"Mr. Stella, a formalist of Calvinist severity, rejected
all attempts to interpret his work."
— William Grimes of the New York Times
on artist Frank Stella, who reportedly died today.
See related remarks in this journal.
Saturday, May 4, 2024
Calvinist Severity
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Sunday, November 26, 2023
Stella for Macbeth
"Play Stella by Starlight for Lady Macbeth" — Bob Dylan
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For enthusiasts of arithmetic rather than geometry —
"4 + 12 = 16."
And for fans of Christoper Nolan — Window Panes :
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Saturday, November 7, 2015
The Painted Word (Illustrated)
Related material:
- The Painted Word (1975), by Tom Wolfe (a search in this journal)
-
"Big Ideas: A Frank Stella Retrospective," by Peter Schjeldahl
in The New Yorker dated Nov. 9, 2015 (pp. 84-85).
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Wednesday, December 4, 2013
The Mirror’s Faces*
See the previous post, the remarks of Roger Kimball
on Frank Stella's lecture at Harvard on Oct. 12, 1983,
and "Study of O" in this journal, with my own images
of space from October 1983.
* The title refers to a 1996 film.
Happy birthday to Jeff Bridges.
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Space According to Stella
Related remarks: yesterday's post at this hour.
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Monday, October 28, 2013
Stella’s Goal
The Whitney Museum of American Art has stated
that artist Frank Stella in 1959
"wanted to create work that was methodical,
intellectual and passionless."
Source: Whitney Museum, transcript of audio guide.
Related material:
A figure from this journal on July 13, 2003…
… and some properties of that figure.
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Moment by Stella
"Frank actually makes the moment.
He captures it and helps to define it."
— Architect Robert Kahn on artist
Frank Stella, as quoted by
Nancy Wolfson in "Rings of Art,"
Cigar Aficionado , Autumn 1995
Related material: A review of a work
by Stella quoted here on Friday,
October 25, 2013 (Picasso's birthday,
and the date of death for art theorist
Arthur C. Danto).
See also this journal on July 13, 2003.
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Wednesday, June 22, 2011
A Flag for Sunrise
Thomas N. Armstrong III, a former director of the Whitney Museum of American Art, died at 78 on Monday in Manhattan.
William Grimes in this morning's New York Times—
"… Mr. Armstrong set about strengthening the museum’s permanent collection, buying Frank Stella’s 1959 black painting “Die Fahne Hoch!” for $75,000 in 1977…."
See also "Fahne Hoch" in this journal and the following from the date of Armstrong's death—
"Sunrise — Hast thou a Flag for me?" — Emily Dickinson
Related material: Piracy Project and, from Flag Day,
"Dawn's Early Light" and "Expressionistic Depth."
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Thursday, May 21, 2009
Thursday May 21, 2009
Die
Cast:
Cast:
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Die (Tony Smith) |
|
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Paul Moore, Jr., retired Episcopal Bishop of New York, who died at home at 83 on the First of May, 2003 |
From “Secondary Structures,” by Tom Moody, Sculpture Magazine, June 2000:
“By the early ’90s, the perception of Minimalism as a ‘pure’ art untouched by history lay in tatters. The coup de grâce against the movement came not from an artwork, however, but from a text. Shortly after the removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza, Harvard art historian Anna Chave published ‘Minimalism and the Rhetoric of Power’ (Arts Magazine, January 1990), a rousing attack on the boys’ club that stops just short of a full-blown ad hominem rant. Analyzing artworks (Walter de Maria’s aluminum swastika, Morris’s ‘carceral images,’ Flavin’s phallic ‘hot rods’), critical vocabulary (Morris’s use of ‘intimacy’ as a negative, Judd’s incantatory use of the word ‘powerful’), even titles (Frank Stella’s National Socialist-tinged Arbeit Macht Frei and Reichstag), Chave highlights the disturbing undercurrents of hypermasculinity and social control beneath Minimalism’s bland exterior. Seeing it through the eyes of the ordinary viewer, she concludes that ‘what [most] disturbs [the public at large] about Minimalist art may be what disturbs them about their own lives and times, as the face it projects is society’s blankest, steeliest face; the impersonal face of technology, industry and commerce; the unyielding face of the father: a face that is usually far more attractively masked.'”
