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1. Introduction In an earlier investigation into the impact of fluorescent colours in Frank Stella’s (°1936) Irregular Polygons (1965–66) paintings, a significant difference was found between the depth perception of fluorescent colours and their conventional variants (De Winter et al
1. Introduction The starting point of the experiment described here was a striking discrepancy between the first author’s experience in conserving paintings of Frank Stella (1936) and her art historical research. Specifically, while studying the impact of fluorescent colours in Stella
1. Introduction 1.1. General Introduction The present study aims to investigate the viewing experience of three works by Frank Stella (born 1936) [ Tuxedo Park (1960), Effingham I (1967) and Hiraqla Variation II (1968)]. Stella created them according to a strict logic which can be
23 1 Frank Stellas neue Gemälde erkunden die Tragfähigkeit von shape als solcher (shape as such). Mit shape als solcher meine ich nicht nur die Silhouette des Bildträgers (die ich im Folgenden buchstäbliche shape [literal shape] nennen werde) und auch nicht nur die Konturen von Elementen in
reliefs, each bearing the name of a Polish town which once housed a wooden synagogue. Monumental catalog with essays and interviews, including “Memory of Architecture, Architecture of Memory: Frank Stella and the Phenomenon of Wooden Synagogues” (Artur Tanikowski), “Between Warsaw and Łunna Wola: The
1. Introduction “I’m not a colo[u]rist … To me colo[u]r is physical, like everything else in painting.” Frank Stella ( Auping and Stella, 2015 ) After 1945, the approach to painting changed dramatically, with the most prominent being the rejection of its initial function of representation
123 Frank Stellas künstlerische Position firmiert seit dem später berühmt gewordenen Interview von Bruce Glaser unter dem lakonischen Diktum »what you see is what you see« und wird 1966 ausschlaggebend für die programmatische Kunstkritik Michael Frieds. Denn diese zielt auf nichts Geringeres als
127 | 127 IV Hat sich der syntaktische Expressionismus der Moderne erschöpft? Frank Stella und die Wiederkehr der Mimesis 128 | 129 Hat sich der syntaktische Expressionismus der Moderne erschöpft? Frank Stella und die Wiederkehr der Mimesis Die visuell verfasste Moderne hat sich
Alois Breyer, El Lissitzky, Frank Stella—Wooden Synagogues . Tel-Aviv Museum of Art, July 10–October 18, 2014. Catalogue by Batsheva Goldman-Ida, (Tel-Aviv, 2014). Paperback, 147 pp., color illustrations, Hebrew/English, 65 NIS. In the exhibition “Alois Breyer, El Lissitzky, Frank Stella
you see is what you see. 2 Frank Stella ∵ The most remarkable example of the legacy of Heinrich von Kleist in the visual arts is US-American artist Frank Stella’s (1936–) Kleist series that was completed between 1995–2001. 3 Consisting of over seventy-nine individual artworks that are