GCB Kunstlexikon
FRANK STELLA
Beitrag in Bearbeitung!
kunstwerke FRANK STELLA
Frank Stella | New Works | Marianne Boesky Gallery | Out of Sync | Art in Focus | Frank Stella, a solo exhibition of new sculpture. The show will debut seven large-scale sculptures, created in 2017 that highlight Stella’s ongoing engagement with color, shape, and composition through the forms of stars, ribbons, and bow ties. The exhibition is presented by Marianne Boesky Gallery, in collaboration with Lévy Gorvy. The lustrous, colorful sculptures exude a sense of joy as they activate and engage the surrounding space. Frank Stella will be on view from May 5 through June 17, 2017 at 509 W. 24th Street. Stella first alluded to the star in the polygonal patterns of his “Dartmouth Paintings” from 1963, which helped spur the Minimalist movement of the 1960s. While Stella continued to make subtle reference to the star in the more complex and varied geometric compositions of his “Protractor” series (1967-1971), it would not become a central theme in his practice until the early 2000s with the “Scarlatti K” works. By this point, Stella had extended his investigations of composition and abstraction into three dimensions, initiating a deeper exploration of how objects behave and are experienced in space. The star appeared repeatedly within the tangle of shapes that comprised the “Scarlatti K” assemblages, contributing to the playful nature of these wall reliefs and freestanding sculptures. Since 2014, Stella has more directly examined the star motif, creating sculptures that vary in scale from the intimate to the monumental and in material from simple wood to high-gloss chrome. Using digital modeling, Stella explores how subtle changes in scale, texture, color, and material can affect our perception and experience of an object. This ongoing study feels particularly vibrant in Frank Stella, as the sculptures appear on the cusp of motion, seemingly responding and contorting to unseen pressures or tensions around them. Like Stella’s stars, the ribbon and bow tie forms first entered the artist’s visual lexicon several decades ago, initially appearing as curves in the “Protractor” series. For Stella, the ribbon became an extension of the line, bending and folding onto itself and referencing the gesture of a brushstroke. It formed an essential aspect of his transition in the 1980s to a more expressive artistic approach. Also during this time, Stella began actively combining painting, printmaking, and sculpture, paving the way for the sculptural assemblages and additive constructions for which he has become commonly known in recent years. Together, the new sculptures featured in Frank Stella offer a dynamic and compelling meditation on Stella’s practice, referring both to pivotal moments in his long and illustrious career and highlighting the significance and vitality of his practice. Born in Malden, Massachusetts and based in New York City, Frank Stella (b. 1936) has produced an extraordinary body of work over the past six decades. Stella has exhibited widely throughout the United States and abroad. His first solo exhibition was at Leo Castelli Gallery in 1960. Early in his career, his work was included in a number of significant institutional exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964-65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971) | Frank Stella | filmed by Out of Sync | NYC | May 2017 | Camera and edit | Per Henriksen Producer | Out of Sync Artworks courtesy | Frank Stella | Marianne Boesky Gallery | Lévy Gorvy Text | Marianne Boesky Gallery | © Out of Sync 2017 | YouTube
Frank Stella | Recent Works | A new film by Eric Minh Swenson | Few artists are as synonymous with the history of 20th and 21st-century American art as Frank Stella. His work across media, from painting to sculpture to printmaking, has continuously broken ground at each stage of his decades-long career, remaining influential and relevant to subsequent generations of contemporary artists. Sprüth Magers is honored to present the first solo exhibition of Frank Stella’s painting and sculpture in Los Angeles since 1995. The selection of works highlights the artist’s ongoing experimentation with spatial representation and includes the début of a new painting series. In its broad array of forms, colors, and scale, Stella’s recent work offers viewers an equally remarkable and confounding visual experience. Planes intersect, cutting through each other as if in virtual space, while metal frameworks balance brightly painted, sinuous shapes whose appearance shifts