For a more attractively masked father figure, see the Terminator series:
For further religious background,
see “Jesus and the Terminator“
in Christianity Today.
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Monday, April 5, 2004
Monday April 5, 2004
Ideas and Art
— Motto of
Plato's Academy
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From Minimalist Fantasies,
All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion. … What you see is what you see.
Minimal Art remains too much a feat of ideation, and not enough anything else. Its idea remains an idea, something deduced instead of felt and discovered.
The artists even questioned whether art needed to be a tangible object. Minimalism … Conceptualism — suddenly art could be nothing more than an idea, a thought on a piece of paper….
There was a period, a decade or two ago, when you could hardly open an art journal without encountering the quotation from Frank Stella I used as an epigraph. The bit about “what you see is what you see” was reproduced ad nauseam. It was thought by some to be very deep. In fact, Stella’s remarks—from a joint interview with him and Donald Judd—serve chiefly to underscore the artistic emptiness of the whole project of minimalism. No one can argue with the proposition that “what you see is what you see,” but there’s a lot to argue with in what he calls “the fact that you can see the whole idea without any confusion.” We do not, of course, see ideas. Stella’s assertion to the contrary might be an instance of verbal carelessness, but it is not merely verbal carelessness. At the center of minimalism, as Clement Greenberg noted, is the triumph of ideation over feeling and perception, over aesthetics. |
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From How Not Much Is a Whole World, Decades on, it's curious how much Minimalism, the last great high modern movement, still troubles people who just can't see why … a plain white canvas with a line painted across it
should be considered art. That line might as well be in the sand: on this side is art, it implies. Go ahead. Cross it. …. The tug of an art that unapologetically sees itself as on a par with science and religion is not to be underestimated, either. Philosophical ambition and formal modesty still constitute Minimalism's bottom line. If what results can sometimes be more fodder for the brain than exciting to look at, it can also have a serene and exalted eloquence…. That line in the sand doesn't separate good art from bad, or art from nonart, but a wide world from an even wider one. |
I maintain that of course
we can see ideas.
Example: the idea of
invariant structure.
"What modern painters
are trying to do,
if they only knew it,
is paint invariants."
— James J. Gibson, Leonardo,
Vol. 11, pp. 227-235.
Pergamon Press Ltd., 1978
For a discussion
of how this works, see
Block Designs,
4×4 Geometry, and
Diamond Theory.
Incidentally, structures like the one shown above are invariant under an important subgroup of the affine group AGL(4,2)… That is to say, they are not lost in translation. (See previous entry.)
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Saturday, August 23, 2003
Saturday August 23, 2003
Pictures of Nothing
‘”The artist delights to go back to the first chaos of the world… All is without forms and void. Some one said of his landscapes that they were pictures of nothing, and very like.”
— William Hazlitt, 1816, on J. M. W. Turner
“William Hazlett [sic] once described Turner’s painting as ‘pictures of the elements of air, earth, and water. The artist delights to go back to the first chaos of the world…All is without form and void. Some one said of his landscapes that they were pictures of nothing and very like.‘ This description could equally well be applied to a Pollock, Newman, or Rothko.”
— Sonja J. Klein, thesis, The Nature of the Sublime, September 2000
The fifty-second A. W. Mellon series of Lectures in the Fine Arts was given last spring at the National Gallery in Washington, D.C., by Kirk Varnedoe, art historian at the Institute for Advanced Study, Princeton, New Jersey.
Pictures of Nothing:
The lectures, 2003: Survivals and Fresh Starts … April 6 |
Varnedoe died on Thursday, August 14, 2003,
the day of the Great Blackout.
Pictures of Nothing:
“Record-breaking crowds turned up at the National Gallery for Kirk’s Mellon Lectures….
