Frank Stella: A Legacy Beyond Definitions
“I like real art. It’s difficult to define REAL but it is the best word for describing what I like to get out of art and what the best art has. It has the ability to convince you that it’s present — that it’s there. You could say it’s authentic… but real is actually a better word, broad as it may be.’’ - Frank Stella
It is with a heavy heart that we bid farewell to Frank Stella, a significant influence on my personal artistic path. His teachings went beyond visual perception, impelling me to delve deeper into the intricacies of art. During my teenage years, his unique approach motivated me to become an intrepid explorer in the world of art. Unlike most, Stella encouraged me to leave paintings unfinished, allowing me to challenge preconceived artistic boundaries and embrace my creativity.
Not A Painter, Nor A Historian: ‘An Artist’
Stella was born in Malden, Massachusetts in the year 1936. He completed his tertiary education in art at Phillips Academy Andover and subsequently pursued a history education at Princeton University.
Frank Stella’s vision of art extended beyond the physicality of materials and encompassed the expression of ideas, emotions, and conceptual depth. His inclination towards unfinished works instilled in me a belief in the infinite possibilities of artistic exploration. Stella himself described painting as simply a flat surface covered in paint.
“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.”
Stella’s early works marked a turning point in the art world. In the late 1950s and early 1960s, he challenged traditional painting by stripping away spatial context, symbolism, and illusionistic effects. He reduced imagery to its purest form: geometric shapes.
This radical approach laid the foundation for Minimalism, a movement that emphasized the inherent meaning of the artwork itself, independent of the viewer’s interpretation.
“What you see is what you see”
The core principle of Minimalism, encapsulated in the motto “what you see is what you see” emphasizes the importance of the visual elements. The meaning resides not in hidden symbols or metaphors, but in the immediate experience of form and color. This shift in focus encouraged viewers to engage directly with the artwork.
Minimalism, a term first used in the 1920s, gained widespread recognition in the 1960s, coinciding with Stella’s groundbreaking Black Paintings. The movement encompassed artists like Yves Klein, Robert Rauschenberg, and Donald Judd, and intersected with movements like Pop Art and Abstract Expressionism.
Stella’s signature style used geometric patterns and shapes, often featuring simple, vertical, and spaced lines in repetitive patterns. This minimalist approach gave his work a timeless quality while inviting viewers to explore their own interpretations. But Stella wasn’t only confined by geometric forms. He boldly incorporated vibrant colors, adding a new dimension to minimalism.
Drawing inspiration from music and literature, Stella wasn’t just a painter. He was a multifaceted artist who embraced sculpture, printmaking, and design. He created a diverse body of work, from public art installations to early computational sculptures and architectural design projects.
While Stella never labeled himself as the “minimalist” , his artworks shaped the movement and the trajectory of art world. His vision, design thinking and his innovative approach left a legacy on the art world. His legacy will continue to inspire to next generations.
