Frank Stella

Frank Philip Stella (May 12, 1936 – May 4, 2024) was an American painter, sculptor, and printmaker, noted for his work in the areas of minimalism and post-painterly abstraction. He lived and worked in New York City for much of his career before moving his studio to Rock Tavern, New York. Stella's work catalyzed the minimalist movement in the late 1950s. He moved to New York City in the late 1950s, where he created works which emphasized the picture-as-object. These were influenced by the abstract expressionist work of artists like Franz Kline and Jackson Pollock. He developed a reductionist approach to his art, saying he wanted to demonstrate that for him, every painting is "a flat surface with paint on it—nothing more", and disavowed conceptions of art as a means of expressing emotion. He won notice in the New York art world in 1959 when his four black pinstripe paintings were shown at the Museum of Modern Art. Stella was a recipient of the National Medal of Arts in 2009 and the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center in 2011.

Biography

Frank Stella was born in Malden, Massachusetts, on May 12, 1936, to first-generation Italian-American parents, as the oldest of their three children.<ref name="Artstory2024">Template:Cite web</ref> His grandparents on both sides had immigrated to the United States at the turn of the 20th century from Sicily. His father, Frank Sr., was a gynecologist, and his mother Constance (née Santonelli) was a housewife and artist<ref name="Darwent2024">Template:Cite news</ref> who attended fashion school and later took up landscape painting.<ref name="Solomon2015">Template:Cite news</ref> His father painted houses to pay his way through medical school, with young Stella as his helper. Many years later he told an interviewer, "My father would make me sand the floor; we had to do the sanding and scraping before you could hold the brush and then paint on the wall. So it was that kind of apprenticeship and familiarity."<ref name="O'Grady2020">Template:Cite news</ref>

Stella went to high school at Phillips Academy in Andover, Massachusetts,<ref name="Schjeldahl2015">Template:Cite magazine</ref><ref name="Jebb2024"/> where Carl Andre, later to become a minimalist sculptor, was in the class ahead of him, but Andre said they never actually met.<ref name="Tomkins2011">Template:Cite magazine</ref> In his sophomore year, the abstractionist Patrick Morgan, a teacher at the school, began teaching Stella how to paint. At this time Stella was particularly affected by the work of the artist Josef Albers, a Bauhaus color theorist, and Hans Hofmann, an influential proto-Abstract Expressionist. After entering Princeton University where he majored in history, played lacrosse and wrestled,<ref name="O'Grady2020"/> Stella took art courses and was introduced to the New York art scene by painter Stephen Greene and art historian William C. Seitz, professors at the school who brought him to exhibitions in the city. His work was influenced by abstract expressionism.<ref name="Artstory2024"/>

In the 1970s, he moved into NoHo in Manhattan in New York City.<ref name="auto2">Kenneth T. Jackson, Lisa Keller, Nancy Flood (2010). The Encyclopedia of New York City, Second Edition, Yale University Press.</ref> As of 2015, Stella lived in Greenwich Village and kept an office there but commuted on weekdays to his upstate studio at Rock Tavern, New York, in the Hudson River Valley.<ref name="Solomon2015"/> The critic and essayist Megan O'Grady visited the studio in 2019, and writing for the New York Times Style Magazine, described it as a "hangar-like structure", its entrance marked by a piece of wood spray-painted with the name "Stella". She called the interior a "vast space more easily traversed by golf cart than on foot", divided into separate rooms for fabrication and display, with a curtain hanging in the rear behind which he kept his spray-painter, his industrial sander, and new works being assembled.<ref name="O'Grady2020"/>

Work

Late 1950s and early 1960s

File:Jasper's Dilemma, 1962-1963, Frank Stella at NGA 2022.jpg

Jasper's Dilemma (1962–1963) at the National Gallery of Art in 2022

After moving to New York City in the late 1950s, Stella began to create works which emphasized the picture-as-object. His visits to the art galleries of New York, where he was exposed to the abstract expressionist work of artists like Franz Kline and Jackson Pollock, had exerted a great influence on his development as an artist.<ref name="Martone2016">Template:Cite book</ref>