… the content of Kirk’s talk was miraculously subtle, as he insisted that there could be no single explanation for how abstraction works, that each piece had to be understood on its own terms — how it came to be made, what it meant then and what it has gone on to mean to viewers since.
Dour works like
Frank Stella’s early
gray-on-black canvases …
“Die Fahne Hoch,”
Frank Stella,
1959
“Gray on Black,”
or “Date of Death”
seemed to open up under Kirk’s touch to reveal a delicacy and complexity lost in less textured explanations.”
— Blake Gopnik in the Washington Post,
Aug. 15, 2003
For another memorial to Varnedoe, see
A May 18 Washington Post article skillfully summarized Varnedoe’s Mellon Lectures at the National Gallery:
Closing the Circle on Abstract Art.
For more on art and nihilism, see
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Monday, August 18, 2003
Monday August 18, 2003
Entries since Xanga’s
August 10 Failure:
Sunday, August 17, 2003 2:00 PM
A Thorny Crown of…
From the first episode of
the television series
“The West Wing“:
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Original airdate: Sept. 22, 1999 MARY MARSH CALDWELL MARY MARSH JOSH TOBY [A stunned silence. Everyone stares at Toby.] TOBY (CONT.) JOSH |
Going There, Part I
|
Crown of Ideas Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003. From his New York Times obituary: ” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ ” For a mini-exhibit of ideas in honor of Varnedoe, see Verlyn Klinkenborg on Varnedoe: “I was always struck by the tangibility of the words he used…. It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.” Perhaps even a “thorny crown of ideas“?
“Crown of Thorns” Varnedoe’s death coincided with “To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….” — Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland |
Going There, Part II
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Simple, Bold, Clear Art historian Kirk Varnedoe was, of course, not the only one to die on the day of the Great Blackout. Claude Martel, 34, a senior art director of The New York Times Magazine, also died on Thursday, August 14, 2003. Janet Froelich, the magazine’s art director, describes below a sample of work that she and Martel did together: “A new world of ideas”
Froelich notes that “the elements are simple, bold, and clear.” For another example of elements with these qualities, see my journal entry The flag design in that entry
Note that the elements of the flag design have the qualities described so aptly by Froelich– simplicity, boldness, clarity:
They share these qualities with the Elements of Euclid, a treatise on geometrical ideas. For the manner in which such concepts might serve as, in Gopnik’s memorable phrase, a “thorny crown of ideas,” see “Geometry for Jews” in ART WARS: Geometry as Conceptual Art. See also the discussion of ideas in my journal entry on theology and art titled Understanding: On Death and Truth and the discussion of the word “idea” (as well as the word, and the concept, “Aryan”) in the following classic (introduced by poet W. H. Auden):
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Saturday, August 16, 2003 6:00 AM
Varnedoe’s Crown
Kirk Varnedoe, 57, art historian and former curator of the Museum of Modern Art, died Thursday, August 14, 2003.
From his New York Times obituary:
” ‘He loved life in its most tangible forms, and so for him art was as physical and pleasurable as being knocked down by a wave,’ said Adam Gopnik, the writer and a former student of his who collaborated on Mr. Varnedoe’s first big show at the Modern, ‘High & Low.’ ‘Art was always material first — it was never, ever bound by a thorny crown of ideas.’ “
For a mini-exhibit of ideas in honor of Varnedoe, see
Verlyn Klinkenborg on Varnedoe:
“I was always struck by the tangibility of the words he used…. It was as if he were laying words down on the table one by one as he used them, like brushes in an artist’s studio. That was why students crowded into his classes and why the National Gallery of Art had overflow audiences for his Mellon Lectures earlier this year. Something synaptic happened when you listened to Kirk Varnedoe, and, remarkably, something synaptic happened when he listened to you. You never knew what you might discover together.”
Perhaps even a “thorny crown of ideas”?
“Crown of Thorns”
Cathedral, Brasilia
Varnedoe’s death coincided with
the Great Blackout of 2003.
