
1960s to the end of his life. In the early 1990s, Bannard
the liquid quality of paint. Drawn to the new acrylic mediums
moved to Miami where he served as professor and head of
that were becoming available, he began working on the floor
painting at the University of Miami, Coral Gables, Florida.
using thick gel surfaces and color suspended in Magna or poly-
Bannard was born in 1934 in New Haven, Connecticut. He
mer mediums. At the time, he “thought of color as a liquid,
attended Phillips Exeter Academy and graduated from
flowing over and settling on a roughened surface, changing as
Princeton University in 1956. Bannard, who made drawings
it mixed and dried.” His method involved stapling his canvases
and watercolors throughout his youth, was self-taught as a
to slightly raised wooden platforms. After tightly sizing his
painter. He derived inspiration for his earliest paintings from
canvases, he scraped on colored gel with squeegee-like tools.
the art of William Baziotes, Theodoros Stamos, and Clyfford
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.” (p. 61) 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
WA LT E R DA R BY B A N N A R D, C . 197 2
PHOTO: MIKE SCHNESSEL
which he applied his paint on large sheets of fiberglass. By the
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middle of the decade, he had returned to a slower, more subtle
Art, South Carolina; Grey Art Gallery, New York University,
system of marking his gel, while also returning to pouring col-
New York; High Museum of Art, Atlanta, Georgia; Hofstra
ored polymer. He also reincorporated expressionist methods in
University, Hempstead, New York; Honolulu Museum, Hawaii;
his art. In 1987, he began his “brush and cut” paintings, consist-
Indianapolis Museum of Art, Indiana; Kenyon College Art
ing of large-scale canvases in which he applied transparent
Gallery, Ohio; LaSalle University Art Museum, Philadelphia;
tinted gel with large street brooms and industrial floor squeegees
Lawrenceville School Art Museum, New Jersey; Lowe Art
to make painted “drawings,” featuring vigorous brushwork and
Museum, University of Miami, Coral Gables, Florida; McNay
three-dimensional illusions. After moving to Miami, he incorpo-
Art Museum, San Antonio, Texas; Metropolitan Museum of Art,
rated more color into his large paintings, while producing small
New York; Miami University Art Museum, Florida; Mildred
mixed-media “landscapes” on paper, inspired by the flat land
Lane Kemper Art Museum, Saint Louis, Missouri; Milwaukee
and water and the lowering sun of the Florida Everglades.
Art Museum, Wisconsin; Montclair Art Museum, New Jersey;
Throughout his career, Bannard moved between the poles
Morris Museum, Morristown, New Jersey; Museum of Fine
of Expressionism and Color Field painting, resulting in a body
Arts, Boston; The Museum of Fine Arts, Houston, Texas;
of art that constantly evolved as the artist forthrightly faced
Museum of Modern Art, New York; Nasher Museum of Art,
the situations that his art presented, reacting to them with
Duke University, Durham, North Carolina; National Gallery of
rigor and intuition.
Art, Washington, D.C.; National Gallery of Victoria, Australia;
In 1983, Bannard held an Invitational Residency at the
Nelson-Atkins Museum of Art, Kansas City, Missouri; New
National Endowment for the Arts. He taught at many art schools,
Jersey State Museum, Trenton; Newark Museum, New Jersey;
including the University of Miami, Florida, and the School of
Neuberger Museum of Art, Harrison, New York; Parrish Art
Visual Arts, New York. Over the course of his career, Bannard
Museum, Water Mill, New York; Philadelphia Museum of
had almost one hundred solo exhibitions and was included in
Art, Pennsylvania; Portland Art Museum, Oregon; Portland
an even greater number of group shows. He is represented in
Museum of Art, Maine; Princeton University Art Museum,
public collections across the country as well as abroad.
