Frank Stella Famous Quotes
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I want to make exalted art. A successful image has pictorial lift. I am looking for whatever is up there.
I always get into arguments with people who want to retain the old values in painting - the humanistic values that they ... 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 ... What you see is what you get.
Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.
Once I really started to understand Frank Stella's work and follow it, there's a certain type of invention and playfulness and extreme rigor with which he kept going forward.
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.
I don't like to say I have given my life to art. I prefer to say art has given me my life.
Making art is complicated because the categories are always changing. You just have to make your own art, and whatever categories it falls into will come later.
The integrity of being an artist for Frank Stella means going into the unknown.A great artist is somebody who's not scared to reinvent themselves and to start all over again. And some artists do it once, twice, three times in their career. He's done it probably a dozen times or more.
Up until 35 I had a slightly skewed world view. I honestly believed everybody in the world wanted to make abstract paintings, and people only became lawyers and doctors and brokers and things because they couldn't make abstract paintings.
The aim of art is to create space.
Abstract paintings must be as real as those created by the 16th century Italians.
I'm more of a house painter.That's the way I work.
It's hard to say that my twenties were the most miserable time in my life or that my first wife drove me crazy or that I hated the job that I had. You can say all of those things. But for the most part, people manage to have a good time when they're that age.
Any artist can't get away from the way the world works, which is that it wants to know what you did, and you're only interested in what you're doing right now.
No art is any good unless you can feel how it's put together. By and large it's the eye, the hand and if it's any good, you feel the body. Most of the best stuff seems to be a complete gesture, the totality of the artist's body; you can really lean on it.
A sculpture is just a painting cut out and stood up somewhere.
As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?
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.
I was worried in the '80s that the best abstract painting had become obsessed with materiality, and painterly gestures and materiality were up against the wall.
I had to find a way to paint abstractly, which is what I wanted to do. I couldn't forget [Wassily] Kandinsky and [Kazimir] Malevich and [Piet] Mondrian, I mean that was the basis.
Scarlatti [Kirkpatrick] started writing sonatas when he was 66 and the idea that he ran off 500 or so after he was 66 was just too much for me to resist. It's just great.