Editing Frank Stella (section)

==Work==

===Late 1950s and early 1960s===
[[File:Jasper's Dilemma, 1962-1963, Frank Stella at NGA 2022.jpg|thumb|upright=1.4|''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">{{cite book |editor1-last=Martone |editor1-first=Eric |title=Italian Americans: The History and Culture of a People |year=2016 |publisher=Bloomsbury Publishing USA |isbn=979-8-216-10559-6 |page=350 |url=https://books.google.com/books?id=twPHEAAAQBAJ&pg=PT350}}</ref>

He created a series of paintings in 1958–1959 known as his "[[Black Paintings (Stella)|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">{{cite book |last1=Marzona |first1=Daniel |title=Minimal Art |year=2004 |publisher=Taschen |isbn=978-3-8228-3060-4 |pages=9–10 |url=https://books.google.com/books?id=hr-5GcN0F6kC&pg=PA9}}</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">{{cite news |last1=Greenberger |first1=Alex |title=Frank Stella, Trailblazing Artist Who Pushed Abstraction to Its Limits, Dies at 87 |url=https://www.artnews.com/art-news/news/frank-stella-dead-1234705995/ |work=ARTnews.com |date=4 May 2024 |archive-url=http://web.archive.org/web/20240504211343/https://www.artnews.com/art-news/news/frank-stella-dead-1234705995/ |archive-date=4 May 2024}}</ref>

''[[Die Fahne Hoch! (Frank Stella)|Die Fahne Hoch!]]'' (1959), one of the "Black Paintings" series, takes its name ("Hoist the Flag!"<ref name="Whitney2024">{{cite web |author1=Whitney Staff |title=Frank Stella {{!}} Die Fahne hoch! |url=https://whitney.org/collection/works/2964 |website=Whitney.org |archive-url=https://web.archive.org/web/20240505094931/https://whitney.org/collection/works/2964 |archive-date=May 5, 2024 |access-date=May 5, 2024 |url-status=live }}</ref> or "Raise the Flag!" in English) from the first line of the "[[Horst-Wessel-Lied]]",<ref name="Hopkins2000">{{cite book |last1=Hopkins |first1=David |title=After Modern Art 1945–2000 |year=2000 |publisher=Oxford University Press |isbn=978-0-19-284234-3 |pages=135–136 |url=https://books.google.com/books?id=GKrnCwAAQBAJ&pg=PA135}}</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">{{cite journal |last1=Salus |first1=Carol |title=Frank Stella's Polish Village Series and Related Works: Heritage and Alliance |journal=Shofar |date=2010 |volume=28 |issue=2 |page=142 |jstor=10.5703/shofar.28.2.139 |url=https://www.jstor.org/stable/10.5703/shofar.28.2.139 |issn=0882-8539 |quote=The artist provided a number of factors involved in his selection of Die Fahne Hoch! With its title taken from the first line of the Horst Wessel song (''Die Fahne hoch! Die Reihen fest geschlossen!''), the Nazi Party anthem, this march song was sung at public meetings and used as a musical background for the Nuremburg {{sic}} rallies of the 1930s. Stella said for him it recalled a waving flag, adding: "The thing that stuck in my mind was the Nazi newsreels—that big draped swastika—the big hanging flag—has pretty much those dimensions."  Stella pointed out that the proportions of his canvas (10'1" x 6'1") are much the same as the large flags displayed by the Nazis. |access-date=May 5, 2024 |archive-date=September 21, 2023 |archive-url=https://web.archive.org/web/20230921051059/https://www.jstor.org/stable/10.5703/shofar.28.2.139 |url-status=live}}</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">{{cite book |last1=D'Acierno |first1=Pellegrino |editor-last1=D'Acierno |editor-first1=Pellegrino | title=The Italian American Heritage: A Companion to Literature and Arts |year=1998 |publisher=Taylor & Francis |isbn=978-0-8153-0380-0 |pages=528–529 |chapter-url=https://books.google.com/books?id=Nevq7gnw-WgC&pg=PA528 |chapter=From Stella to Stella: Italian American Visual Culture and its Contribution to the Arts in America}}</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 flat]]s 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">{{cite web |last1=Glazer |first1=Bruce |title=New nihilism or new art / moderated by Bruce Glazer. {{!}} Pacifica Radio Archives |url=https://www.pacificaradioarchives.org/recording/bb3394 |website=www.pacificaradioarchives.org |access-date=13 May 2024 |archive-url=http://web.archive.org/web/20150325170905/http://www.pacificaradioarchives.org/recording/bb3394 |archive-date=25 March 2015 |date=1964}}</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">{{cite book |last1=Glaser |last2=Bruce |editor1-last=Battcock |editor1-first=Gregory |title=Minimal Art: A Critical Anthology |date=1995 |publisher=University of California Press |isbn=978-0-520-20147-7 |page=158 |chapter-url=https://books.google.com/books?id=lhMS8Ii73ZkC&pg=PA158 |chapter=Bruce Glaser: ''Questions to Stella and Judd''}}</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">{{Cite web |url=https://www.nytimes.com/2024/05/04/arts/frank-stella-dead.html |title=Frank Stella, Towering Artist and Master of Reinvention, Dies at 87 |date=May 4, 2024 |last=Grimes |first=William |work=[[The New York Times]] |access-date=May 4, 2024 |archive-date=May 4, 2024 |archive-url=https://web.archive.org/web/20240504211012/https://www.nytimes.com/2024/05/04/arts/frank-stella-dead.html |url-status=live }}</ref>

