Tag Archives: Frank Stella

Repeating Patterns

As in all improvisation, patterns tend to recur. In fact, the more open and free the improv, the more subject it is to repetition. This is something I’ve learned from music, and this is why preparation helps a lot. Art … Continue reading

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Abstract Order

Following on from the previous post, Stella’s manner in the late prints especially, but also in many of his reliefs, is to be vivid, crazy, overloaded and loud. That’s what puts a lot of viewers off. It’s a style and … Continue reading

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Formal Principle

I’ve been trying to work out exactly what kind of order Stella is aiming for, looking at the prints and late paintings. I think that to avoid an ordering principle is probably, for Stella, a kind of abstraction. The topic … Continue reading

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Collage at the Beginning

Years ago, in her book on abstraction, Briony Fer suggested that collage was at the origin of the practice. I didn’t know what importance to attach to that idea, but I liked it. Her examples were collages by the Russian … Continue reading

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Size and Importance

Further on from the previous post—if Stella was part of a larger, more general response to abstract expressionism, I think the generally accepted understanding of that response has been too limited. We usually hear that it was a reaction against the … Continue reading

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Bigger and Better

In some quarters one hears the claim that bigger means more serious or more ambitious. Not necessarily, because bigger doesn’t necessarily mean more. It’s one way to get attention in the world, and maybe does indicate a desire to get … Continue reading

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Color and Mark

I used to think that Stella’s Exotic Birds were not his best works. I could appreciate them as a necessary breakthrough, but bad works nevertheless. I never liked the template approach, that the forms were ready-made and just decorated with … Continue reading

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Somehow Both

Further to the Marisa Merz work in the previous post, and to the discussion about story telling in abstraction—we are familiar with the common object decontextualized to the degree that it becomes “abstract,” and also with the evocative shape or form … Continue reading

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An Opportunity, or A Christmas Message

Stella teaches something every artist should know, or does know but normally forgets—that art is not a problem, it’s an opportunity, an invitation, a promise. What it is for society I have no idea, but that’s what it is for … Continue reading

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Colour in Sculpture

Stella’s Town-Ho’s Story is made of cast and poured aluminum, steel, and some ready-made bits and pieces. It’s not all scrap, in fact mostly fabricated. However, the colour of the piece leans heavily on the untreated color of the different … Continue reading

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Stories in Stories

Stella’s large sculpture, The Town-Ho’s Story, is, among other things, a collection of smaller pieces. I’ve mentioned this before, but as I suggested in the previous post, parts of the main body of the work could also be seen separately, … Continue reading

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A Story

In Moby-Dick the chapter is called “The Town-Ho’s Story,” and the story is of an encounter with the white whale. In Stella’s piece the ship is heeling over, and from the side it looks like it’s taken a hit. Jammed … Continue reading

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A Heap of Scrap Metal

On a train passing a scrap yard the piles of twisted shiny metal pieces remind me of Stella’s sculpture in Chicago. You might call the pile a piece of abstract art, in the “all over” mode, but Stella’s work is … Continue reading

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Abstraction in Iran

My facebook friend from Vancouver, Mohammad Salemy, has written a piece about the modernist art collection in Tehran. It’s worth a read. The collection is very rich, but right now I’m interested in the abstraction. Stella spent time there in … Continue reading

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A Polemic

Another chapter of my book looks at that universal favorite, Gerhard Richter. It may be the first genuine critique of an overrated artist, and the book is probably worth the price for that alone. It’s not original though; I take … Continue reading

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No Inconsistencies

The previous post on one of Stella’s Polish Villages may give the impression that all works in the series are as carefully irregular. Actually, most of them seem to be perfectly reasonable. I’m not aware of how Stella sees the … Continue reading

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Possibly Annoying Details

Straight lines that form geometric shapes always imply some kind of consistent order. It might have something to do with buildings, because walls that don’t meet at ninety degrees, or don’t quite meet at all, seem awkward, even though there … Continue reading

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Destruction

Further to the phenomenon of iconoclasm or demolition of cultural monuments—the first thing that comes to mind is that modern art has always been iconoclastic and in fact very destructive. I’m enraged to read about the burning of old Korans … Continue reading

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The Other Frank

We’re all familiar with the celebrity artist, and lately they are even cropping up in art fairs—it’s a contentious topic in the age of the 1%. Some musicians and actors are actually pretty serious about their painting, and some of … Continue reading

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Domes and Circles

In general you could say that Stella’s prints are where he keeps touch with the normative form of art—two dimensional and bounded by a rectangle. The relief paintings and sculpture break right out of the frame, and the prints are … Continue reading

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Over the Circle

Readers familiar with my blog are probably wondering why I haven’t started in again on Frank Stella. Just waiting. Have many thoughts, and following on the theme of recent posts about Kandinsky there is an opportunity to say something. Stella … Continue reading

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Stanley Whitney

The last few posts have been circling around an idea that I think is pretty important, grounded as it is in studio practice but with implications for history and even for our understanding of time. I keep thinking about something … Continue reading

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Twisting and Lifting

After two posts on geometry that doesn’t line up I want to mention another deviation from the abstract norm found in Noland’s work. Brittle is hardly a word we associate with Noland. Sensuous is the more usual descriptor. But that … Continue reading

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Artist of Conflict, Artist of Repression

In our time the great artist of conflict is Frank Stella. His over busy and crowded compositions are nothing other than a battle of forms—and to say that doesn’t mean they are not also a dance of forms and a … Continue reading

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Torn Paper and Paint

Lately have no money to buy watercolour paper, so have been tearing up some problematic pictures for collages. The process is a compromise between my natural simplicity and the pleasures of more. I think the balance is struck, in this … Continue reading

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Last Post, For Now

With three and a half years of this blog, I thought the new year might be a good time to take a rest. After hitting a high of 9500 unique visitors in one month, the readership has wobbled up and … Continue reading

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Lifeline

In tough times go back to the work that helps you know yourself. The supportive aspect of authority, even though that authority is not indwelling, but granted by you..

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Return

The world it turns, and will continue to do so.

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Complete

There’s many ways to simulate wholeness, completeness, whatever one wants to call it. As many as there are ways to simulate an excess.

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John Bunker

Some collages by the British artist John Bunker are very good. I can’t help but think of Stella, as usual, but this piece is pretty compelling, and stands any comparison.

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