New Jersey; Rijksmuseum, Amsterdam; RISD Museum,
His museum collections include Ackland Art Museum,
Providence, Rhode Island; Rose Art Museum, Brandeis
University of North Carolina, Chapel Hill; Albright-Knox Art
University, Waltham, Massachusetts; San Francisco Museum
Gallery, Buffalo, New York; Aldrich Contemporary Art Muse-
of Modern Art, California; Sheldon Museum of Art, Lincoln,
um, Ridgefield, Connecticut; Allen Memorial Art Museum,
Nebraska; Smith College Museum of Art, Northampton,
Oberlin College, Ohio; Arkansas Museum of Fine Arts, Little
Massachusetts; Smithsonian American Art Museum, Wash-
Rock; Art Gallery of Nova Scotia, Halifax, Canada; Art
ington, DC; Solomon R. Guggenheim Museum, New York;
Museum of South Texas, Corpus Christi; Asheville Art Museum,
Springfield Museum of Fine Arts, Massachusetts; Storm King
North Carolina; Baltimore Museum, Maryland; Barcelona
Art Center, New Windsor, New York; the Toledo Museum of
Museum of Contemporary Art, Spain; Birmingham Museum
Art, Ohio; University of Lethbridge, Alberta, Canada; Weath-
of Art, Alabama; Blanton Museum of Art, The University of
erspoon Art Museum, Greensboro, North Carolina; Whitney
Texas, Austin; Brooklyn Museum, New York; Centre Pompidou,
Museum of American Art, New York; Williams College
Paris; Cheekwood Museum of Art, Nashville, Tennessee;
Museum of Art, Williamstown, Massachusetts; Winnipeg
Cleveland Museum, Ohio; Dallas Museum of Art, Texas;
Art Gallery, Canada; and Zimmerli Art Museum, Rutgers
Dayton Art Institute, Ohio; Denver Art Museum, Colorado;
University, New Brunswick, New Jersey.
Edmonton Art Gallery, Alberta, Canada; Fogg Art Museum, Cambridge, Massachusetts; Greenville County Museum of
—Lisa N. Peters, Ph.D.
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SELECTED MUSEUM COLLECTIONS
Milwaukee Art Museum, Wisconsin
Ackland Art Museum, University of North Carolina, Chapel Hill
Montclair Art Museum, New Jersey
Albright-Knox Art Gallery, Buffalo, New York
Museum of Fine Arts, Boston
Aldrich Contemporary Art Museum, Ridgefield, Connecticut
The Museum of Fine Arts, Houston, Texas
Allen Memorial Art Museum, Oberlin College, Ohio
Morris Museum, Morristown, New Jersey
Museum of Modern Art, New York
Arkansas Museum of Fine Arts, Little Rock
Nasher Museum of Art, Duke University, Durham, North Carolina
Art Gallery of Nova Scotia, Halifax, Canada
National Gallery of Art, Washington, D.C.
Art Museum of South Texas, Corpus Christi
National Gallery of Victoria, Australia
Asheville Art Museum, North Carolina
Nelson-Atkins Museum of Art, Kansas City, Missouri
Baltimore Museum of Art, Maryland
New Jersey State Museum, Trenton
Barcelona Museum of Contemporary Art, Spain
Newark Museum, New Jersey
Birmingham Museum of Art, Alabama
Neuberger Museum of Art, Harrison, New York
Blanton Museum of Art, The University of Texas, Austin
Parrish Art Museum, Water Mill, New York
Brooklyn Museum, New York Centre Pompidou, Paris Cheekwood Museum of Art, Nashville, Tennessee
Philadelphia Museum of Art, Pennsylvania Portland Art Museum, Oregon Portland Museum of Art, Maine Princeton University Art Museum, New Jersey
Cleveland Museum of Art, Ohio
Rijksmuseum, Amsterdam
Dallas Museum of Art, Texas
RISD Museum, Providence, Rhode Island
Dayton Art Institute, Ohio Denver Art Museum, Colorado
Rose Art Museum, Brandeis University, Waltham, Massachusetts
Edmonton Art Gallery, Alberta, Canada
San Francisco Museum of Modern Art, California
Fogg Art Museum, Cambridge, Massachusetts
Sheldon Museum of Art, Lincoln, Nebraska
Greenville County Museum of Art, South Carolina
Smith College Museum of Art, Northampton, Massachusetts
Grey Art Gallery, New York University High Museum of Art, Atlanta, Georgia Hofstra University, Hempstead, New York Honolulu Museum, Hawaii Indianapolis Museum of Art, Indiana Kenyon College Art Gallery, Ohio LaSalle University Art Museum, Philadelphia Lawrenceville School Art Museum, New Jersey Lowe Art Museum, University of Miami, Coral Gables, Florida McNay Art Museum, San Antonio, Texas
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 The Art Institute of Chicago, Illinois University of Lethbridge, Alberta, Canada Weatherspoon Art Museum, Greensboro, North Carolina Whitney Museum of American Art, New York
Metropolitan Museum of Art, New York
Williams College Museum of Art, Williamstown, Massachusetts
Miami University Art Museum, Florida
Winnipeg Art Gallery, Canada
Mildred Lane Kemper Art Museum, Saint Louis, Missouri
Zimmerli Art Museum, Rutgers University, New Brunswick, New Jersey
CV
David Mirvish Gallery, Toronto, 1978.
