Frank Stella, ‘Schwarze Weisheit for D.J.’, 2000, Print, Lithograph, etching, aquatint and relief with embossing, Hindman
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Frank Stella

Schwarze Weisheit for D.J., 2000

Lithograph, etching, aquatint and relief with embossing
47 1/2 × 40 in
120.7 × 101.6 cm
Bidding closed
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H
Hindman

on white TGL handmade paper

Medium
Signature
Signed, dated, and numbered 5/23 in pencil
Frank Stella
American, b. 1936
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Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

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Frank Stella, ‘Schwarze Weisheit for D.J.’, 2000, Print, Lithograph, etching, aquatint and relief with embossing, Hindman
Navigate right
Save
Save
View
View in room
Share
Share
H
Hindman

on white TGL handmade paper

Medium
Signature
Signed, dated, and numbered 5/23 in pencil
Frank Stella
American, b. 1936
Follow

Frank Stella, an iconic figure of postwar American art, is considered the most influential painter of a generation that moved beyond Abstract Expressionism toward Minimalism. In his early work, Stella attempted to drain any external meaning or symbolism from painting, reducing his images to geometric form and eliminating illusionistic effects. His goal was to make paintings in which pictorial force came from materiality, not from symbolic meaning. He famously quipped, “What you see is what you see,” a statement that became the unofficial credo of Minimalist practice. In the 1980s and '90s, Stella turned away from Minimalism, adopting a more additive approach for a series of twisting, monumental, polychromatic metal wall reliefs and sculptures based on Herman Melville’s Moby Dick.

Frank Stella

Schwarze Weisheit for D.J., 2000

Lithograph, etching, aquatint and relief with embossing
47 1/2 × 40 in
120.7 × 101.6 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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