“To what extent does this idea of a civic life produced by sense of adversity correspond to actual life in Brasília? I wonder if it is something which the city actually cultivates. Consider, for example the cathedral, on the monumental axis, a circular, concrete framed building whose sixteen ribs are both structural and symbolic, making a structure that reads unambiguously as a crown of thorns; other symbolic elements include the subterranean entrance, the visitor passing through a subterranean passage before emerging in the light of the body of the cathedral. And it is light, shockingly so….”
— Modernist Civic Space: The Case of Brasilia, by Richard J. Williams, Department of History of Art, University of Edinburgh, Scotland
Friday, August 15, 2003 3:30 PM
ART WARS:
The Boys from Brazil
It turns out that the elementary half-square designs used in Diamond Theory
also appear in the work of artist Nicole Sigaud.
Sigaud’s website The ANACOM Project has a page that leads to the artist Athos Bulcão, famous for his work in Brasilia.
From the document
Conceptual Art in an
Authoritarian Political Context:
Brasilia, Brazil,
by Angélica Madeira:
“Athos created unique visual plans, tiles of high poetic significance, icons inseparable from the city.”
As Sigaud notes, two-color diagonally-divided squares play a large part in the art of Bulcão.
The title of Madeira’s article, and the remarks of Anna Chave on the relationship of conceptual/minimalist art to fascist rhetoric (see my May 9, 2003, entries), suggest possible illustrations for a more politicized version of Diamond Theory:
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Fahne, |
Dr. Mengele, |
Is it safe?
These illustrations were suggested in part by the fact that today is the anniversary of the death of Macbeth, King of Scotland, and in part by the following illustrations from my journal entries of July 13, 2003 comparing a MOMA curator to Lady Macbeth:
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Die Fahne Hoch, |
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Thursday, August 14, 2003 3:45 AM
Famous Last Words
The ending of an Aug. 14 Salon.com article on Mel Gibson’s new film, “The Passion”:
” ‘The Passion’ will most likely offer up the familiar puerile, stereotypical view of the evil Jew calling for Jesus’ blood and the clueless Pilate begging him to reconsider. It is a view guaranteed to stir anew the passions of the rabid Christian, and one that will send the Jews scurrying back to the dark corners of history.”
— Christopher Orlet
“Scurrying”?! The ghost of Joseph Goebbels, who famously portrayed Jews as sewer rats doing just that, must be laughing — perhaps along with the ghost of Lady Diana Mosley (née Mitford), who died Monday.
This goes well with a story that Orlet tells at his website:
“… to me, the most genuine last words are those that arise naturally from the moment, such as
Joseph Goebbels |
Voltaire’s response to a request that he foreswear Satan: ‘This is no time to make new enemies.’ ”
For a view of Satan as an old, familiar, acquaintance, see the link to Prince Ombra in my entry last October 29 for Goebbels’s birthday.
Wednesday, August 13, 2003 3:00 PM
Best Picture
For some reflections inspired in part by
- Today’s anniversary of a
1727 Moravian Pentecost, - An April 7, 2003,
lecture at Moravian College, and - St. Bonaventure’s 1259
remarks on the Trinity,
Tuesday, August 12, 2003 4:44 PM
Atonement:
A sequel to my entry “Catholic Tastes” of July 27, 2003.
Some remarks of Wallace Stevens that seem appropriate on this date:
“It may be that one life is a punishment
For another, as the son’s life for the father’s.”
— Esthétique du Mal, Wallace Stevens
“Unless we believe in the hero, what is there
To believe? ….
Devise, devise, and make him of winter’s
Iciest core, a north star, central
In our oblivion, of summer’s
Imagination, the golden rescue:
The bread and wine of the mind….”
— Examination of the Hero in a Time of War, Wallace Stevens
Etymology of “Atonement”:
“Middle English atonen, to be reconciled, from at one, in agreement“
At One
“… We found,
If we found the central evil, the central good….
… we and the diamond globe at last were one.”
— Asides on the Oboe, Wallace Stevens
Tuesday, August 12, 2003 1:52 PM
Franken & ‘Stein,
Attorneys at Law
“Tue August 12, 2003 04:10 AM ET
NEW YORK (Reuters) – Fox News Network is suing humor writer Al Franken for trademark infringement over the phrase ‘fair and balanced’ on the cover of his upcoming book, saying it has been ‘a signature slogan’ of the network since 1996.”