He created a series of paintings in 1958–1959 known as his "Black Paintings" which flouted conventional ideas of painterly composition. At age 22 in late 1958, he used commercial enamel paint and a house-painter's brush to paint black stripes of the same width and evenly spaced on bare canvas, leaving the thin strips of canvas between them unpainted and exposed, along with his pencil-and-ruler drawn guidelines.<ref name="Marzona2004">Template:Cite book</ref> These paintings, his response to the Abstract Expressionist movement that grew in the years following World War II, were devoid of color and meant to lack any visual stimulation.<ref name="Greenberger2024">Template:Cite news</ref>

Die Fahne Hoch! (1959), one of the "Black Paintings" series, takes its name ("Hoist the Flag!"<ref name="Whitney2024">Template:Cite web</ref> or "Raise the Flag!" in English) from the first line of the "Horst-Wessel-Lied",<ref name="Hopkins2000">Template:Cite book</ref> the anthem of the Nazi Party. According to Stella himself, the painting has similar proportions as flags used by that organization.<ref name="Salus2010">Template:Cite journal</ref>

Stella's work was a catalyst for the minimalist movement in the late 1950s; he stressed the properties of the materials he used in his paintings, disavowing any conception of art as a means of expressing emotion.<ref name="PérezArtMuseum2024"/> He made a splash in the New York art world in 1959 when his four black pinstripe paintings were shown in the Sixteen Americans exhibit at the Museum of Modern Art,<ref name="Martone2016"/> along with works by Louise Nevelson, Ellsworth Kelly, Jasper Johns, and Robert Rauschenberg.<ref name="O'Grady2020"/> Taking a reductionist approach to his art, Stella said he sought to demonstrate that he considered every painting as "a flat surface with paint on it—nothing more".<ref name="D'Acierno1998">Template:Cite book</ref> The same year, several of his paintings were included in the Three Young Americans showing at the Allen Memorial Art Museum at Oberlin College.<ref name="Martone2016"/> A year later, his first gallery show at art dealer Leo Castelli's New York gallery gained him few sales. Stella shared studio space with Hollis Frampton and Carl Andre, both of whom had attended Phillips Academy, and scrounged a living by renting cold-water flats and painting houses.<ref name="O'Grady2020"/>

Stella repudiated all efforts by critics to interpret his work. In a 1964 radio broadcast of a discussion of contemporary art with fellow artists Donald Judd and Dan Flavin,<ref name="Glazer1964">Template:Cite web</ref> he summarized his concerns as a painter with the words, "My painting is based on the fact that only what can be seen there is there. It really is an object... All I want anyone to get out of my paintings, and all I ever get out of them, is the fact that you can see the whole idea without any confusion.... What you see is what you see."<ref name="Glaser1995">Template:Cite book</ref> The much-quoted tautology, "What you see is what you see",<ref name="Marzona2004"/> became "the unofficial motto of the minimalist movement", according to the New York Times.<ref name="Grimes2024">Template:Cite web</ref>

From 1960, his works used shaped canvases,<ref name="Cateforis2005">Template:Cite book</ref> developing in 1966 into more elaborate designs, as in the Irregular Polygon series (67).<ref name="Leider1970">Template:Cite magazine</ref> In 1961, Stella followed Barbara Rose, later a well-known art critic,<ref name="Solomon2020">Template:Cite news</ref> to Pamplona, Spain, where she had gone on a Fulbright fellowship; they married in London that November. Upon their return to New York, Rose and Stella moved into an apartment near Union Square and had two children. After they split up in 1969, Rose began to reconsider her relationship with minimalism, and became a champion of less well-recognized painters.<ref name="Pobric2020">Template:Cite web</ref>

