網路資訊讓我們更能了解：Frank Stella (1936~2024) , Towering Artist and Master of Reinvention, Dies at 87. The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015,

  網路資訊讓我們更能了解：Frank Stella (1936~2024) , Towering Artist and Master of Reinvention, Dies at 87. The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015,

https://www.facebook.com/hanching.chung/videos/3730683310591297

The full range of his work was on display in the career-encompassing “Frank Stella: A Retrospective” at the Whitney in 2015, an outsize show for a towering if divisive figure, as obsessed as Ahab in his quest to reframe abstraction.

Frank Stella, Towering Artist and Master of Reinvention, Dies at 87

He moved American art away from Abstract Expressionism toward cool minimalism. His explorations of color and form were endlessly discussed and constantly on exhibit.

Frank Stella in 2019. In an admonition to critics, he insisted that “what you see is what you see” — a formulation that became the unofficial motto of the minimalist movement.Credit...Christopher Gregory for The New York Times

By William Grimes

May 4, 2024

Frank Stella, whose laconic pinstripe “black paintings” of the late 1950s closed the door on Abstract Expressionism and pointed the way to an era of cool minimalism, died on Saturday at his home in the West Village of Manhattan. He was 87.

From Wikipedia, the free encyclopedia

Frank Stella
Stella in 2012
Born	Frank Philip Stella May 12, 1936 Malden, Massachusetts, U.S.
Died	May 4, 2024 (aged 87) New York City, U.S.
Known for	Painter printmaker sculpture architect
Movement	Modernism minimal art abstract expressionism geometric abstraction abstract illusionism lyrical abstraction hard-edge painting shaped canvas painting color field painting
Awards	Charles Eliot Norton Lectures – Harvard University 1984 Working Space National Medal of Arts 2009 Lifetime Achievement Award in Contemporary Sculpture – International Sculpture Center 2011

Frank Philip Stella (May 12, 1936 – May 4, 2024) was an American painter, sculptor, and printmaker, noted for his work in the areas of minimalism and post-painterly abstraction. He lived and worked in New York City for much of his career before moving his studio to Rock Tavern, New York. Stella was a recipient of the National Medal of Arts in 2009 and the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center in 2011.

Biography[edit]

Frank Stella was born in Malden, Massachusetts, on May 12, 1936, to first-generation Italian-American parents, as the oldest of their three children.^[1] His grandparents on both sides had immigrated to the United States at the turn of the 20th century from Sicily. His father, Frank Sr., was a gynecologist, and his mother Constance (née Santonelli) was a housewife and artist^[2] who attended fashion school and later took up landscape painting.^[3]

In his sophomore year of high school at Phillips Academy in Andover, Massachusetts,^[4] the abstractionist Patrick Morgan, a teacher at the school, began teaching Stella how to paint. After entering Princeton University to earn a degree in history, Stella took art courses and was introduced to the New York art scene by painter Stephen Greene and art historian William Seitz, professors at the school who brought him to exhibitions in the city. His work was influenced by abstract expressionism.^[1] He is heralded by the Birmingham Museum of Art for having created abstract paintings that bear "no pictorial illusions or psychological or metaphysical references in twentieth-century painting".^[5]

In the 1970s, he moved into NoHo in Manhattan in New York City.^[6] As of 2015, Stella lived in Greenwich Village and kept an office there but commuted on weekdays to his studio in Rock Tavern, New York.^[3]

Work[edit]

Late 1950s and early 1960s[edit]

Jasper's Dilemma (1962–1963) at the National Gallery of Art in 2022

After moving to New York City in the late 1950s, Stella began to create works which emphasized the picture-as-object. His visits to the art galleries of New York, where he was exposed to the abstract expressionist work of artists like Franz Kline and Jackson Pollock, had exerted a great influence on his development as an artist.^[7]

He created a series of paintings in 1958–1959 known as his "Black Paintings" which flouted conventional ideas of painterly composition. Using commercial enamel paint and a house-painter's brush, he painted black stripes of the same width and evenly spaced on bare canvas, leaving the thin strips of canvas between them unpainted and exposed, along with his pencil-and-ruler drawn guidelines.^[8]

Stella repudiated all efforts by critics to interpret his work, dismissing them with his well-known tautology, "What you see is what you see",^[8] which became "the unofficial motto of the minimalist movement", according to the New York Times.^[9]

Die Fahne Hoch! (1959) takes its name ("Hoist the Flag!"^[10] or "Raise the Flag!" in English) from the first line of the "Horst-Wessel-Lied",^[11] the anthem of the Nazi Party. According to Stella himself, the painting has similar proportions as banners used by that organization.^[12]

In 1959, several of his paintings were included in Three Young Americans at the Allen Memorial Art Museum at Oberlin College, as well as in Sixteen Americans at the Museum of Modern Art in New York the same year.^[7]

