網路資訊讓我們更能了解：Frank Stella (1936~2024) , Towering Artist and Master of Reinvention, Dies at 87. The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015,
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The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015, an outsize show for a towering if divisive figure, as obsessed as Ahab in his quest to reframe abstraction.
Frank Stella, Towering Artist and Master of Reinvention, Dies at 87
He moved American art away from Abstract Expressionism toward cool minimalism. His explorations of color and form were endlessly discussed and constantly on exhibit.
Frank Stella, whose laconic pinstripe “black paintings” of the late 1950s closed the door on Abstract Expressionism and pointed the way to an era of cool minimalism, died on Saturday at his home in the West Village of Manhattan. He was 87.
Frank Stella | |
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 Stella in 2012 | |
| Born | Frank Philip Stella May 12, 1936 Malden, Massachusetts, U.S. |
| Died | May 4, 2024 (aged 87) New York City, U.S. |
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Frank Philip Stella (May 12, 1936 – May 4, 2024) was an American painter, sculptor, and printmaker, noted for his work in the areas of minimalism and post-painterly abstraction. He lived and worked in New York City for much of his career before moving his studio to Rock Tavern, New York. Stella was a recipient of the National Medal of Arts in 2009 and the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center in 2011.
Biography[edit]
Frank Stella was born in Malden, Massachusetts, on May 12, 1936, to first-generation Italian-American parents, as the oldest of their three children.[1] His grandparents on both sides had immigrated to the United States at the turn of the 20th century from Sicily. His father, Frank Sr., was a gynecologist, and his mother Constance (née Santonelli) was a housewife and artist[2] who attended fashion school and later took up landscape painting.[3]
In his sophomore year of high school at Phillips Academy in Andover, Massachusetts,[4] the abstractionist Patrick Morgan, a teacher at the school, began teaching Stella how to paint. After entering Princeton University to earn a degree in history, Stella took art courses and was introduced to the New York art scene by painter Stephen Greene and art historian William Seitz, professors at the school who brought him to exhibitions in the city. His work was influenced by abstract expressionism.[1] He is heralded by the Birmingham Museum of Art for having created abstract paintings that bear "no pictorial illusions or psychological or metaphysical references in twentieth-century painting".[5]
In the 1970s, he moved into NoHo in Manhattan in New York City.[6] As of 2015, Stella lived in Greenwich Village and kept an office there but commuted on weekdays to his studio in Rock Tavern, New York.[3]
Work[edit]
Late 1950s and early 1960s[edit]
After moving to New York City in the late 1950s, Stella began to create works which emphasized the picture-as-object. His visits to the art galleries of New York, where he was exposed to the abstract expressionist work of artists like Franz Kline and Jackson Pollock, had exerted a great influence on his development as an artist.[7]
He created a series of paintings in 1958–1959 known as his "Black Paintings" which flouted conventional ideas of painterly composition. Using commercial enamel paint and a house-painter's brush, he painted black stripes of the same width and evenly spaced on bare canvas, leaving the thin strips of canvas between them unpainted and exposed, along with his pencil-and-ruler drawn guidelines.[8]
Stella repudiated all efforts by critics to interpret his work, dismissing them with his well-known tautology, "What you see is what you see",[8] which became "the unofficial motto of the minimalist movement", according to the New York Times.[9]
Die Fahne Hoch! (1959) takes its name ("Hoist the Flag!"[10] or "Raise the Flag!" in English) from the first line of the "Horst-Wessel-Lied",[11] the anthem of the Nazi Party. According to Stella himself, the painting has similar proportions as banners used by that organization.[12]
In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York the same year.[7]
From 1960, his works used shaped canvases,[13] developing in 1966 into more elaborate designs, as in the Irregular Polygon series (67).[14]
Stella married Barbara Rose, later a well-known art critic, in 1961.[15] Around this time he said that a picture was "a flat surface with paint on it – nothing more".[16]
Late 1960s and early 1970s[edit]
In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham.[17] The same year, his began his Protractor Series (71) of paintings, which feature arcs, sometimes overlapping,[18] within square borders named after circular cities he had visited while in the Middle East earlier in the 1960s.[19][20]
The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one.[21]
In the next decade, Stella brought to his artistic productions the element of relief, which he called "maximalist" painting because it had sculptural attributes. He presented wood and other materials in his Polish Village series (1970–1973), executed in high relief. Through the 1970s and 1980s, as these works became more uninhibited and intricate, his minimalism became baroque.[17] In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Series.[22] He said of this project, "The starting point for the art cars was racing livery. The graph paper is what it is, a graph, but when it's morphed over the car's forms it becomes interesting. Theoretically it's like painting on a shaped canvas."[23]
In 1969, Stella was commissioned to create a logo for the Metropolitan Museum of Art Centennial.[24]
In 1978, he married pediatrician Harriet McGurk.[25]
1980s and afterward[edit]
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From the mid-1980s to the mid-1990s, Stella produced a large oeuvre that grappled with Herman Melville's novel Moby-Dick in a broad way.[2] To generate these, the artist made collages or scale models that were subsequently enlarged to the original's specifications by his assistants.[17]
In 1993, he designed and executed for Toronto's Princess of Wales Theatre a 10,000-square-foot mural installation which covers the ceiling of the dome, the proscenium arch and the exterior rear wall of the building.[17][26] The mural for the dome was based on computer-generated imagery.[27] In 1997, he oversaw the installation of the 5,000-square-foot Euphonia at the Moores Opera House at the Rebecca and John J. Moores School of Music at the University of Houston, in Houston, Texas.[28][29] A monumental sculpture of his, titled Prinz Friedrich von Homburg, Ein Schauspiel, 3X, was installed outside the National Gallery of Art in Washington, D.C.[30][31]
The titles for Stella's Scarlatti Sonata Kirkpatrick series evoke the rhythms and sounds of the harpsichord sonatas of Domenico Scarlatti.[32]
From 1978 to 2005, Stella owned the Van Tassell and Kearney Horse Auction Mart building in Manhattan's East Village and used it as his studio which resulted in the facade being restored.[33] After a six-year campaign by the Greenwich Village Society for Historic Preservation, the historic building was designated a New York City Landmark in 2012.[34] After 2005, Stella split his time between his West Village apartment and his Newburgh, New York, studio.[35]
By the turn of the 2010s, Stella started using the computer as a painterly tool to produce stand-alone star-shaped sculptures.[36] The resulting stars are often monochrome, black or beige or naturally metallic, and their points can take the form of solid planes, spindly lines or wire-mesh circuits.[36] His Jasper's Split Star (2017), a sculpture constructed out of six small geometric grids that rest on an aluminum base, was installed at 7 World Trade Center in 2021.[37] In late 2022, Stella launched an NFT (non-fungible token) that includes the right to the CAD files to 3D print the art works in the NFTs.[38]
Artists' rights[edit]
On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella was a member artist of the Artists Rights Society[39]) published an op-ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located".[40]
In the op-ed, Stella wrote,
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