Late 1960s and early 1970s

File:Frank Stella's 'Harran II', 1967.jpg

Frank Stella Harran II, 1967

In 1967, Stella designed the set and costumes for Scramble, a dance piece by Merce Cunningham.<ref name="Guggenheim2024">Template:Cite web</ref> The same year, his began his Protractor Series (1967–71) of paintings, named after the common measuring instrument, a half circle protractor. These feature arcs, sometimes overlapping,<ref name="Kaji-O'Grady2001">Template:Cite book</ref> within square borders named after circular-plan cities he had visited while in the Middle East earlier in the 1960s.<ref name="MMoA20024">Template:Cite web</ref><ref name="Chougnet2007">Template:Cite book</ref> He was especially intrigued by the arches and decorative patterns he observed in the architecture and art of Iran. His painting, Protractor Variation I (1969), now at the Pérez Art Museum Miami, epitomizes his move away from ascetic, monochrome compositions to the vibrant colors and formal complexity of his output after the late 1960s. This work typified his experimentation with shaped canvases, producing innovative paintings in which the imagery was set by their contours.<ref name="PérezArtMuseum2024">Template:Cite web</ref>

In 1969, Stella was commissioned to create a logo for the Metropolitan Museum of Art Centennial.<ref>Finding aid for the George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960–1971 (bulk 1967–1970) Template:Webarchive. The Metropolitan Museum of Art. Retrieved August 8, 2014.</ref> The Museum of Modern Art in New York presented a retrospective of Stella's work in 1970, making him the youngest artist to receive one.<ref>Template:Cite web</ref> Stella was among those artists invited to participate in the problem-plagued 35th Art Biennale in Venice (1970) who joined a boycott by artists opposed to the US wars in Vietnam and Cambodia and withdrew their works from display at the American Pavilion.<ref name="Hofmann1970">Template:Cite news</ref>

In the following decade, as he began to adopt more unusual color schemes and shapes,<ref name="Russeth2024">Template:Cite web</ref> Stella brought to his artistic productions the element of relief, which he called "maximalist" painting because it had sculptural attributes.<ref name="Guggenheim2024"/> He presented wood and other materials in his Polish Village series (1970–1973), executed in high relief. They were inspired by photographs and drawings he saw of wooden synagogues that the Nazis had burned down in eastern Poland during World War II.<ref name="Patel2023">Template:Cite web</ref>

Stella abandoned rational structures in the mid-1970s and began to explore new, individualistic paths. He replaced solid planes with sqiggles, lattices, and swirls of color. Composite features began to project from his canvases in all directions, while his wall-mounted paintings evolved into outlandish sculptures.<ref name="Russeth2024"/> Through the 1970s and 1980s, as his works became more uninhibited and intricate, his minimalism became baroque.<ref name="Guggenheim2024"/>

In 1976, Stella was commissioned by BMW to paint a BMW 3.0 CSL for the second installment in the BMW Art Car Series.<ref name="Lewin2021">Template:Cite book</ref> He said of this project, "The starting point for the art cars was racing livery. The graph paper is what it is, a graph, but when it's morphed over the car's forms it becomes interesting. Theoretically it's like painting on a shaped canvas."<ref name="Taylor2014">Template:Cite book</ref>

He married pediatrician Harriet McGurk in 1978.<ref name="O'Grady2020"/>

1980s and afterward

File:La scienza della laziness (The Science of Laziness) by Frank Stella, 1984.jpg

Frank Stella Template:Lang, 1984, oil paint, enamel paint, and alkyd paint on canvas, etched magnesium, aluminum and fiberglass, National Gallery of Art, Washington DC

File:Memantra pic.JPG

Stella's Memantra, 2005, exhibited at the Metropolitan Museum of Art

From the mid-1980s to the mid-1990s, Stella produced a large oeuvre that grappled with Herman Melville's novel Moby-Dick in a broad way.<ref name="Darwent2024"/> In this period of his career, as the relief of his paintings became increasingly higher with more undercutting, the process eventually resulted in fully three-dimensional sculptural forms that he derived from decorative architectural elements, and incorporating French curves, pillars, waves, and cones. To generate these works, he made collages or scale models that were subsequently enlarged to the original's specifications by his assistants, along with the use of digital technology and industrial metal cutters.<ref name="Guggenheim2024"/>

