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Books : Arts & Photography : Artists, A-Z : ( S-U ) : Stella, Frank
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In the late 1940s, several prominent artists of the New York School--among them Robert Rauschenberg, Ad Reinhardt, Mark Rothko and Frank Stella--were intently studying the color black. That work, interrelated but not collaborative, resulted in an astonishing number of almost monochromatic black paintings, which today are considered treasures of many major collections, including the Whitney Museum of American Art's. For the first time, Black Paintings gathers all of the best of the title artist's black works together: textured black, striped black, blue-black, brown-black, black-black. In thorough illustration and thoughtful analysis, it sheds light on the differences between these postwar works as well as their commonalities. For Frank Stella and Robert Rauschenberg, black was a way to disappear into something new, a way to a new artistic vocabulary. For Mark Rothko, it stood for emptiness and nothingness; it asked the spectator to reflect back on it. For Ad Reinhardt, it offered denial and invisibility. Each artist's black portfolio reflects a breakthrough or transition in his own work, and, combined, they represent a larger moment of transition. The Black Paintings marked both a beginning and an end: the end of painting as illusion, as a window onto the world, and the beginning of painting as the mode for the creation of self-sufficient perceptual objects--a change that g
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FRANK STELLAA study of the American abstract artist Frank Stella (b. 1936), surveying his career from the famous Black Paintings of the late 1950s up to the present.
Frank Stella has become become among America's premier contemporary artists. Unlike many 20th century artists, Stella has always worked in abstraction. His art is irrepressible, daring, hugely enjoyable, and refreshingly angst-free. This book begins with the celebrated Black Paintings of 1959, moves on through the Minimalist Copper and Aluminium paintings of the early Sixties, to the exuberant Protractor series, the expansion into three dimensions in the 1970s, and closing with the 3-dimensional Polish Village, Exotic Birds and Brazilian 'maximalist' works of the 1980s and 1990s.
Employing the most up-to-date art criticism of Frank Stella, James Pearson also looks at Stella's contemporaries: Jasper Johns, Robert Rauschenberg, Kenneth Noland, Jules Olitski, Morris Louis, Robert Ryman, Brice Marden, Mark Rothko and Barnett Newman among others.
Includes new illustrations. EXTRACT FROM CHAPTER 5
There does not seem to be much going on in some of Frank Stella's 1960s Minimal paintings. But there is, in fact, a lot going on. Stella limits himself to a narrow set of rules. Like Brice Marden, Barnett Newman, Morris Louis and Mark Rothko, Stella sets himself to explore a few configurations of painting. But these things - the shape of the canvas, internal organization of the stripes, colour of the bands - offer up endless permutations.
Frank Stella's paintings are lean, but leanness does not necessarily mean unfeelingness. This is the problem that monochrome painting creates, and Minimal art in general. Certainly Stella is intense: his Black Stripe Paintings, his Protractor series, his copper paintings, his India Birds, are intense works of art.
The Stella exhibitions of the late 1980s and early 1990s were affairs, in which one was impressed by a sense of colour and light, a spaciousness to the works, and a huge scale, so that each work dominated the gallery rooms. Stella is in no way a quiet, unobtrusive artist: his paintings are domineering, self-confident, assured of their own effects. Stella has always been an artist who knows what he's doing. His paintings do not lurk in gallery corners, shyly. His paintings announce themselves instantly and powerfully. Stella's June-July 1985 show at the ICA in London was typical: massive multi-media works were squeezed into the ubiquitous sparse white rooms, completely taking over the sedate spaces.
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Since the early 1990s, the American artist Frank Stella (b. 1936) has designed various architectural structures, including a band shell, pavilions, and museums. This book demonstrates how Stella’s formal concerns have evolved from paintings to wall reliefs to freestanding sculptures that extend into architecture. Included are illustrations of the 25 works in the accompanying exhibition that range from small models to a portion of a building at full scale. Photographs of works by architects who have influenced Stella are also featured.