radically when viewed from different perspectives. Since the 1990s, the artist has worked with computer renderings of complex forms, piecing together compositions from recurring motifs inspired by smoke rings, a spiral-coiled hat, stars, and other visual phenomena. Though Stella conceives of all his works in relation to painting, they often extend into three dimensions and are inspired by various disciplines, including literature, philosophy, and music. At the center of the gallery, The Broken Jug. A Comedy [D#3] (left handed version) (2007) takes its title from the celebrated German Romanticist writer and theorist, Heinrich von Kleist, whose texts Stella has engaged with for twenty years. Ribbons of wood weave in and out of each other in graceful arcs, flowing dynamically over viewers as they walk around the piece. Three additional sculptures illustrate the artist’s diverse approaches to the star form, which has figured prominently in his work since 2014. Stella’s stars at times appear weightless, dissolving into bands of stainless steel; elsewhere, their mass is tangible and echoes the weighty reality of celestial bodies. Summer Star (Net) (2015), moreover, exhibits the process of rapid prototyping (RPT) that the artist has used for many years to develop intricate arrangements of vibrantly colored plastics and metals. Several examples from Stella’s Scarlatti K series, which he first began in 2006, expand upon his varied use of RPT. The series is named for the 18th-century composer Domenico Scarlatti, the creator of 555 inventive piano sonatas, and the scholar Ralph Kirkpatrick, who later catalogued them chronologically giving each one a “K” number. Rather than attempting a literal translation of Scarlatti’s compositions, Stella’s series instead evokes the “sense of rhythm and movement that you get in music,” as the artist has explained. In K.404 (2013), for example, a spray of yellow needle-like protrusions suggests staccato notes and an upbeat tempo, and metal parabolas trace meandering melodic lines. On view for the first time, Stella’s recent paintings mark the artist’s return to the canvas, albeit with compositions that relate directly to his three-dimensional investigations. Each one features a painstakingly rendered, undulating form that hovers in space, casting painted shadows onto the picture plane below. With the look of architectural plans, computerized models, and diagrams, the figures seem to defy gravity, as if designed for some otherworldly location or enigmatic purpose. Sensuous and inviting, these new works offer insight into Stella’s long-standing conception of painting as a multidimensional, multidisciplinary enterprise. EMS Legacy Films is a continuing series of short films produced by EMS on artists and exhibitions | YouTube
Frank Stella | Die Retrospektive | Werke 1958-2012 | YouTube |
Kunstmuseum Wolfsburg | https://www.kunstmuseum-wolfsburg.de/ | YouTube | Frank Stella (geb. 1936) ist einer der letzten lebenden Heroen der amerikanischen Malerei aus der Zeit der 1950er und 1960er Jahre. Auch Stellas jüngere Arbeiten offenbaren seine immer wieder aufs Neue überzeugenden Wege in die Abstraktion. Mit einem Paukenschlag eroberte der kaum zwanzigjährige Künstler bereits 1959 die New Yorker Szene: Seine großen Black Paintings verschärften nicht nur die Auseinandersetzung mit dem Minimalismus in der Malerei, sondern bereiteten auch den „Ausstieg aus dem Bilde in den Raum“ vor. Anders als seine Zeitgenossen schlug Stella jedoch einen völlig eigenen Weg ein, der ihn zu immer opulenteren, barockeren Reliefs führte. Mit der Wendung „vom Minimalismus zum Maximalismus“ wurde Frank Stella zu einem der prägenden Künstler des 20. Jahrhunderts, dem das Kunstmuseum Wolfsburg mit etwa 63 meist großformatigen Werken und 82 Arbeiten auf Papier eine umfassende Retrospektive widmet. Den farbenprächtigen, zum Teil gigantischen Reliefs bietet das Kunstmuseum mit seiner großen Halle und seinem flexiblen Wandsystem wie kaum ein anderes Museum die Möglichkeit zur Entfaltung: durch eine maßgeschneiderte Ausstellungsarchitektur. Sie unterstützt die Darstellung seiner konsequenten, durch mehr als ein halbes Jahrhundert führenden Werkentwicklung, die die sukzessive Eroberung des Raumes von der Zweidimensionalität des Bildes bis hin zu den visionären und allerjüngsten Arbeiten nachzeichnet. Gleichzeitig möchte die Retrospektive Stellas Werk erstmals in einen größeren Zusammenhang der Kunstgeschichte stellen, der weit über die Moderne hinausweist. ArchiSkulpturen und Architekturmodelle bilden den Abschluss der Ausstellung.