In 1993, he designed and executed for Toronto's Princess of Wales Theatre a 10,000-square-foot mural installation which covers the ceiling of the dome, the proscenium arch and the exterior rear wall of the building.<ref name="Guggenheim2024"/><ref name="Charlebois2021">Template:Cite web</ref> The mural for the dome was based on computer-generated imagery.<ref name="Mather1994">Template:Cite book</ref> In 1997, he oversaw the installation of the 5,000-square-foot Euphonia at the Moores Opera House at the Rebecca and John J. Moores School of Music at the University of Houston, in Houston, Texas.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> A monumental sculpture of his, titled Prinz Friedrich von Homburg, Ein Schauspiel, 3X, was installed outside the National Gallery of Art in Washington, D.C.<ref name="Lewis2001">Template:Cite news</ref><ref name="NGA2019">Template:Cite web</ref>

From 1978 to 2005, Stella owned the Van Tassell and Kearney Horse Auction Mart building in Manhattan's East Village and used it as his studio which resulted in the facade being restored.<ref>128 East 13th Street [1] Template:Webarchive Greenwich Village Society for Historic Preservation.</ref> After a six-year campaign by the Greenwich Village Society for Historic Preservation, the historic building was designated a New York City Landmark in 2012.<ref>Template:Cite web</ref> After 2005, Stella split his time between his West Village apartment and his Newburgh, New York, studio.<ref>Sightlines: Frank Stella Template:Webarchive The Wall Street Journal, March 15, 2010.</ref>

The Scarlatti K series, begun in 2006, consists of eight works by Stella from his Scarlatti Kirkpatrick polychrome sculpture series, for which he used a 3-D printer to create the metal and resin segments.<ref name="Jebb2024">Template:Cite news</ref> The series title refers to the music of the Italian composer Domenico Scarlatti, known for his short but exuberant Baroque period harpsichord sonatas (he wrote more than 500 of them), and to Ralph Kirkpatrick, the American musicologist and harpsichordist, who brought Scarlatti's work to the attention of the listening public, and in 1953 produced the authoritative scholarly catalogue of the sonatas. Stella was inspired by the sonatas, and his series works, like the sonatas, are given "K" numbers, but they allude to Scarlatti's music abstractly with visual rhythm and movement, according to Stella, rather than literal correlation.<ref name="PhillipsCollection2011">Template:Cite web</ref> Stella continued producing new works in the series into 2012. These were shown at the Freedman Art Gallery that year, and commenting about his work in the series, Stella said, "If you follow the edges of the lines, there's a sense of movement, and when they move well and the color follows, they become colorful, and that's what happens in the Scarlatti—it builds up and it moves...".<ref name="FreedmanArtGallery2012">Template:Cite web</ref> Ron Labaco, a curator at the Museum of Arts and Design in New York, showed Stella's work in an exhibition featuring computer-enabled pieces, Out of Hand: Materialising the Postdigital (2013-14).<ref name="Jebb2024"/>

By the turn of the 2010s, Stella started using the computer as a painterly tool to produce stand-alone star-shaped sculptures.<ref name="Jason Farago 2021">Jason Farago (February 4, 2021), In Frank Stella's Constellation of Stars, a Perpetual Evolution Template:Webarchive New York Times.</ref> The resulting stars are often monochrome, black or beige or naturally metallic, and their points can take the form of solid planes, spindly lines or wire-mesh circuits.<ref name="Jason Farago 2021"/> His Jasper's Split Star (2017), a sculpture constructed out of six small geometric grids that rest on an aluminum base, was installed at 7 World Trade Center in 2021.<ref>M.H. Miller (November 22, 2021), After 20 Years, Frank Stella Returns to Ground Zero Template:Webarchive New York Times.</ref> It was created to replace the large (each ten feet wide by ten feet tall) diptych of his paintings, Laestrygonia I and Telepilus Laestrygonia II, that had been displayed in the lobby of the original World Trade Center, destroyed in the September 11, 2001 terrorist attacks on New York City.<ref name="Jebb2024"/>