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Franken: |
‘Stein: |
For answers, click on the pictures
of Franken and ‘Stein.
Comments Off on Monday August 18, 2003
Sunday, July 13, 2003
Sunday July 13, 2003
ART WARS, 5:09
The Word in the Desert
For Harrison Ford in the desert.
(See previous entry.)
Words strain,
Crack and sometimes break,
under the burden,
Under the tension, slip, slide, perish,
Will not stay still. Shrieking voices
Scolding, mocking, or merely chattering,
Always assail them.
The Word in the desert
Is most attacked by voices of temptation,
The crying shadow in the funeral dance,
The loud lament of
the disconsolate chimera.— T. S. Eliot, Four Quartets
The link to the word "devilish" in the last entry leads to one of my previous journal entries, "A Mass for Lucero," that deals with the devilishness of postmodern philosophy. To hammer this point home, here is an attack on college English departments that begins as follows:
"William Faulkner's Snopes trilogy, which recounts the generation-long rise of the drily loathsome Flem Snopes from clerk in a country store to bank president in Jefferson, Mississippi, teems with analogies to what has happened to English departments over the past thirty years."
For more, see
The Word in the Desert,
by Glenn C. Arbery.
See also the link on the word "contemptible," applied to Jacques Derrida, in my Logos and Logic page.
This leads to an National Review essay on Derrida,
The Philosopher as King,
by Mark Goldblatt.
A reader's comment on my previous entry suggests the film "Scotland, PA" as viewing related to the Derrida/Macbeth link there.
I prefer the following notice of a 7-11 death, that of a powerful art museum curator who would have been well cast as Lady Macbeth:
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Die Fahne Hoch, |
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From the Whitney Museum site:
"Max Anderson: When artist Frank Stella first showed this painting at The Museum of Modern Art in 1959, people were baffled by its austerity. Stella responded, 'What you see is what you see. Painting to me is a brush in a bucket and you put it on a surface. There is no other reality for me than that.' He wanted to create work that was methodical, intellectual, and passionless. To some, it seemed to be nothing more than a repudiation of everything that had come before—a rational system devoid of pleasure and personality. But other viewers saw that the black paintings generated an aura of mystery and solemnity.
The title of this work, Die Fahne Hoch, literally means 'The banner raised.' It comes from the marching anthem of the Nazi youth organization. Stella pointed out that the proportions of this canvas are much the same as the large flags displayed by the Nazis.
But the content of the work makes no reference to anything outside of the painting itself. The pattern was deduced from the shape of the canvas—the width of the black bands is determined by the width of the stretcher bars. The white lines that separate the broad bands of black are created by the narrow areas of unpainted canvas. Stella's black paintings greatly influenced the development of Minimalism in the 1960s."
From Play It As It Lays:
She took his hand and held it. "Why are you here."
"Because you and I, we know something. Because we've been out there where nothing is. Because I wanted—you know why."
"Lie down here," she said after a while. "Just go to sleep."
When he lay down beside her the Seconal capsules rolled on the sheet. In the bar across the road somebody punched King of the Road on the jukebox again, and there was an argument outside, and the sound of a bottle breaking. Maria held onto BZ's hand.
"Listen to that," he said. "Try to think about having enough left to break a bottle over it."
"It would be very pretty," Maria said. "Go to sleep."
I smoke old stogies I have found…
Cigar Aficionado on artist Frank Stella:
" 'Frank actually makes the moment. He captures it and helps to define it.'
This was certainly true of Stella's 1958 New York debut. Fresh out of Princeton, he came to New York and rented a former jeweler's shop on Eldridge Street on the Lower East Side. He began using ordinary house paint to paint symmetrical black stripes on canvas. Called the Black Paintings, they are credited with paving the way for the minimal art movement of the 1960s. By the fall of 1959, Dorothy Miller of The Museum of Modern Art had chosen four of the austere pictures for inclusion in a show called Sixteen Americans."
