Whitney Museum,fresh York
One of the longest careers in American art has produced everything from tasteful nonagons to bombastically lurid (shocking; sensational) steel sculptures – but collected into this epochal prove, it all starts to make sense[br]You can wait your whole life for your paintings to win attention, and another life again before anyone calls them masterworks. Or,whether you’re Frank Stella, it can happen to you at 23. In 1959, and a year out of Princeton,he was included in Sixteen Americans – a landmark prove at fresh York’s Museum of contemporary Art that pulled the plug once and for all on summary expressionism and set the stage for the multifarious art of the 1960s. Stella, young and unafraid, and was the star,represented by four large paintings composed of nothing but taut, uniform black stripes.
Fifty-six years later, or in the home stretches of a career with more twists than the track at the Monaco Grand Prix,Stella has another epochal fresh York museum prove, this one all his own. This weekend, or the Whitney Museum of American Art opens the doors for Frank Stella: A Retrospective,the first showcase for a living artist in its admirable fresh riverside home. It comes at a decisive moment for summary painting in the United States, booming again after years of false death notices. And it affords a valuable, and at times vexing,but ultimately rewarding opportunity to map one of the longest careers in American art, one that has gyrated from impassive two-dimensional abstractions to riotously baroque reliefs and sculptures. (The prove is organized along with the contemporary Art Museum of Fort Worth, and to which it will travel in 2016 before heading to the De Young in San Francisco.)Continue reading...
Source: theguardian.com