In 1972, Stella donated “Isfahan III” (1968) to the Museum of Solidarity in Chile. After a coup d’etat, the artwork disappeared for nearly 20 years, but its story is coming to light as the museum conserves the painting with the help of the Getty Foundation.
Frank Stella
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Introducing a Mural by Frank Stella in Boston Seaport
Explore new public art by Frank Stella and celebrate the first anniversary of Okuda San Miguel’s sculpture series in Boston Seaport.
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The Colors of the Sixties
Spilling Over: Painting in the 1960s at the Whitney Museum expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.
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Frank Stella’s Riotous Interpretation of Moby-Dick
There is something almost musical and improvisatory about the artist’s interpretation of the epic tale of Captain Ahab and the whale.
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Best of 2016: Our Top 15 Exhibitions Around the World
Our picks for the best art shows in the world this year.
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Hurricane Frank: Rhetorical Abstraction in the Age of the Incidental Viewer
If Frank Stella’s ambition and insatiable visual voracity were exhilarating at first, the paintings’ often overbearing size and physicality also left the viewer, time and again, with the unsettling feeling of being wrestled to the ground.
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A Guide to New York City’s Historic Artist Studios
In New York City’s constantly changing urban landscape, artist studios can be ephemeral.
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Lessons in Gigantism: Richard Serra Makes It Work
And then there’s Richard Serra, whose double-gallery blowout at Gagosian is Exhibit A for material-intensity-meets-overwhelming-scale. There’s nothing else like it.
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The Elusive Painter Who Predicted Minimalism in the Mid 1950s
John Ferren did not so much work outside the mainstream as circle it continuously in a personal and highly meditative quest for meaning.
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An Open Letter to Frank Stella on the Occasion of His Whitney Retrospective
Dear Frank Stella,
Your object-paintings choke me.
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Something Worth Arguing About: Frank Stella Fills the Whitney
Frank Stella: A Retrospective, which opened yesterday at the Whitney Museum of American Art, is a brilliantly curated, blatantly overhung masterstroke of an exhibition that turns the artist’s weaknesses into strengths and his strengths into powerhouses.