SELECTED GROUP EXHIBITIONS
Born, 1934, New Haven, Connecticut
Knoedler Contemporary Art, New York, 1978.
1956, Princeton University
Knoedler Contemporary Art, New York, 1979.
1983, National Endowment for the Arts, Invitational Residency
Miami University, Oxford, Ohio, 1979.
Los Angeles County Museum (traveled to Walker Art Center, Minneapolis, Minnesota; Toronto Art Museum, Toronto, Canada) Post Painterly Abstraction, 1964.
Knoedler Contemporary Art, New York, 1980.
Chicago Art Museum, Illinois 1965.
Ulrich Art Museum, Wichita State University, Kansas, 1980.
Museum of Modern Art, New York (traveling United States museum tour), The Responsive Eye, 1965.
AWARDS
Knoedler Contemporary Art, New York, 1981.
University of Pennsylvania, Pennsylvania 1965.
1968, Guggenheim Foundation Fellowship
Knoedler Contemporary Art, New York, 1982.
Museum of Modern Art Embassies Program, 1966.
1968, National Foundation of the Arts Award
Edmonton Art Gallery, Edmonton, Alberta, Canada, 1983.
Smithsonian Institute, Washington DC, American Painters, 1966.
Knoedler Contemporary Art, New York, 1983.
Detroit Institute of Arts, Michigan, Color, Image and Form, 1967.
Died, 2016, Miami, Florida
1981, Distinguished Classmate Award, Princeton University Class of 1956 1986, Francis J. Greenburger Foundation Award
Mint Museum of Art, Charlotte, North Carolina, 1983.
1991, Richard A. Florsheim Art Fund Grant
Knoedler Contemporary Art, New York, 1984. Salander-O’Reilly Gallery, New York, 1986.
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.
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 Art Museum, New Jersey, 1991. Farah Damji Gallery, New York, 1993. Dorsch Gallery, Miami, Florida, 1996.
Whitney Museum of American art, New York, Annual, 1967. Museum of Modern Art, New York (tour of European and American museums), Art of the Real, 1968. Corcoran Gallery of Art, Washington DC, Biannual, 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 American Art, New York, Annual, 1969.
David Mirvish Gallery, Toronto, 1970.
Lee Scarfone Gallery, University of Tampa, Florida, Walter Darby Bannard Retrospective of 47 paintings, 1997.
Albright-Knox Art Gallery, Buffalo, New York, (traveling to Dayton Art Institute, Ohio; Cleveland Museum of Art, Ohio), Color and Field, 1890–1970, 1970.
Joseph Helman Gallery, St. Louis, Missouri, 1970.
Lowe Art Museum, Coral Gables, Florida, Darby Bannard: Paintings 1987-1999, 1999.
Toledo Museum of Art, Ohio, The Form of Color, 1970.
Kasmin Gallery, London, 1970.
Emory & Henry College, Virginia, Darby Bannard: Recent Acrylic Paintings and Oilstick/MM Paintings of the 1990s, 2002.
University of Pennsylvania, Two Generations of Color Painting, 1970.
Rauschenberg Gallery, Edison College, Fort Myers, Florida, Moving into Color: Paintings by Darby Bannard, 2006.
Albright-Knox Art Gallery, Buffalo, New York, (traveling to Baltimore Museum of Art, Maryland; Milwaukee Art Center, Wisconsin) Six Painters, 1971.
Western Michigan University, Kalamazoo, 2006.
Fogg Art Museum, Cambridge, Massachusetts, 1971.
Jacobson Howard Gallery, New York, 2007.
The Museum of Fine Arts, Houston, Texas, Toward Color and Field, 1971.
Bennington College, Vermont, 1969. David Mirvish Gallery, Toronto, 1969.
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.