Frank Stella | Selected Prints | 1974-1982 | Film by Eric Minh Swenson | Music by the Gardner Chamber Orchestra | Leslie Sacks Contemporary is pleased to announce an exhibition of Frank Stella prints. The exhibition features works from the 1970s and 1980s, including pieces from the series Exotic Birds, 1970; Polar Co-ordinates, 1980; Circuits, 1982; and The Waves, 1985-89. Frank Stella burst onto the art scene in 1960 with his Black Paintings, which were showcased in a groundbreaking exhibition at the Leo Castelli gallery and „Sixteen Americans“ at the Museum of Modern Art, New York. These works exhibited Stella’s concern with geometry, as well as the precision and rationality that characterized Minimalism. By the late 1960s, however, his compositions had become less rigid and his palette more complex, giving way to the curved, yet controlled lines and juxtaposing colors of the Protractor Series, 1967-69. It was in 1967 that Stella met master printer Ken Tyler at the renowned print atelier Gemini G.E.L., Los Angeles, who persuaded the artist to make his first print. So began a life-long collaboration between Stella and Tyler, who would continue to make prints together for over thirty years. Over time, Stella’s prints became increasingly innovative. Earlier works followed the initial minimalist aesthetic of his paintings and adhered to traditional printing methods, but throughout the 1970s, Stella’s forms became more dynamic and the artist’s brushstroke became visible. By 1980, the Polar Co-ordinates Series had Stella experimenting more freely with combinations of shapes, colors, brushstrokes and printing techniques. The grids of his early work remained an integral part of the prints, appearing as superimposed netting across Stella’s forms. The Polar Co-ordinates Series, created with Petersburg Press, required numerous layers of lithography and screenprinting, displaying the growing complexity of Stella’s print work. Stella’s mastery of the printmaking process continued to evolve in his late 1980s work, including the Circuit Series, 1982 and The Waves Series, 1985-89. These works are notable for their monumental scale and rich texture and were innovative accomplishments achieved through Stella’s collaboration with Ken Tyler. In the Circuit Series, etching and engraving were used for the first time in Stella’s career. The flamboyant forms and experimental relief work of these pieces made them more visually dynamic and technically advanced than any series that had come before. Frank Stella is considered one of the most important contemporary artists and printmakers. His work can be found worldwide in the permanent collections of museums, including the Solomon R. Guggenheim Museum, New York; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Kunstmuseum, Basel; Stedelijk Museum, Amsterdam; and Thyseen-Bornemisza Museum, Madrid. He received the National Medal of Arts in 2009 | YouTube
VIDEO | FILM FRANK STELLA
Radical Simplicity | Frank Stella | A Retrospective | Fine Arts Museum of San Francisco | https://www.famsf.org/ | For almost six decades Frank Stella has been one of the most important and influential figures in the evolution of modern art, expanding the definitions of art and challenging its conventions. In advance of the de Young’s special exhibition Frank Stella: A Retrospective, curator Timothy Anglin Burgard provides an introduction to Stella and his lasting impression on the art world | YouTube
Frank Stella | Irregular Polygons | Toledo Museum of Art | https://www.toledomuseum.org/ | Check out this introductory video for the Toledo Museum of Art exhibition „Frank Stella: Irregular Polygons“ running April 7-July 24 with free admission. The introduction features TMA director Brian Kennedy, who also curated this exhibition while at the Hood Museum of Art at Dartmouth College | YouTube
BIOGRAFIE FRANK STELLA
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG FRANK STELLA
LEHRTÄTIGKEIT FRANK STELLA
MITGLIEDSCHAFTEN FRANK STELLA
AUSZEICHNUNGEN FRANK STELLA
SAMMLUNGEN FRANK STELLA
AUSSTELLUNGEN FRANK STELLA
EINZELAUSSTELLUNGEN
GRUPPENAUSSTELLUNGEN
PROJEKTE | SYMPOSIEN
WERKBESCHREIBUNG FRANK STELLA
SCHWERPUNKTE | MEDIEN
STIL
THEMEN | MOTIVE | WERKE
DEFINITION | BESCHREIBUNG | MERKMALE
STICHWORTE FRANK STELLA
ZITATE FRANK STELLA
TEXT | BIBLIOGRAPHIE FRANK STELLA
LINKS FRANK STELLA
HOMEPAGE FRANK STELLA
FRANK STELLA
Beitrag in Bearbeitung!
