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The painting never changes once I've started to paint it. I work things out before-hand in the sketches.
Frank Stella
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I wanted something that was direct – right to you eye.... something you didn't have to look around – you got the whole thing right away.
Frank Stella
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I don't know how I got into sculpture. I liked its physicality, that's the only reason. I didn't have a program.
Frank Stella
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The idea in being a painter is to declare an identity. Not just my identity, an identity for me, but an identity big enough for everyone to share in. Isn't that what it's all about?!
Frank Stella
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[reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work] But we're still left with structural or compositional elements. The problems aren't any different. I still have to compose a picture, and if you make an object [as Judd does] you have to organize the structure. I don't think our work that radical in any sense because you don't find any really new compositional or structural element. I don't know if that exists. It's like the idea of the color you haven't seen before. Does something exist that's as radical as a diagonal that's not a diagonal? Or a straight line or a compositional element that you can't describe?
Frank Stella
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When people still talk about art that I made in the 60s— most of them never saw it, and they never lived through it, and they don't have a clue about it. The idea that they know what minimalism is is absurd. I don't know what minimalism is!
Frank Stella
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If you don't know what Ad Reinhardt's paintings are about, you don't know what painting is about.
Frank Stella
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The paintings got sculptural because the forms got more complicated. I've learned to weave in and out.
Frank Stella
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I know what I want, but it's physically beyond me now. I can work on what I can handle. It's a playoff between the object and my physical limits.
Frank Stella
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They are more complex to begin with, but their organization, the way they end up being put together, isn't that different. You can't shake your own sensibility. No matter what the concept is; the artist's eye decides when it's right.... which is a notion of sensibility.
Frank Stella
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I didn't want to mask variations; I didn't want to record a path. I wanted to get the paint out of the can and onto the canvas... I tried to keep the paint as good as it was in the can.
Frank Stella
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I don't like a lot of the stuff that goes on in the art world, but it's hard to be old and like what goes on around you. Anyway, the real point is that the things that don't seem to me to be pictorially informed are not so interesting to me.
Frank Stella
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On a question about 'gesture' panting:
I think I had been badly affected by.... the romance of Abstract Expressionism... particularly as it filtered out to places like Princeton and around the country, which was the idea of the 'artist as a terrifically sensitive ever-changing, ever ambitious person', particularly [described] in magazines like 'Art News' and 'Arts', which I read religiously.. I began to feel very strongly about finding a way that wasn't so wrapped up in the hullabaloo.... something that stable in a sense, something that wasn't constantly a record of your sensitivity, a record of flux.
Frank Stella
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The artist's tool or the traditional artist's brush and maybe even oil paint are all disappearing very quickly. We use mostly commercial paint, and we generally tend toward lager brushes. In a way, Abstract Expressionism started this all. De Kooning used house painter's brushes and house painters' techniques.
Frank Stella
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Time and trouble will tame an advanced young woman, but an advanced old woman is uncontrollable by any earthly force.
Dorothy L. Sayers
Frank Stella
Born:
May 12, 1936
(age 87)
Bio:
Frank Stella is an American painter and printmaker, noted for his work in the areas of minimalism and post-painterly abstraction. Stella lives and works in New York.
Known for:
Harran II (1967)
Die Fahne Hoch! (1959)
The Marriage of Reason and Squalor, II (1959)
Jasper's Dilemma (1972)
Shoubeegi (1978)
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