From 1960, his works used shaped canvases,^[13] developing in 1966 into more elaborate designs, as in the Irregular Polygon series (67).^[14]

Stella married Barbara Rose, later a well-known art critic, in 1961.^[15] Around this time he said that a picture was "a flat surface with paint on it – nothing more".^[16]

Late 1960s and early 1970s[edit]

Frank Stella Harran II, 1967

In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham.^[17] The same year, his began his Protractor Series (71) of paintings, which feature arcs, sometimes overlapping,^[18] within square borders named after circular cities he had visited while in the Middle East earlier in the 1960s.^[19][20]

The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one.^[21]

In the next decade, Stella brought to his artistic productions the element of relief, which he called "maximalist" painting because it had sculptural attributes. He presented wood and other materials in his Polish Village series (1970–1973), executed in high relief. Through the 1970s and 1980s, as these works became more uninhibited and intricate, his minimalism became baroque.^[17] In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Series.^[22] He said of this project, "The starting point for the art cars was racing livery. The graph paper is what it is, a graph, but when it's morphed over the car's forms it becomes interesting. Theoretically it's like painting on a shaped canvas."^[23]

In 1969, Stella was commissioned to create a logo for the Metropolitan Museum of Art Centennial.^[24]

In 1978, he married pediatrician Harriet McGurk.^[25]

1980s and afterward[edit]

Frank Stella La scienza della fiacca, 1984, oil paint, enamel paint, and alkyd paint on canvas, etched magnesium, aluminum and fiberglass, National Gallery of Art, Washington DC

Stella's Memantra, 2005, exhibited at the Metropolitan Museum of Art

From the mid-1980s to the mid-1990s, Stella produced a large oeuvre that grappled with Herman Melville's novel Moby-Dick in a broad way.^[2] To generate these, the artist made collages or scale models that were subsequently enlarged to the original's specifications by his assistants.^[17]

In 1993, he designed and executed for Toronto's Princess of Wales Theatre a 10,000-square-foot mural installation which covers the ceiling of the dome, the proscenium arch and the exterior rear wall of the building.^[17][26] The mural for the dome was based on computer-generated imagery.^[27] In 1997, he oversaw the installation of the 5,000-square-foot Euphonia at the Moores Opera House at the Rebecca and John J. Moores School of Music at the University of Houston, in Houston, Texas.^[28][29] A monumental sculpture of his, titled Prinz Friedrich von Homburg, Ein Schauspiel, 3X, was installed outside the National Gallery of Art in Washington, D.C.^[30][31]

The titles for Stella's Scarlatti Sonata Kirkpatrick series evoke the rhythms and sounds of the harpsichord sonatas of Domenico Scarlatti.^[32]

From 1978 to 2005, Stella owned the Van Tassell and Kearney Horse Auction Mart building in Manhattan's East Village and used it as his studio which resulted in the facade being restored.^[33] After a six-year campaign by the Greenwich Village Society for Historic Preservation, the historic building was designated a New York City Landmark in 2012.^[34] After 2005, Stella split his time between his West Village apartment and his Newburgh, New York, studio.^[35]

By the turn of the 2010s, Stella started using the computer as a painterly tool to produce stand-alone star-shaped sculptures.^[36] The resulting stars are often monochrome, black or beige or naturally metallic, and their points can take the form of solid planes, spindly lines or wire-mesh circuits.^[36] His Jasper's Split Star (2017), a sculpture constructed out of six small geometric grids that rest on an aluminum base, was installed at 7 World Trade Center in 2021.^[37] In late 2022, Stella launched an NFT (non-fungible token) that includes the right to the CAD files to 3D print the art works in the NFTs.^[38]

Artists' rights[edit]

On June 6, 2008, Stella (with Artists Rights Society president Theodore Feder; Stella was a member artist of the Artists Rights Society^[39]) published an op-ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located".^[40]

In the op-ed, Stella wrote,

The Copyright Office presumes that the infringers it would let off the hook would be those who had made a "good faith, reasonably diligent" search for the copyright holder. Unfortunately, it is totally up to the infringer to decide if he has made a good faith search.

