Usually, he would use industrial equipment and assistants to create individual parts that would fit into the grander whole. The process for creating a life-sized piece was for Stella to create a mockup first – either a maquette or a collage, and then translate the smaller piece into a larger one. Cones, curves, and waves were incorporated into many of his pieces, and Stella used a wide array of materials to bring his creativity to life. The 70s were something of a transformational period in Stella’s career, as he switched from minimalism to maximalism and experimented with different techniques and results.īy the 80s and 90s, Stella transitioned to mostly sculpture, focusing on complex pieces based on simple shapes. To achieve the 3-D quality of these pieces, Stella would also incorporate other materials like aluminum, wood, and the like. Whereas his earlier work aimed to be more two-dimensional, Stella’s maximalist paintings tried to add depth and shape. Next, after 1970, he developed what he called the “maximalist” painting technique. First, he rejected the idea of a square or rectangular canvas, opting instead for backdrops of differing shapes and sizes. Oddly enough, as he adapted to the changing art landscape, Stella would then experiment with different styles and mediums. Most of his work focused on flat, geometric shapes and colors – again, without inherent meaning or reference to any topic in particular. When Stella first started his artistic career, he would definitely have been considered a minimalist. That same year, other pieces of his were featured in Sixteen Americans at the Museum of Modern Art in New York City. His first real exhibition was in 1959 when his work was featured in Three Young Americans at the Allen Memorial Art Museum at Oberlin College. With this style of art, Stella would create geometric and abstract paintings that simply existed in time and space without trying to look like anything or represent anything in particular.Īfter graduating from Princeton, Stella moved to New York in 1958 to be closer to the emerging postwar art scene. It was during his time at college that Stella found his artistic calling – abstract expressionism. After graduating, he attended the prestigious Princeton University. Not much is known about Stella’s childhood, but he did attend high school at Phillips Academy in Andover, Massachusetts. Stella’s mother was also artistic, although her pursuits were more related to fashion and landscape painting. His parents were firmly middle-class, with his father practicing gynecology and his mother staying home to care for him. Biography Early Life and Educationįrank Stella was born in 1936 in Malden, Massachusetts. Truly Stella is a contemporary artist, no matter which decade he’s in. In modern times, he has adapted to technology and has started using digital modeling to continue his work. Stella has also worked with sculpture to render his designs in a three-dimensional space. Stella has built an incredible body of work over the past 60 years, with paintings on canvas, walls, and even cars. However, for artists like Frank Stella, creativity knows no bounds, meaning that the medium isn’t as important as the message that one is trying to convey. Make sure to check out this video that shows the wide variety of art works created by Jorge Rodriguez-Gerada.Typically, an artist will choose a medium in which to work and then perfect their craft within that medium. Make sure to check out this video that shows the wide variety of art works created by Jorge Rodriguez-Gerada. His large scale time base works avoid negative impact on the environment, challenge the conformity in contemporary art and allow for a reflection that goes beyond the completion of the piece to focus in its concept, process, and the metaphor that comes forth because of the material chosen. His spectacular interventions are created for the sake of bringing awareness to relevant social issues. Jorge Rodriguez-Gerada´s unique direction was mentioned in Naomi Klein´s book No Logo and was a precursor of the use of anonymous portraits now common in street art. Since the late 90´s Jorge Rodriguez-Gerada has been replacing the faces of cultural icons chosen by advertisers with the faces of anonymous people to question the controls imposed on public space, the role models designated and the type of events that are guarded by the collective memory. Jorge is a founder of the New York Culture Jamming movement and an innovator in the international urban art scene. Jorge Rodriguez-Gerada is a Cuban American contemporary artist.
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