kunstwerke FRANK STELLA
Frank Stella | New Works | Marianne Boesky Gallery | Out of Sync | Art in Focus | Frank Stella, a solo exhibition of new sculpture. The show will debut seven large-scale sculptures, created in 2017 that highlight Stella’s ongoing engagement with color, shape, and composition through the forms of stars, ribbons, and bow ties. The exhibition is presented by Marianne Boesky Gallery, in collaboration with Lévy Gorvy. The lustrous, colorful sculptures exude a sense of joy as they activate and engage the surrounding space. Frank Stella will be on view from May 5 through June 17, 2017 at 509 W. 24th Street. Stella first alluded to the star in the polygonal patterns of his “Dartmouth Paintings” from 1963, which helped spur the Minimalist movement of the 1960s. While Stella continued to make subtle reference to the star in the more complex and varied geometric compositions of his “Protractor” series (1967-1971), it would not become a central theme in his practice until the early 2000s with the “Scarlatti K” works. By this point, Stella had extended his investigations of composition and abstraction into three dimensions, initiating a deeper exploration of how objects behave and are experienced in space. The star appeared repeatedly within the tangle of shapes that comprised the “Scarlatti K” assemblages, contributing to the playful nature of these wall reliefs and freestanding sculptures. Since 2014, Stella has more directly examined the star motif, creating sculptures that vary in scale from the intimate to the monumental and in material from simple wood to high-gloss chrome. Using digital modeling, Stella explores how subtle changes in scale, texture, color, and material can affect our perception and experience of an object. This ongoing study feels particularly vibrant in Frank Stella, as the sculptures appear on the cusp of motion, seemingly responding and contorting to unseen pressures or tensions around them. Like Stella’s stars, the ribbon and bow tie forms first entered the artist’s visual lexicon several decades ago, initially appearing as curves in the “Protractor” series. For Stella, the ribbon became an extension of the line, bending and folding onto itself and referencing the gesture of a brushstroke. It formed an essential aspect of his transition in the 1980s to a more expressive artistic approach. Also during this time, Stella began actively combining painting, printmaking, and sculpture, paving the way for the sculptural assemblages and additive constructions for which he has become commonly known in recent years. Together, the new sculptures featured in Frank Stella offer a dynamic and compelling meditation on Stella’s practice, referring both to pivotal moments in his long and illustrious career and highlighting the significance and vitality of his practice. Born in Malden, Massachusetts and based in New York City, Frank Stella (b. 1936) has produced an extraordinary body of work over the past six decades. Stella has exhibited widely throughout the United States and abroad. His first solo exhibition was at Leo Castelli Gallery in 1960. Early in his career, his work was included in a number of significant institutional exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964-65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971) | Frank Stella | filmed by Out of Sync | NYC | May 2017 | Camera and edit | Per Henriksen Producer | Out of Sync Artworks courtesy | Frank Stella | Marianne Boesky Gallery | Lévy Gorvy Text | Marianne Boesky Gallery | © Out of Sync 2017 | YouTube
Frank Stella | Recent Works | A new film by Eric Minh Swenson | Few artists are as synonymous with the history of 20th and 21st-century American art as Frank Stella. His work across media, from painting to sculpture to printmaking, has continuously broken ground at each stage of his decades-long career, remaining influential and relevant to subsequent generations of contemporary artists. Sprüth Magers is honored to present the first solo exhibition of Frank Stella’s painting and sculpture in Los Angeles since 1995. The selection of works highlights the artist’s ongoing experimentation with spatial representation and includes the début of a new painting series. In its broad array of forms, colors, and scale, Stella’s recent work offers viewers an equally remarkable and confounding visual experience. Planes intersect, cutting through each other as if in virtual space, while metal frameworks balance brightly painted, sinuous shapes whose appearance shifts radically when viewed from different perspectives. Since the 1990s, the artist has worked with computer renderings of complex forms, piecing together compositions from recurring motifs inspired by smoke rings, a spiral-coiled hat, stars, and other visual phenomena. Though Stella conceives of all his works in relation to painting, they often extend into three dimensions and are inspired by various disciplines, including literature, philosophy, and music. At the center of the gallery, The Broken Jug. A Comedy [D#3] (left handed version) (2007) takes its title from the celebrated German Romanticist writer and theorist, Heinrich von Kleist, whose texts Stella has engaged with for twenty years. Ribbons of wood weave in and out of each other in graceful arcs, flowing dynamically over viewers as they walk around the piece. Three additional sculptures illustrate the artist’s diverse approaches to the star form, which has figured prominently in his work since 2014. Stella’s stars at times appear weightless, dissolving into bands of stainless steel; elsewhere, their mass is tangible and echoes the weighty reality of celestial bodies. Summer Star (Net) (2015), moreover, exhibits the process of rapid