The Copyright Office proposal would have a disproportionately negative, even catastrophic, impact on the ability of painters and illustrators to make a living from selling copies of their work.^[40]

Gallery of works[edit]

• 
  Frank Stella, mural at 'David Mirvish Books', 1974; in Toronto
 
• 
  Stella, detail of BMW 3.0 CSL car-painting, 1976
 
• 
  Stella, BMW M1 Pro car-painting, 1979; commissioned by Peter Gregg
 
• 
  Stella, Cones and Pillars, part 2., c. 1984; painting
 
• 
  Stella, Moby Dick, 1991–1993; wall-relief in The Ritz-Carlton, Singapore
 
• 
  Moby Dick at the Museum of Fine Arts, Montreal
 
• 
  Stella, Peekskill, 1995; sculpture of premium steel at Ernst-Abbe-Platz in Jena, Germany
 
• 
  Stella, Cornucopia, c. 2000; sculpture in fiberglass
 
• 
  Stella, Çatal Hüyük, 2008; location, Hallbergsplatsen, Borås
 
• 
  Black Star at Whitney Museum

意外的書緣(李嘉嵩 (李弘祺父親，回憶錄《一百年來》 )人緣 ：金鐘先生，0509 /0507 2024 。廖為民 Hanching Chung 前幾天廖先生預說志峯今天有貴賓：前香港開放雜誌的社長金鐘先生

 

深入評介這本回憶錄(李嘉嵩 (李弘祺父親，回憶錄《一百年來》  )

意外的書緣人緣

整間書滿為患。每天要清理，可是總能找到捨不得不讀就遺棄的，龜速。忍二周不進書店。但是，這本不能錯過。書店的職員叫聲鍾老師，近兩月沒見……竟然發現沒標價的“一百年以來”……竟然百元（沒聽錯）……

找不到允晨的新書……廖先生給我看一整書包二手書……又說姚資政跟他借許多書，準備下一本（八十多歲啦）……跟廖先生在新生南路抽二根菸，談起要去訪吳晟（他是王孝廉學長的摯友……）廖先生說可以住他西螺老家……，

說起唐山訪書未遇。廖先生說，剛剛看過呀。於是，回書店，買兩本，一本送廖兄。

他說周四跟志峯有約……回前明目書屋，六四號。散會。

我們只是路過

英國女王伊莉莎白二世和美國瑪麗‧蓮夢露兩位都是1926年出生。

起跑同時，但終站大不同。

瑪麗‧蓮夢露的「終站」36歲，沒見過手機；但女王目睹「元宇宙」的醞釀。

30歲時，某天兩人在倫敦舉行的電影首映會上遇見。

女王穿黑色露肩禮服，夢露也列隊其中，穿金色低胸禮服，行屈膝禮。

被全世界追捧的瑪麗‧蓮夢露，面見女王時的心情如何？

據女王的口述：「瑪麗‧蓮夢露小姐是一個非常可愛的人。但她太緊張了，把口紅都舔掉了。」

6年後，36歲的夢露辭世。在她死後仍被視爲流行文化偶像，美國電影協會將她列入：「好萊塢黃金時代最偉大的傳奇女星」。

女王繼續活了60年，之後，也接見過美國演藝圈的伊莉莎白‧泰勒、法國碧姬‧芭杜。與女王同年齡的人一個個「下車了」，握過的很多手早已冰冷，不論是世界領袖或閃爍大明星。

法國詩人呂凱特說：「生命不可能有兩次，但許多人連一次也不善於度過。」

英國女王伊莉莎白二世和美國瑪麗‧蓮夢露兩位都是1926年出生。不論活了36年或96年，兩位世紀人物都活出精采，只是一位是短跑跑者，一位是馬拉松跑者。

而英國女王伊莉莎白二世（Queen Elizabeth II）曾在一次演講中引用澳洲原住民的一段格言，可用於她輝煌一生的結語：「We are just passing through. Our purpose here is to observe, to learn, to grow, to love; and then we return home.

「我們只是路過。我們此生的目的是觀察、學習、成長、愛人，然後平安回到天家。」

我們每個人在這世上只是客旅，是寄居的。生命不在乎長短，乃在乎活得有意義。讓我們珍惜每一刻，並以感恩的心，迎接未知的明天，活出有價值的人生!

https://youtu.be/tgSFXGeub6o?si=gQ-cabdWsr94xTuF

****

廖志峰

今天下午來了難得的貴賓，

前香港開放雜誌的社長金鐘先生，

很久以前見過一次，

今天算第二次見面，

但感覺不陌生，

金鐘先生談興甚濃，

一坐兩個半小時，

直到我被我的客戶叫走⋯⋯。

金鐘先生說，開放雜誌和九十年代的壽命相同，都是二十八年。金鐘先生送我一本書，封面題字是余英時教授。見字如見人。謝謝廖為民兄安排。

梁國淦

trSdopenos8c54ct56186i小f19lf14utia79m823a6610a67ig2i 6334時5a  · 

明天來聽李弘祺教授訪談的朋友，

現場可以買到李教授尊翁的回憶錄。

我們在規劃：

為各位深入評介這本回憶錄中，

讓人印象極為深刻的

值得現在的人們反思的幾個段落。

或許會以小篇幅的影片呈現。

歡迎大家來搶購。

（這一疊賣完之後應會暫時絕版）

所有心情：

10陳耀昌、陳東榮和其他8人