Frank Stella citáty (39 citátů) | Citáty slavných osobností

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“The painting never changes once I've started to paint it. I work things out before-hand in the sketches.”

Quotes, 1971 - 2000
Zdroj: Machine in the Studio, Caroline. A. Jones, University of Chicago Press, 1996, pp. 197-198

“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..”

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Frank Stella

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

“One could stand in front of any Abstract-Expressionist work for a long time, and walk back and forth, and inspect the depths of the pigment and the inflection and all the painterly brushwork for hours. But I wouldn't particularly want to do that and also I wouldn't ask anyone to do that in front of my paintings. To go further, I would like to prohibit them from doing that in front of my painting. That's why I make the paintings the way they are, more or less.”

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Frank Stella

Zdroj: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 122

“There's always been a trend toward simpler painting and it was bound to happen one way or another. Whenever painting gets complicated, like Abstract Expressionism, or surrealism, there's going to be someone who's not painting complicated paintings, someone who's trying to simplify…”

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Frank Stella

Zdroj: Quotes, 1960 - 1970, The Pratt lecture (1960), p. 117

“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.”

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Frank Stella

Zdroj: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 121

“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.”

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Frank Stella

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

“Yes, the aluminum paint... What happened, at least for me, is that when I first started painting I would see Pollock, de Kooning, and the one thing they all had that I didn't have was an art school background. They were brought up on drawing and they all ended up painting or drawing with the brush. They got away from the smaller brushes and, in an attempt to free themselves, they got involved in commercial paint and house-painting brushes, Still it was basically drawing with paint, which has the characterized almost all twentieth century painting. The way my own painting was going, drawing was less and less necessary. It was the one thing I wasn't going to do. I wasn't going to draw with the brush.”

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Frank Stella

Zdroj: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“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.”

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Frank Stella

Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

“I do think that a good pictorial idea is worth more than a lot of manual dexterity.”

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Frank Stella

Quote from: Frank Stella, William S. Rubin, Museum of Modern Art, New York, 1970, p. 30
Quotes, 1960 - 1970

“The thing that struck me most was the way he stuck to the motif [in the 'Flag' and 'Target' paintings by Jasper Johns ]…. the idea of stripes – the rhythm and the interval – the idea of repetition. I began to think a lot about repetition.”

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Frank Stella

quote, 1960's
Quotes, 1960 - 1970
Zdroj: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, pp. 215-216

“I don't know how I got into sculpture. I liked its physicality, that's the only reason. I didn't have a program.”

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Frank Stella

Quote: Stella's response to the question: Is that one of the reasons you went into sculpture?
Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28,

“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.”

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Frank Stella

Zdroj: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 120

“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.”

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Frank Stella

Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

“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.”

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Frank Stella

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

“Only what can be seen there [in the painting] is there... What you see is what you see.”

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Frank Stella

Stella's quote 1964, in an interview; as quoted in: Harold Rosenberg (1972) The Re-Definition of Art. p. 125
Quotes, 1960 - 1970

“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?!”

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Frank Stella

Quote, 1960's; as quoted in The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 307
Quotes, 1960 - 1970

“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.”

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Frank Stella

Zdroj: 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.”

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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.”

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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?”

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Frank Stella

quote from Stella, reacting in the artist-talk on Donald Judd who emphasis the 'whole' of an art work
Zdroj: 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.”

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Frank Stella

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

“They just want to get a handle on you and the idea, and that's enough. Some people sense more but they don't really get into it because it's going one step too far. But the whole idea of making art is to be open, to be generous, and absorb the viewer and absorb yourself, to let them go into it. I have to go into all those places in order to make it work.”

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Frank Stella

Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 29.

“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.”

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Frank Stella

Quotes, 1960 - 1970

“When Morris Louis showed in 1958, everybody [like in 'Art News', by Tom Hess ] dismissed his work as thin, merely decorative. They still do. Louis is the really interesting case... In every sense his instincts were Abstract Expressionist, and he was terribly involved with all of that, but he felt he had to move, too.”

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Frank Stella

Frank Stella in: The New York school – the painters & sculptors of the fifties, Irving Sandler, Harper & Row, Publishers, 1978, p. 319 note 68
quote of Stella, 1960's, concerning the position of stain painting
Quotes, 1960 - 1970

“The aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.”

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Frank Stella

Quoted in: Alan D. Bryce (2007) Art Smart: Art Smart: The Intelligent Guide to Investing in the Canadian Art Market. p. 55
Quotes, 1971 - 2000

“I hate to say this... it's made to order. Then, I disorder it a little bit or, I should say, I reorder it. I wouldn't be so presumptuous to claim that I had the ability to disorder it. I wish I did.”

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Frank Stella

Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 28.

“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.”

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Frank Stella

Zdroj: Quotes, 1971 - 2000, Bomb: X Motion Picture and Center for New Art Activities, 2000, p. 30.