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Artwork by Frank Stella. Edited by William Rubin.
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This digital document is an article from Leviathan, published by Melville Society on March 1, 2003. The length of the article is 1430 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Frank Stella's Moby-Dick: Words and Shapes.(Book Review)
Author: Robert K. Wallace
Publication: Leviathan (Refereed)
Date: March 1, 2003
Publisher: Melville Society
Volume: 5 Issue: 1 Page: 87(4)
Article Type: Book Review
Distributed by Thomson Gale
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For Frank Stella, 1958 was a crucial year. After graduating from Princeton University, he moved to Manhattan and painted a series of monumental, colorful canvases that culminated in the first of his famous black paintings.” This fascinating book focuses on the thirty works he painted that year. The paintings reflect his transformation from a student experimenting with abstract expressionism to a highly original artist whose works changed the course of postwar art.Presenting the entire series of paintings in color for the first time (except lost works known only through black-and-white photographs), this handsome book details the course of Stella’s career in 1958. The authors situate his work in relation to that of Carl Andre, with whom Stella shared studio space that year, and Jasper Johns. Their analysis draws on concepts of originality, repetition, assemblage, and opticality.Drawing on new archival findings, firsthand observations of the paintings, and interviews with Stella and members of his circle, this volume enriches our understanding of a fascinating and critical stage in the artist’s development.
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Although based on simple geometries, the Irregular Polygons (1965-66) constitute one of the most complex artistic statements of Frank Stella's career. The eleven compositions combine different numbers of shapes to create daringly irregular outlines. Stella made four versions of each composition, varying the color combinations. They mark a radical shift from the artist's earlier striped works in their use of large fields of color. The asymmetric canvases play with illusion, confronting Stella's previous emphasis on flatness while anticipating his career-long exploration of space and volume in both painting and sculpture.
A valuable resource for scholars, curators, and aficionados of modern art, fans and practitioners of the art of painting, and anyone else who enjoys insight into the cultural turning points of the modern age.
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The art of Frank Stella (born 1936) transcends the boundaries between painting, sculpture and architecture. Over the course of a five-decade career the artist has consistently reinvented himself, to such an extent that today we are faced with seven or eight Stellas, ranging from austere minimalist to baroque maximalist. Frank Stella: Connections carefully orchestrates a selection of paintings and sculptures to reveal a surprisingly unified Stella. Included are previously unseen early Minimalist works and "turning points" from the artist's personal collection, as well as selections from such major series as the Irregular Polygons and Protractor paintings of the 1960s, the Polish Village and Circuits series of the 1970s and 1980s, and the metal reliefs and monumental floor sculptures of the last two decades. Through a series of encounters, juxtapositions and dialogues, the underlying concerns and extraordinary consistency of Stella's practice are here brought to light.
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One of the finest collections of contemporary American art is at the Meyerhoffs' Fitzhugh Farm, Maryland. This full-color volume presents their impressive holdings by these five American masters. Included are essays analyzing each artist's work in the contexts of their careers and of twentieth-century culture.
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1995 Edition. An as new book in an as new dust jacket. No internal markings. From private collection.
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. This book details the lives, styles and major contributions of the many artists of the Minimalist Movement. Includes chapters on Neo-Minimalism, hard-edge painting and monochromatic style.
Project Webster represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Project Webster continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge.
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This little book was written to fill a need: that of offering for the first time a handy visual anthology of a major young artist's first decade of achievement as well as providing an overall critical introduction to that work.... Robert Rosenblum
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This collection of Frank Stella's lectures and talks, selected by the artist himself, reflects his "artistic theory of form." Like Paul Klee, Stella's thoughts on form and style begin with systematic study of line, color, and tonality. Required reading for any student of Minimalism.
Edited by Franz-Joachim Verspohl. Essay by Frank Stella.8.25 x 11.75 in.
90 color illustrations
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