In late 2022, Stella launched his first NFT (non-fungible token) for his Geometries project in collaboration with the Artists Rights Society (ARS). It includes the right to the CAD files to 3D print the art works in the NFTs.<ref>Template:Cite web</ref> Katarina Feder, director of business development at ARS, said, "We sold out all 2,100 tokens, and, importantly, brought in resale royalties for secondary sales, something that Frank has been championing for decades."<ref name="Jebb2024"/>

Artists' rights

On June 1, 2008, Stella, a member artist of the Artists Rights Society<ref name="ARSNY2008">Template:Cite web</ref> published with ARS president Theodore Feder an op-ed for The Art Newspaper decrying a proposed U.S. Orphan Works law which "remove[s] the penalty for copyright infringement if the creator of a work, after a diligent search, cannot be located".<ref name="ArtNews2008">Frank Stella, "The proposed new law is a nightmare for artists," Template:Webarchive The Art Newspaper, June 6, 2008.</ref>

In the op-ed, Stella wrote,

Exhibitions

Stella's work was included in several exhibitions in the 1960s, among them the Solomon R. Guggenheim Museum's The Shaped Canvas (1965) and Systemic Painting (1966).<ref>Template:Cite web</ref> The Museum of Modern Art in New York presented a second retrospective of Stella's work in 1970.<ref name="Guggenheim2024"/>

The exhibition "Frank Stella and Synagogues of Historic Poland", was on view at the POLIN Museum in Warsaw through June 20, 2016. The series of paintings on display, Polish Village (1970–74), had previously been exhibited at other venues, including the Fort Worth Museum of Dallas in 1978, the Museum of Modern Art in New York in 1987, and the Jewish Museum in New York in 1983. The paintings were inspired by photographs and drawings he saw of wooden synagogues that the Nazis had burned down in eastern Poland during World War II. They came from Maria and Kazimierz Piechotka's book Wooden Synagogues (Arkady, 1959), and were themselves part of the exhibition.<ref name="Patel2023" />

In 2012, a retrospective of Stella's career was shown at the Kunstmuseum Wolfsburg.<ref>Template:Cite journal</ref>

Collections

In 2014, Stella gave his sculpture Adjoeman (2004) as a long-term loan to Cedars-Sinai Medical Center in Los Angeles.<ref>Deborah Vankin (July 7, 2014), Abstract Frank Stella sculpture 'Adjoeman' joins Cedars-Sinai artworks Template:Webarchive Los Angeles Times.</ref> His works are in the collections of many major art institutions, including the San Francisco Museum of Modern Art; Whitney Museum of American Art, New York; the Hirshhorn Museum and Sculpture Garden; the Museum of Fine Arts, Boston; the Art Institute of Chicago;<ref name="MIT List 2024">Template:Cite web</ref> the Pérez Art Museum Miami;<ref name=":1">Template:Cite web</ref> the List Visual Arts Center at Massachusetts Institute of Technology, Cambridge; the Tate; the Peggy Guggenheim Collection, Venice; and the Kunstmuseum Basel.<ref name="MIT List 2024"/>

Recognition

Stella gave the Charles Eliot Norton Lectures in 1984, calling for a rejuvenation of abstraction by achieving the depth of baroque painting.<ref>John Russell (March 18, 1984), Frank Stella at Harvard – The Artist as Lecturer Template:Webarchive The New York Times.</ref> These six talks were published by Harvard University Press in 1986 under the title Working Space.<ref>Frank Stella, Working Space (Cambridge: Harvard University Press, 1986), Template:ISBN. Listing Template:Webarchive at Harvard University Press website.</ref>

