Frank Stella
From The Art and Popular Culture Encyclopedia
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- | "... [[Frank Stella]]'s fearless panache, linked to the profusion of his output, that most publicly resisted the common idea that [[abstract painting]] was played out. From the Fascist lugubriousness of early striped paintings like ''[[Die Fahne Hoch]]'' or ''[[Valle de los caidos]]'' to the galvanic dance of fake-shadowed solids in the Cones and Pillars series of the eighties, Stella wrung more variety from abstract art than anyone else alive. One is apt to think of abstract artists' careers beginning in complexity and ending in reduction with the wisdom of age, like Mondrian's. Stella, so far, has inverted this: he started bare, but complicated his art to the point of [[apoplexy]]."--''[[The Shock of the New]]'' (1980) by Robert Hughes, the book | + | "... [[Frank Stella]]'s fearless panache, linked to the profusion of his output, that most publicly resisted the common idea that [[abstract painting]] was played out. From the Fascist lugubriousness of early striped paintings like ''[[Die Fahne Hoch]]'' or ''[[Valle de los caidos]]'' to the galvanic dance of fake-shadowed solids in the ''Cones and Pillars'' series of the eighties, Stella wrung more variety from abstract art than anyone else alive. One is apt to think of abstract artists' careers beginning in complexity and ending in reduction with the wisdom of age, like [[Mondrian]]'s. Stella, so far, has inverted this: he started bare, but complicated his art to the point of [[apoplexy]]."--''[[The Shock of the New]]'' (1980) by Robert Hughes, the book |
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"At the opposite pole of feeling there were [[Frank Stella]]'s paintings from the 70s filled with a sort of [[maniacal]] decorative punch glitter scribbling congestion big French curves swinging out of the design like the feathers of some tropical bird. The sheer energy of this kind of work belies the idea much talked about recently that abstract painting as such is a dying form."--''[[The Shock of the New]]'' (1980) by Robert Hughes, the television series | "At the opposite pole of feeling there were [[Frank Stella]]'s paintings from the 70s filled with a sort of [[maniacal]] decorative punch glitter scribbling congestion big French curves swinging out of the design like the feathers of some tropical bird. The sheer energy of this kind of work belies the idea much talked about recently that abstract painting as such is a dying form."--''[[The Shock of the New]]'' (1980) by Robert Hughes, the television series |
Current revision
"... Frank Stella's fearless panache, linked to the profusion of his output, that most publicly resisted the common idea that abstract painting was played out. From the Fascist lugubriousness of early striped paintings like Die Fahne Hoch or Valle de los caidos to the galvanic dance of fake-shadowed solids in the Cones and Pillars series of the eighties, Stella wrung more variety from abstract art than anyone else alive. One is apt to think of abstract artists' careers beginning in complexity and ending in reduction with the wisdom of age, like Mondrian's. Stella, so far, has inverted this: he started bare, but complicated his art to the point of apoplexy."--The Shock of the New (1980) by Robert Hughes, the book "At the opposite pole of feeling there were Frank Stella's paintings from the 70s filled with a sort of maniacal decorative punch glitter scribbling congestion big French curves swinging out of the design like the feathers of some tropical bird. The sheer energy of this kind of work belies the idea much talked about recently that abstract painting as such is a dying form."--The Shock of the New (1980) by Robert Hughes, the television series |
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Frank Stella (1936 – 2024) was an American painter, sculptor, and printmaker, noted for works such as Die Fahne Hoch! (1959).
Stella lived and worked in New York City for much of his career before he moved his studio to Rock Tavern, New York, and commuted from the city.
Stella's work was included in several exhibitions in the 1960s, among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1964) and Systemic Painting (1966).
See also
- Minimalism
- Post-painterly abstraction
- Stella
- Sixteen Americans
- Leo Castelli
- Roger Nellens
- Point of Pines
- Jasper's Split Star