Frank Stella: Finding

Frank Stella is American artist. Explore interesting quotes on finding.
Frank Stella: 78 quotes5 likes

“I always get into arguments, with people who want to retain the old values in painting — the humanistic values that they always find on the canvas. If you pin them down, they always end up asserting that there is something there besides the paint on the canvas. My painting is based on the fact that only what can be seen there is there. It really is an object. Any painting is an object..”

Frank Stella

Quotes, 1960 - 1970 <br class="br">Source: LIFE http://books.google.com/books?id=XUoEAAAAMBAJ&amp;pg=PA49, Vol. 64, nr. 3, 19 January 1968, p. 49

“There were two problems which had to be faced. One was spatial and the other methodological. In the first case I had to do something about relational painting, i. e. the balancing of the various parts of the painting with and against each other. The obvious answer was symmetry – make it the same all over. The question still remained, though, of how to do this in depth. A symmetrical image or configuration symmetrically placed on a open ground is not balanced out in the illusionistic space. The solution I arrived at, and there are probably quite a few, although I only know of one other, color density, forces illusionistic space out of the painting at constant intervals by using a regulated pattern. The remaining problem was simply to find a method of paint application which followed and complemented the design solution. This was done by using the house painters technique and tools.”

Frank Stella

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 114

“I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting. After looking comes imitating. In my own case it was at first largely a technical immersion. How did Kline put down that color? Why did Guston leave the canvas bare at the edges? Why did H. Frankenthaler used unsized canvas. And so on.”

Frank Stella

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 113

“There are two problems in painting. One is to find out what painting is and the other is to find out how to make a painting. The first is learning something and the second is making something.”

Frank Stella

Source: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 113

“We believe that we can find the end, and that a painting can be finished. The Abstract Expressionists always felt the painting's being finished was very problematical. We'd more readily say that our paintings were finished and say, well, it's either a failure or it's not, instead of saying, well, maybe it's not really finished.”

Frank Stella

Quote from an interview, 1966; as quoted in Minimal Art, a Critical Anthology, ed. Gregory Battcock, University of California Press, Berkeley 1968, p. 157-161
Quotes, 1960 - 1970

“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

reacting on a question about 'gesture' panting
Quote in: Frank Stella, William S. Rubin, Museum of Modern Art, New York, 1970, p. 13
Quotes, 1960 - 1970

“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 Donald 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

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 119

“You are always related [as an artist] to something. I'm related to the more geometric, or simpler, painting, but the motivation doesn't have anything to do with that kind of European geometric painting. I think the obvious comparison with my work would be Vasarely, and I can't think of anything I like less.... the 'Groupe de recherché d'Art visuel' actually painted all the patterns before I did – all the basic designs that are in my painting – I didn't even know about it.... it still doesn't have anything to do with my painting. I find all that European geometric painting – sort of post Ma Bill school – a kind of curiosity, very dreary.”

Frank Stella

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 117

“Ken Noland would use concentric circles; he'd want to get them in the middle [of the painting] because it's the easiest way to get them there, and he want them there in the front, on the surface of the canvas. If you're that much involved with the surface of anything, you're bound to find symmetry the most natural means.”

Frank Stella

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 118