In 2009, Frank Stella was awarded the National Medal of Arts by President Barack Obama.<ref>White House Announces 2009 National Medal of Arts Recipients Template:Webarchive</ref> In 2011, he received the Lifetime Achievement Award in Contemporary Sculpture by the International Sculpture Center.<ref name="Ottman2011">Template:Cite magazine</ref> In 1996, he received an honorary Doctorate from the University of Jena in Jena, Germany, where his large sculptures of the Hudson River Valley series are on permanent display, becoming the second artist to receive this honorary degree after Auguste Rodin in 1906.<ref>Template:Cite web</ref>

He was heralded by the Birmingham Museum of Art for having created abstract paintings that bear "no pictorial illusions or psychological or metaphysical references in twentieth-century painting".<ref name=BMA>Template:Cite book</ref>

Critical reception

Writer and curator Klaus Ottmann says many art critics were outraged when Stella's Black Paintings (1958–60) were shown at the Museum of Modern Art's "16 Americans" (1959-1960) exhibition. Irving Sandler attributed the death of American gesture painting to the mortal blow dealt by these reductive and non-allusive paintings. According to Ottman, "Today, they are universally considered seminal works of 20th-century American art."<ref name="Ottman2011"/>

According to critic Megan O'Grady, art critics were shocked by the "Black Paintings", with their purposely flat affect, their extreme reductiveness, and their "refusal to appease". In her view, the young artist had been inspired by the artists he admired in New York, among them Barnett Newman, Jackson Pollock, and Willem de Kooning, and felt that he was allowed freedom to do whatever he wanted with painting.<ref name="O'Grady2020"/> She writes that critics have always been disconcerted by the fact that "the godfather of Minimalist painting" became a forbear of modern baroque.

The art historian and critic Douglas Crimp writes that the notion of art as existing detached from everything else and autonomous proceeds from the logic of modernism, and is a notion maintained by contemporary painting into the 1980s. Painting is understood as having an origin and an essential nature, and its historical development as being a long, unbroken panorama. According to Crimp, the stylistic change that occurred during the late 1970s in Frank Stella's work embodied this art historical view of painting and how it operates to maintain the practice of painting. By his lights, Stella's shift to the "flamboyantly idiosyncratic constructed works" of this period was "a kind of quantum leap" compared to his breakout works of the late 1950s.<ref name="Crimp1993">Template:Cite book</ref>

For Crimp it was Stella's earliest paintings which suggested to his fellows that the end of painting had at last arrived. He sees Stella as working in profound torment over the inferences made by those early works, moving ever further away from them, and disavowing them more vehemently with every new series. Crimp goes on to say the late 1970s paintings "are truly hysterical in their defiance of the black paintings; each one reads as a tantrum, shrieking and sputtering that the end of painting has not come".<ref name="Crimp1993"/>

Viewing some of Stella's large scale works at a 1982 exhibition in the Addison Gallery at the Phillips Academy, critic Kenneth Baker voiced a dissenting opinion. He wrote in The Boston Phoenix that "The physical impact of the recent works is unsettling. They make you want to back away; you're not sure how firmly they're anchored to the wall. But soon you realize that any object of comparable size might have the same impact. That this question arises at all suggests how small a part 'painting' plays here. Stella’s stvle resides wholly in the design of these objects, and their designs are just not that interesting to contemplate."<ref>Template:Cite news</ref>

When the Whitney Museum of American Art exhibited its Frank Stella retrospective in 2015, art critic Jerry Saltz reminded viewers that Stella had declared "I don't make Conceptual Art. I need the physical thing to work with or against." Saltz advised them to think literally, and in terms of the space the works occupy and the nature of their surfaces, seeing color as an element of their structures. He described Stella as being one of "the first to deal as directly as possible with the perception of material, form, and color", "the first hard-core Minimalist painter", and "a forerunner to the Postminimalism that defined the late 1960s and 1970s". Saltz goes on to say "even though he's prone to cranking out a lot of work that looks like God-awful space junk, I always pay attention to this artist".<ref name="Saltz2015">Template:Cite web</ref>