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, New York, Walter Darby Bannard: Dragon Water, 2014. Berry Campbell, New York, Walter Darby Bannard: Minimal Color Field Paintings (1958-1965), 2015. Berry Campbell, New York, Walter Darby Bannard: Recent Paintings, 2016.
Venice Biennale, American Artists, 1970.
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.
Institute of Contemporary Art, Miami, Early Paintings, 2018.
Galerie und Edition Merian, Krefeld, Germany, Bannard, Goodnough, Noland, Olitski, Poons, Stella, 1972.
Knoedler Contemporary Art, New York, 1977.
Berry Campbell, New York, Walter Darby Bannard: Paintings (1969–1975), 2018.
Indianapolis Museum of Art, Indiana, Painting and Sculpture Today – 1972, 1972.
Lamont Gallery, Phillips Exeter Academy, Exeter, New Hampshire, 1977.
Berry Campbell, New York, Walter Darby Bannard: See First. Name Later. (Paintings 1972-1976), 2022.
Museum of Fine Arts, Boston, Abstract Painting in the ‘70s, 1972.
Knoedler Contemporary Art, New York, 1976. Greenberg Gallery, St. Louis, Missouri, 1977.
Museum of Modern Art, New York, Acquisitions, 1972.
Butler Institute of American Art, Youngstown, Ohio, National Midyear Exhibition, 1983.
National Gallery of Victoria, Melbourne, Australia, Born in the USA, 2007.
Whitney Museum of American Art, New York, Annual, 1972.
The Queens Museum, Flushing, New York, Twentieth Century Art from the Metropolitan Museum: Selected Recent Acquisitions, 1983.
Ackland Art Museum, University of North Carolina, Chapel Hill, Circa 1958: Breaking Ground in American Art, 2008.
Museum of Fine Arts, Boston, Directions in Contemporary American Ceramics, 1984.
Museum of Fine Arts, Houston, Texas, Color into Light, 2008.
List Art Center, Brown University, Providence, Rhode Island, Definitive Statements - American Art: 1964–1966, 1986.
Jacobson Howard Gallery, New York, Circa 1959: Transitions in the Work of Nine Abstract Painters, 2009.
Fort Lauderdale Art Museum, Florida, The Moffett Collection, 1990.
McNay Art Museum, San Antonio, Texas, Art Since 1945: In a New Light, 2009.
Galerie 1900-2000, Paris, Free Market, 1990.
Center for Visual Communication, Miami, Florida, Darby Bannard and the Miami School, 2010.
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 of American Art, New York, 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 Museum of Art, Lincoln, Nebraska, 1981. Smithsonian Museum of American Art, Washington DC, Recent Trends in Collecting: 20th Century Painting from the National Museum of Art, 1982.
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.
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, PostPainterly Abstraction: Belgium-USA , 2016. Berry Campbell, New York, Summer Selections, 2017. Cavalier Galleries, New York, 57th Street, America’s Artistic Legacy, Part I, 2018. Watson MacRae Gallery, Sanibel Island, Hollis Jeffcoat | Darby Bannard – That Devil Paint, 2018. Berry Campbell Gallery, New York, Summer Selections, 2018. InLiquid, Philadelphia, Bannard, Connelly, and Romberg – The Collection of Caroline Dunlop Millett, 2018. Berry Campbell, New York, Summer Selections, 2019. Parker Gallery, Los Angeles, The De Luxe Show, 2021. Karma Gallery, New York, The De Luxe Show, 2021.
ABOUT THE GALLERY Christine Berry and Martha Campbell opened Berry Campbell Gallery in the heart of Chelsea on the ground floor in 2013. The gallery has a fine-tuned program representing artists of post-war American painting that have been overlooked or neglected, particularly women of Abstract Expressionism. Since its inception, the gallery has developed a strong emphasis in research to bring to light artists overlooked due to race, gender, or geography. This unique perspective has been increasingly recognized by curators, collectors, and the press. Berry Campbell has been included and reviewed in publications such as Architectural Digest, Art & Antiques, Art in America, Artforum, ArtNews, The Brooklyn Rail, Huffington Post, Hyperallergic, East Hampton Star, Luxe Magazine, The New Criterion, the New York Times, Vogue, Wall Street Journal, and Whitehot Magazine of Contemporary Art.
C A I R O PA S S I N G, 1975, A L K Y D R E S I N O N C A N VA S, 69 X 3 4¼ I N.
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