prototyping (RPT) that the artist has used for many years to develop intricate arrangements of vibrantly colored plastics and metals. Several examples from Stella’s Scarlatti K series, which he first began in 2006, expand upon his varied use of RPT. The series is named for the 18th-century composer Domenico Scarlatti, the creator of 555 inventive piano sonatas, and the scholar Ralph Kirkpatrick, who later catalogued them chronologically giving each one a “K” number. Rather than attempting a literal translation of Scarlatti’s compositions, Stella’s series instead evokes the “sense of rhythm and movement that you get in music,” as the artist has explained. In K.404 (2013), for example, a spray of yellow needle-like protrusions suggests staccato notes and an upbeat tempo, and metal parabolas trace meandering melodic lines. On view for the first time, Stella’s recent paintings mark the artist’s return to the canvas, albeit with compositions that relate directly to his three-dimensional investigations. Each one features a painstakingly rendered, undulating form that hovers in space, casting painted shadows onto the picture plane below. With the look of architectural plans, computerized models, and diagrams, the figures seem to defy gravity, as if designed for some otherworldly location or enigmatic purpose. Sensuous and inviting, these new works offer insight into Stella’s long-standing conception of painting as a multidimensional, multidisciplinary enterprise. EMS Legacy Films is a continuing series of short films produced by EMS on artists and exhibitions | YouTube
Frank Stella | Die Retrospektive | Werke 1958-2012 | YouTube |
Kunstmuseum Wolfsburg | https://www.kunstmuseum-wolfsburg.de/ | YouTube | Frank Stella (geb. 1936) ist einer der letzten lebenden Heroen der amerikanischen Malerei aus der Zeit der 1950er und 1960er Jahre. Auch Stellas jüngere Arbeiten offenbaren seine immer wieder aufs Neue überzeugenden Wege in die Abstraktion. Mit einem Paukenschlag eroberte der kaum zwanzigjährige Künstler bereits 1959 die New Yorker Szene: Seine großen Black Paintings verschärften nicht nur die Auseinandersetzung mit dem Minimalismus in der Malerei, sondern bereiteten auch den „Ausstieg aus dem Bilde in den Raum“ vor. Anders als seine Zeitgenossen schlug Stella jedoch einen völlig eigenen Weg ein, der ihn zu immer opulenteren, barockeren Reliefs führte. Mit der Wendung „vom Minimalismus zum Maximalismus“ wurde Frank Stella zu einem der prägenden Künstler des 20. Jahrhunderts, dem das Kunstmuseum Wolfsburg mit etwa 63 meist großformatigen Werken und 82 Arbeiten auf Papier eine umfassende Retrospektive widmet. Den farbenprächtigen, zum Teil gigantischen Reliefs bietet das Kunstmuseum mit seiner großen Halle und seinem flexiblen Wandsystem wie kaum ein anderes Museum die Möglichkeit zur Entfaltung: durch eine maßgeschneiderte Ausstellungsarchitektur. Sie unterstützt die Darstellung seiner konsequenten, durch mehr als ein halbes Jahrhundert führenden Werkentwicklung, die die sukzessive Eroberung des Raumes von der Zweidimensionalität des Bildes bis hin zu den visionären und allerjüngsten Arbeiten nachzeichnet. Gleichzeitig möchte die Retrospektive Stellas Werk erstmals in einen größeren Zusammenhang der Kunstgeschichte stellen, der weit über die Moderne hinausweist. ArchiSkulpturen und Architekturmodelle bilden den Abschluss der Ausstellung.
Frank Stella | Selected Prints | 1974-1982 | Film by Eric Minh Swenson | Music by the Gardner Chamber Orchestra | Leslie Sacks Contemporary is pleased to announce an exhibition of Frank Stella prints. The exhibition features works from the 1970s and 1980s, including pieces from the series Exotic Birds, 1970; Polar Co-ordinates, 1980; Circuits, 1982; and The Waves, 1985-89. Frank Stella burst onto the art scene in 1960 with his Black Paintings, which were showcased in a groundbreaking exhibition at the Leo Castelli gallery and „Sixteen Americans“ at the Museum of Modern Art, New York. These works exhibited Stella’s concern with geometry, as well as the precision and rationality that characterized Minimalism. By the late 1960s, however, his compositions had become less rigid and his palette more complex, giving way to the curved, yet controlled lines and juxtaposing colors of the Protractor Series, 1967-69. It was in 1967 that Stella met master printer Ken Tyler at the renowned print atelier Gemini G.E.L., Los Angeles, who persuaded the artist to make his first print. So began a life-long collaboration between Stella and Tyler, who would continue to make prints together for over thirty years. Over time, Stella’s prints became increasingly innovative. Earlier works followed the initial minimalist aesthetic of his paintings and adhered to traditional printing methods, but throughout the 1970s, Stella’s forms became more dynamic and the artist’s brushstroke became visible. By 1980, the Polar Co-ordinates Series had Stella experimenting more freely with combinations of shapes, colors, brushstrokes and printing techniques. The grids of his early work remained an integral part of the prints, appearing as superimposed netting across Stella’s forms. The Polar Co-ordinates Series, created with Petersburg Press, required numerous layers of lithography and screenprinting, displaying the growing complexity of Stella’s print work. Stella’s mastery of the printmaking process continued to evolve in his late 1980s work, including the Circuit Series, 1982 and The Waves Series, 1985-89. These works are notable for their monumental scale and rich texture and were innovative accomplishments achieved through Stella’s collaboration with Ken Tyler. In the Circuit Series, etching and engraving were used for the first time in Stella’s career. The flamboyant forms and experimental relief work of these pieces made them more visually dynamic and technically advanced than any series that had come before. Frank Stella is considered one of the most important contemporary artists and printmakers. His work can be found worldwide in the permanent collections of museums, including the Solomon R. Guggenheim Museum, New York; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Kunstmuseum, Basel; Stedelijk Museum, Amsterdam; and Thyseen-Bornemisza Museum, Madrid. He received the National Medal of Arts in 2009 | YouTube