Art market

In May 2019, Christie's set an auction record for one of Stella's works with the sale of his Point of Pines, which sold for $28 million.<ref name="REC">Template:Cite web</ref>

In April 2021, his Scramble: Ascending Spectrum/Ascending Green Values (1977) was sold for £2.4 million ($3.2 million with premium) in London. The painting was bought for $1.9 million in 2006 from the collection of Belgian art patrons Roger and Josette Vanthournout at Sotheby's.<ref>Template:Cite web</ref>

Stella and the sport of squash

In the 1980s, Stella took up the game of squash after he injured his back while opening a garage door. His racquet was strung with five bright colors. He later had a squash court built at his horse farm in upstate New York, and formed close friendships with many squash players. In 1986 he told Nicholas Dawidoff, a writer for Sports Illustrated: "The advantage of squash is that I can forget about painting. A white blank and a ball; you don’t know where you are. It's like a snowstorm." Being interviewed in 1987 by Susan Orleans of The New Yorker, he quipped, "In art, you can keep getting better, but in squash you hit your level and that's just about it. Curtains. You’re finished. I hit my limit at about forty minutes of mediocre playing."<ref name="McClintick2024">Template:Cite news</ref>

Speaking of Stella after his death, Ned Edwards, the executive director of the U.S. Squash Foundation, said that "Frank was a transformational figure for squash." The director of the Tournament of Champions, John Nimick, said, "Frank was a patron saint of our sport and various efforts to promote squash in New York City for forty years. He was a player, promoter, sponsor and creator of our perpetual trophy."<ref name="McClintick2024"/>

Personal life and death

From 1961 to 1969, Stella was married to art historian Barbara Rose; they had two children, Rachel and Michael.<ref name="Solomon2020"/> At the time of his death, he was married to Harriet E. McGurk, a pediatrician.<ref name="Grimes2024"/> They had two sons, Patrick and Peter.<ref name="Grimes2024"/> He also had a daughter, Laura, from a relationship with Shirley De Lemos Wyse between his marriages.<ref name="Grimes2024"/>

Stella died of lymphoma at his home in West Village, Manhattan, on May 4, 2024, eight days before his 88th birthday.<ref name="Grimes2024"/>

Selected bibliography

• Julia M. Busch: A Decade of Sculpture: the 1960s, Associated University Presses, Plainsboro, 1974; Template:ISBN
• Frank Stella and Siri Engberg: Frank Stella at Tyler Graphics, Walker Art Center, Minneapolis, 1997; Template:ISBN
• Frank Stella and Franz-Joachim Verspohl: The Writings of Frank Stella. Die Schriften Frank Stellas, Verlag der Buchhandlung König, Cologne, 2001; Template:ISBN, Template:ISBN (bilingual)
• Frank Stella and Franz-Joachim Verspohl: Heinrich von Kleist by Frank Stella, Verlag der Buchhandlung König, Cologne, 2001; Template:ISBN, Template:ISBN (bilingual)
• Andrianna Campbell, Kate Nesin, Lucas Blalock, Terry Richardson: Frank Stella, Phaidon, London, 2017; Template:ISBN

External links

• Frank Stella works at the National Gallery of Art
• Unbounded Doctrine: Encountering the Art-Making Career of Frank Stella ArtsEditor.com, December 29, 2015.
• Frank Stella: Saving abstraction Jane Kinsman, National Gallery of Australia, November 11, 2016
• Word Symbol Space An exhibition featuring work by Frank Stella at The Jewish Museum, NY.
• Frank Stella interviewed by Robert Ayers, March 2009
• Works of art, auction & sale results, exhibitions, and artist information for Frank Stella on artnet
• Guggenheim Museum online Biography of Frank Stella
• Stella mural installation, Princess of Wales Theatre, Toronto
• Frank Stella Papers at the Smithsonian's Archives of American Art
• Frank Stella 1958 poet William Corbett writes about the exhibition titled Frank Stella 1958 at the Arthur M. Sackler Museum, Harvard University Cambridge, Massachusetts February 4 – May 7, 2006