Published by Gregory R. Miller & Co./ALDRICH CONTEMPORARY ART MUSEUM. Introduction by Cybele Maylone. Text by Richard Klein, Amy Smith-Stewart.
As a painter, sculptor and printmaker, Frank Stella (born 1936) has always paid great attention to geometric lines and patterns in his work, creating pieces that are arrestingly kaleidoscopic in both their form and content with bold lines and shaped canvases. This catalog, published for his 2020 exhibition at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, focuses in particular on the enduring use of star shapes in Stella’s oeuvre.
Stella’s depictions of stars range from the minimalism of his early career, with lithograph prints of brightly colored polygonal patterns, to the maximalism of his more recent work seen in his towering angular sculptures made from stainless steel. Although he is well aware that his last name is the Latin word for star, Stella maintains that his fixation on the shape is inspired by its form and the endless possibilities that accompany the star, rather than its etymology. Both instantly recognizable and infinitely abstract, stars seem like an obvious choice for an artist who has dedicated his life to experimenting with form.
In addition to a plates section of the 60 pieces included in the Aldrich show, this book presents installation shots throughout the museum’s interiors and outdoor gardens, and photographs of the artist’s studio. The curators of the exhibition, Richard Klein and Amy Smith-Stewart, worked closely with Stella on the exhibition installation and contribute major essays that add new dimensions to our understanding of a widely celebrated and influential artist.
Published by Jordan Schnitzer Family Foundation. By Richard H. Axsom. Edited by Carolyn Vaughn, Sigrid Asmus, Laura L. Morris. Foreword by Jordan D. Schnitzer. Text by Leah Kolb.
In addition to his achievements in abstract painting and sculpture, Frank Stella has also made major contributions to the history of the modern print. An exploration of the artist’s innovative use of the medium, Frank Stella: Prints reveals the intimate relationships between Stella’s prints and his works in other mediums, demonstrating how Stella blasted a hole in the traditional tools and aesthetics of printmaking with works of compelling complexity and beauty.
Frank Stella: Prints registers in chronological sequence more than 300 editioned prints, reproduced in full color, including works in series and portfolios. Related works in other mediums--paintings, metal reliefs, maquettes and sculpture--are also illustrated for comparison. Complete documentation of each print offers a privileged insight into the creative process behind these works of art. An introductory essay, prefaces to each series and comments on individual prints provide background information, analysis and interpretation. Frank Stella: Prints also features an illustrated chronology, a glossary tailored to Stella’s practice, a bibliography and an index.
Soon after arriving in New York in the late 1950s, Frank Stella (born 1936) came to prominence with his striped Black Paintings and shaped canvases. His early painting project reduced the medium to its most fundamental elements and introduced a key concept of Minimalism at an early date: “What you see is what you see.” But it was not long before Stella, a restlessly experimental worker, abandoned austerity for brighter colors, irregular shapes, rougher textures and gestural brushstrokes.
Published by Hatje Cantz. Edited by Ben Tufnell. Text by Robert Hobbs, Tom Hunt, Karen Wilken, et al.
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.
Published by Hatje Cantz. Text by Holger Bröker, Markus Brüderlin, Gregor Stemmrich, et al.
Frank Stella is abstraction’s greatest living champion--the artist who, more than any other, has merged abstract painting with sculpture and architecture, pursuing the implications of his “what you see is what you see” stance. A forceful clarity of purpose and vision has characterized his art and his career from the start: he dominated the New York art scene of the late 1950s with his Black Paintings composed of stripes, which famously helped pave the way for Minimalism, and which were exhibited in The Museum of Modern Art, New York’s milestone exhibition Sixteen Americans, alongside Johns and Rauschenberg. In 1970 Stella became the youngest artist to receive a show at The Museum of Modern Art, by which time he had already blazed his way through several stylistic evolutions. To the surprise of many, the passionate race-car driver did not follow the seemingly inevitable route towards Minimalism, and instead followed a path that led him to ever more opulent and baroque reliefs. With this idiosyncratic turn “from Minimalist to Maximalist,” Stella developed into one of the boldest artists of the twentieth century. On the occasion of Stella’s comprehensive retrospective at the Kunstmuseum Wolfsburg, this massive survey celebrates the many lives of Frank Stella. It includes classic examples of each of his many periods, such as the Black Paintings, Irregular Polygons, the Protractor paintings, the Circuits series, the metal reliefs and floor sculptures of the past two decades and an “ArchiSkulptur” conceived by the artist exclusively for the exhibition. With more than 660 color reproductions, this volume is as ambitious and spectacular as its subject. Frank Stella was born in 1936, to first-generation Sicilians, and grew up in a suburb of Boston. In 1954 he entered Princeton University, where he took a night class in painting and drawing. His first solo exhibition was at the Leo Castelli Gallery in 1960.
Published by Walther König, Köln. Essays by Franz-Joachim Verspohl, Martin Warnke, Wolfram Hogrebe, Robert K. Wallace.
Since 1998, artist Frank Stella has studied the dramas, novellas, and art theoretical writing of Heinrich von Kleist. This book presents some of the more than 90 paintings, painted reliefs, and sculptures that Stella produced in response to and in an attempt to better understand von Kleist's work.
PUBLISHER Walther König, Köln
BOOK FORMAT Paperback, 8.25 x 11.75 in. / 310 pgs / 86 color / 18 bw
PUBLISHING STATUS Pub Date 2/2/2002 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2002
PRODUCT DETAILS ISBN 9783883754888SDNR30 List Price: $45.00 CDN $55.00