VIDEO | FILM FRANK STELLA
Radical Simplicity | Frank Stella | A Retrospective | Fine Arts Museum of San Francisco | https://www.famsf.org/ | For almost six decades Frank Stella has been one of the most important and influential figures in the evolution of modern art, expanding the definitions of art and challenging its conventions. In advance of the de Young’s special exhibition Frank Stella: A Retrospective, curator Timothy Anglin Burgard provides an introduction to Stella and his lasting impression on the art world | YouTube
Frank Stella | Irregular Polygons | Toledo Museum of Art | https://www.toledomuseum.org/ | Check out this introductory video for the Toledo Museum of Art exhibition „Frank Stella: Irregular Polygons“ running April 7-July 24 with free admission. The introduction features TMA director Brian Kennedy, who also curated this exhibition while at the Hood Museum of Art at Dartmouth College | YouTube
BIOGRAFIE FRANK STELLA
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG FRANK STELLA
LEHRTÄTIGKEIT FRANK STELLA
MITGLIEDSCHAFTEN FRANK STELLA
AUSZEICHNUNGEN FRANK STELLA
SAMMLUNGEN FRANK STELLA
AUSSTELLUNGEN FRANK STELLA
EINZELAUSSTELLUNGEN
GRUPPENAUSSTELLUNGEN
PROJEKTE | SYMPOSIEN
WERKBESCHREIBUNG FRANK STELLA
SCHWERPUNKTE | MEDIEN
STIL
THEMEN | MOTIVE | WERKE
DEFINITION | BESCHREIBUNG | MERKMALE
STICHWORTE FRANK STELLA
ZITATE FRANK STELLA
TEXT | BIBLIOGRAPHIE FRANK STELLA
LINKS FRANK STELLA
HOMEPAGE FRANK STELLA
FRANK STELLA
Beitrag in Bearbeitung!
kunstwerke FRANK STELLA
Frank Stella | New Works | Marianne Boesky Gallery | Out of Sync | Art in Focus | Frank Stella, a solo exhibition of new sculpture. The show will debut seven large-scale sculptures, created in 2017 that highlight Stella’s ongoing engagement with color, shape, and composition through the forms of stars, ribbons, and bow ties. The exhibition is presented by Marianne Boesky Gallery, in collaboration with Lévy Gorvy. The lustrous, colorful sculptures exude a sense of joy as they activate and engage the surrounding space. Frank Stella will be on view from May 5 through June 17, 2017 at 509 W. 24th Street. Stella first alluded to the star in the polygonal patterns of his “Dartmouth Paintings” from 1963, which helped spur the Minimalist movement of the 1960s. While Stella continued to make subtle reference to the star in the more complex and varied geometric compositions of his “Protractor” series (1967-1971), it would not become a central theme in his practice until the early 2000s with the “Scarlatti K” works. By this point, Stella had extended his investigations of composition and abstraction into three dimensions, initiating a deeper exploration of how objects behave and are experienced in space. The star appeared repeatedly within the tangle of shapes that comprised the “Scarlatti K” assemblages, contributing to the playful nature of these wall reliefs and freestanding sculptures. Since 2014, Stella has more directly examined the star motif, creating sculptures that vary in scale from the intimate to the monumental and in material from simple wood to high-gloss chrome. Using digital modeling, Stella explores how subtle changes in scale, texture, color, and material can affect our perception and experience of an object. This ongoing study feels particularly vibrant in Frank Stella, as the sculptures appear on the cusp of motion, seemingly responding and contorting to unseen pressures or tensions around them. Like Stella’s stars, the ribbon and bow tie forms first entered the artist’s visual lexicon several decades ago, initially appearing as curves in the “Protractor” series. For Stella, the ribbon became an extension of the line, bending and folding onto itself and referencing the gesture of a brushstroke. It formed an essential aspect of his transition in the 1980s to a more expressive artistic approach. Also during this time, Stella began actively combining painting, printmaking, and sculpture, paving the way for the sculptural assemblages and additive constructions for which he has become commonly known in recent years. Together, the new sculptures featured in Frank Stella offer a dynamic and compelling meditation on Stella’s practice, referring both to pivotal moments in his long and illustrious career and highlighting the significance and vitality of his practice. Born in Malden, Massachusetts and based in New York City, Frank Stella (b. 1936) has produced an extraordinary body of work over the past six decades. Stella has exhibited widely throughout the United States and abroad. His first solo exhibition was at Leo Castelli Gallery in 1960. Early in his career, his work was included in a number of significant institutional exhibitions that defined the art in the postwar era, including Sixteen Americans (Museum of Modern Art, New York, 1959), Geometric Abstraction (Whitney Museum of American Art, New York, 1962) The Shaped Canvas (Solomon R. Guggenheim Museum, New York, 1964-65), Systemic Painting (Solomon R. Guggenheim Museum, New York, 1966), Documenta 4 (1968), and Structure of Color (Whitney Museum of American Art, New York, 1971) | Frank Stella | filmed by Out of Sync | NYC | May 2017 | Camera and edit | Per Henriksen Producer | Out of Sync Artworks courtesy | Frank Stella | Marianne Boesky Gallery | Lévy Gorvy Text | Marianne Boesky Gallery | © Out of Sync 2017 | YouTube