For an even more austere picture, see
For more on art, Derrida, and devilishness, see Deborah Solomon's essay in the New York Times Magazine of Sunday, June 27, 1999:
"Blame Derrida and
his fellow French theorists…."
See, too, my site
Art Wars: Geometry as Conceptual Art.
For those who prefer a more traditional meditation, I recommend
("Behold the Wood of the Cross")
For more on the word "road" in the desert, see my "Dead Poet" entry of Epiphany 2003 (Tao means road) as well as the following scholarly bibliography of road-related cultural artifacts (a surprising number of which involve Harrison Ford):
Friday, May 9, 2003
Friday May 9, 2003
ART WARS
The Rhetoric of Power:
A meditation for Mental Health Month
From “Secondary Structures,” by Tom Moody, Sculpture Magazine, June 2000:
“By the early ’90s, the perception of Minimalism as a ‘pure’ art untouched by history lay in tatters. The coup de grâce against the movement came not from an artwork, however, but from a text. Shortly after the removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza, Harvard art historian Anna Chave published ‘Minimalism and the Rhetoric of Power’ (Arts Magazine, January 1990), a rousing attack on the boys’ club that stops just short of a full-blown ad hominem rant. Analyzing artworks (Walter de Maria’s aluminum swastika, Morris’s ‘carceral images,’ Flavin’s phallic ‘hot rods’), critical vocabulary (Morris’s use of ‘intimacy’ as a negative, Judd’s incantatory use of the word ‘powerful’), even titles (Frank Stella’s National Socialist-tinged Arbeit Macht Frei and Reichstag), Chave highlights the disturbing undercurrents of hypermasculinity and social control beneath Minimalism’s bland exterior. Seeing it through the eyes of the ordinary viewer, she concludes that ‘what [most] disturbs [the public at large] about Minimalist art may be what disturbs them about their own lives and times, as the face it projects is society’s blankest, steeliest face; the impersonal face of technology, industry and commerce; the unyielding face of the father: a face that is usually far more attractively masked.’ ”
From Maureen Dowd’s New York Times column of June 9, 2002:
“The shape of the government is not as important as the policy of the government. If he makes the policy aggressive and pre-emptive, the president can conduct the war on terror from the National Gallery of Art.”
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From the New York Times, The National Gallery of Art in Washington has just acquired Tony Smith’s first steel sculpture: “Die,” created in 1962 and fabricated in 1968. “It’s a seminal icon of postwar American art,” said Earl A. Powell III, director of the National Gallery. |
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Die (Tony Smith) |
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Bishop Moore |
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From a New York Times obituary, Bishop Dies Paul Moore Jr., the retired Episcopal bishop of New York who for more than a decade was the most formidable liberal Christian voice in the city, died yesterday at home in Greenwich Village. He was 83…. Bishop Moore argued for his agenda in the most Christian of terms, refusing to cede Biblical language to the Christian right. Although he retired as bishop in 1989, he continued to speak out, taking to the pulpit of his former church as recently as March 24, even as illness overtook him, to protest the war in Iraq. “It appears we have two types of religion here,” the bishop said, aiming his sharpest barbs at President Bush. “One is a solitary Texas politician who says, `I talk to Jesus, and I am right.’ The other involves millions of people of all faiths who disagree.” He added: “I think it is terrifying. I believe it will lead to a terrible crack in the whole culture as we have come to know it.”…. [In reference to another question] Bishop Moore later acknowledged that his rhetoric was strong, but added, “In this city you have to speak strongly to be heard.” Paul Moore’s early life does not immediately suggest an affinity for the kinds of social issues that he would later champion…. His grandfather was one of the founders of Bankers Trust. His father was a good friend of Senator Prescott Bush, whose son, George H. W. Bush, and grandson, George W. Bush, would become United States presidents. |
Related material (update of May 12, 2003):
Question:
Which of the two theories of truth in reading (2) above is exemplified by Moore’s March 24 remarks?
Comments Off on Friday May 9, 2003