Frank Stella | Recent Works | A new film by Eric Minh Swenson | Few artists are as synonymous with the history of 20th and 21st-century American art as Frank Stella. His work across media, from painting to sculpture to printmaking, has continuously broken ground at each stage of his decades-long career, remaining influential and relevant to subsequent generations of contemporary artists. Sprüth Magers is honored to present the first solo exhibition of Frank Stella’s painting and sculpture in Los Angeles since 1995. The selection of works highlights the artist’s ongoing experimentation with spatial representation and includes the début of a new painting series. In its broad array of forms, colors, and scale, Stella’s recent work offers viewers an equally remarkable and confounding visual experience. Planes intersect, cutting through each other as if in virtual space, while metal frameworks balance brightly painted, sinuous shapes whose appearance shifts radically when viewed from different perspectives. Since the 1990s, the artist has worked with computer renderings of complex forms, piecing together compositions from recurring motifs inspired by smoke rings, a spiral-coiled hat, stars, and other visual phenomena. Though Stella conceives of all his works in relation to painting, they often extend into three dimensions and are inspired by various disciplines, including literature, philosophy, and music. At the center of the gallery, The Broken Jug. A Comedy [D#3] (left handed version) (2007) takes its title from the celebrated German Romanticist writer and theorist, Heinrich von Kleist, whose texts Stella has engaged with for twenty years. Ribbons of wood weave in and out of each other in graceful arcs, flowing dynamically over viewers as they walk around the piece. Three additional sculptures illustrate the artist’s diverse approaches to the star form, which has figured prominently in his work since 2014. Stella’s stars at times appear weightless, dissolving into bands of stainless steel; elsewhere, their mass is tangible and echoes the weighty reality of celestial bodies. Summer Star (Net) (2015), moreover, exhibits the process of rapid prototyping (RPT) that the artist has used for many years to develop intricate arrangements of vibrantly colored plastics and metals. Several examples from Stella’s Scarlatti K series, which he first began in 2006, expand upon his varied use of RPT. The series is named for the 18th-century composer Domenico Scarlatti, the creator of 555 inventive piano sonatas, and the scholar Ralph Kirkpatrick, who later catalogued them chronologically giving each one a “K” number. Rather than attempting a literal translation of Scarlatti’s compositions, Stella’s series instead evokes the “sense of rhythm and movement that you get in music,” as the artist has explained. In K.404 (2013), for example, a spray of yellow needle-like protrusions suggests staccato notes and an upbeat tempo, and metal parabolas trace meandering melodic lines. On view for the first time, Stella’s recent paintings mark the artist’s return to the canvas, albeit with compositions that relate directly to his three-dimensional investigations. Each one features a painstakingly rendered, undulating form that hovers in space, casting painted shadows onto the picture plane below. With the look of architectural plans, computerized models, and diagrams, the figures seem to defy gravity, as if designed for some otherworldly location or enigmatic purpose. Sensuous and inviting, these new works offer insight into Stella’s long-standing conception of painting as a multidimensional, multidisciplinary enterprise. EMS Legacy Films is a continuing series of short films produced by EMS on artists and exhibitions | YouTube
Frank Stella | Die Retrospektive | Werke 1958-2012 | YouTube |
Kunstmuseum Wolfsburg | https://www.kunstmuseum-wolfsburg.de/ | YouTube | Frank Stella (geb. 1936) ist einer der letzten lebenden Heroen der amerikanischen Malerei aus der Zeit der 1950er und 1960er Jahre. Auch Stellas jüngere Arbeiten offenbaren seine immer wieder aufs Neue überzeugenden Wege in die Abstraktion. Mit einem Paukenschlag eroberte der kaum zwanzigjährige Künstler bereits 1959 die New Yorker Szene: Seine großen Black Paintings verschärften nicht nur die Auseinandersetzung mit dem Minimalismus in der Malerei, sondern bereiteten auch den „Ausstieg aus dem Bilde in den Raum“ vor. Anders als seine Zeitgenossen schlug Stella jedoch einen völlig eigenen Weg ein, der ihn zu immer opulenteren, barockeren Reliefs führte. Mit der Wendung „vom Minimalismus zum Maximalismus“ wurde Frank Stella zu einem der prägenden Künstler des 20. Jahrhunderts, dem das Kunstmuseum Wolfsburg mit etwa 63 meist großformatigen Werken und 82 Arbeiten auf Papier eine umfassende Retrospektive widmet. Den farbenprächtigen, zum Teil gigantischen Reliefs bietet das Kunstmuseum mit seiner großen Halle und seinem flexiblen Wandsystem wie kaum ein anderes Museum die Möglichkeit zur Entfaltung: durch eine maßgeschneiderte Ausstellungsarchitektur. Sie unterstützt die Darstellung seiner konsequenten, durch mehr als ein halbes Jahrhundert führenden Werkentwicklung, die die sukzessive Eroberung des Raumes von der Zweidimensionalität des Bildes bis hin zu den visionären und allerjüngsten Arbeiten nachzeichnet. Gleichzeitig möchte die Retrospektive Stellas Werk erstmals in einen größeren Zusammenhang der Kunstgeschichte stellen, der weit über die Moderne hinausweist. ArchiSkulpturen und Architekturmodelle bilden den Abschluss der Ausstellung.
Frank Stella | Selected Prints | 1974-1982 | Film by Eric Minh Swenson | Music by the Gardner Chamber Orchestra | Leslie Sacks Contemporary is pleased to announce an exhibition of Frank Stella prints. The exhibition features works from the 1970s and 1980s, including pieces from the series Exotic Birds, 1970; Polar Co-ordinates, 1980; Circuits, 1982; and The Waves, 1985-89. Frank Stella burst onto the art scene in 1960 with his Black Paintings, which were showcased in a groundbreaking exhibition at the Leo Castelli gallery and „Sixteen Americans“ at the Museum of Modern Art, New York. These works exhibited Stella’s concern with geometry, as well as the precision and rationality that characterized Minimalism. By the late 1960s, however, his compositions had become less rigid and his palette more complex, giving way to the curved, yet controlled lines and juxtaposing colors of the Protractor Series, 1967-69. It was in 1967 that Stella met master printer Ken Tyler at the renowned print atelier Gemini G.E.L., Los Angeles, who persuaded the artist to make his first print. So began a life-long collaboration between Stella and Tyler, who would continue to make prints together for over thirty years. Over time, Stella’s prints became increasingly innovative. Earlier works followed the initial minimalist aesthetic of his paintings and adhered to traditional printing methods, but throughout the 1970s, Stella’s forms became more dynamic and the artist’s brushstroke became visible. By 1980, the Polar Co-ordinates Series had Stella experimenting more freely with combinations of shapes, colors, brushstrokes and printing techniques. The grids of his early work remained an integral part of the prints, appearing as superimposed netting across Stella’s forms. The Polar Co-ordinates Series, created with Petersburg Press, required numerous layers of lithography and screenprinting, displaying the growing complexity of Stella’s print work. Stella’s mastery of the printmaking process continued to evolve in his late 1980s work, including the Circuit Series, 1982 and The Waves Series, 1985-89. These works are notable for their monumental scale and rich texture and were innovative accomplishments achieved through Stella’s collaboration with Ken Tyler. In the Circuit Series, etching and engraving were used for the first time in Stella’s career. The flamboyant forms and experimental relief work of these pieces made them more visually dynamic and technically advanced than any series that had come before. Frank Stella is considered one of the most important contemporary artists and printmakers. His work can be found worldwide in the permanent collections of museums, including the Solomon R. Guggenheim Museum, New York; Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Whitney Museum of American Art, New York; Kunstmuseum, Basel; Stedelijk Museum, Amsterdam; and Thyseen-Bornemisza Museum, Madrid. He received the National Medal of Arts in 2009 | YouTube
VIDEO | FILM FRANK STELLA
Radical Simplicity | Frank Stella | A Retrospective | Fine Arts Museum of San Francisco | https://www.famsf.org/ | For almost six decades Frank Stella has been one of the most important and influential figures in the evolution of modern art, expanding the definitions of art and challenging its conventions. In advance of the de Young’s special exhibition Frank Stella: A Retrospective, curator Timothy Anglin Burgard provides an introduction to Stella and his lasting impression on the art world | YouTube
Frank Stella | Irregular Polygons | Toledo Museum of Art | https://www.toledomuseum.org/ | Check out this introductory video for the Toledo Museum of Art exhibition „Frank Stella: Irregular Polygons“ running April 7-July 24 with free admission. The introduction features TMA director Brian Kennedy, who also curated this exhibition while at the Hood Museum of Art at Dartmouth College | YouTube
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