From 1960, his works used [[shaped canvas]]es,<ref name="Cateforis2005">{{cite book |last1=Cateforis |first1=David |editor1-last=Janovy |editor1-first=Karen O. |editor2-last=Siedell |editor2-first=Daniel A. |title=Sculpture from the Sheldon Memorial Art Gallery |year=2005 |publisher=U of Nebraska Press |isbn=978-0-8032-7629-1 |pages=196–198 |url=https://books.google.com/books?id=bs3rFfPLdOEC&pg=PA196}}</ref> developing in 1966 into more elaborate designs, as in the ''Irregular Polygon'' series (67).<ref name="Leider1970">{{cite magazine |last1=Leider |first1=Philip |title=Abstraction and Literalism: Reflections on Stella at the Modern |journal=Artforum |publisher=Artforum Media |date=April 1, 1970 |volume=8 |issue=8 |url=https://www.artforum.com/features/abstraction-and-literalism-reflections-on-stella-at-the-modern-210593/ |archive-url=https://web.archive.org/web/20231029080119/https://www.artforum.com/features/abstraction-and-literalism-reflections-on-stella-at-the-modern-210593/ |archive-date=October 29, 2023 |access-date=May 5, 2024 |url-status=live }}</ref> In 1961, Stella followed [[Barbara Rose]], later a well-known art critic,<ref name="Solomon2020">{{cite news |last1=Solomon |first1=Deborah |title=Barbara Rose, Critic and Historian of Modern Art, Dies at 84 |url=https://www.nytimes.com/2020/12/27/arts/barbara-rose-dead.html |access-date=May 5, 2024 |work=The New York Times |date=December 27, 2020 |archive-url=https://web.archive.org/web/20201227193141/https://www.nytimes.com/2020/12/27/arts/barbara-rose-dead.html |archive-date=December 27, 2020 |url-status=live }}</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, Manhattan|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">{{cite web |last1=Pobric |first1=Pac |title=Art Critic Barbara Rose, a Champion of Minimalism Whose Writings Crystallized Decades of Creativity, Has Died at 84 |url=https://news.artnet.com/art-world/barbara-rose-obituary-1934598 |website=Artnet News |archive-url=http://web.archive.org/web/20201229084313/https://news.artnet.com/art-world/barbara-rose-obituary-1934598 |archive-date=29 December 2020 |date=28 December 2020}}</ref>

===Late 1960s and early 1970s===
[[File:Frank Stella's 'Harran II', 1967.jpg|thumb|left|upright=1.3|Frank Stella ''Harran II'', 1967]]
In 1967, Stella designed the set and costumes for Scramble, a dance piece by [[Merce Cunningham]].<ref name="Guggenheim2024">{{cite web |author1=Guggenheim Staff |title=Frank Stella |url=https://www.guggenheim.org/artwork/artist/frank-stella |website=The Guggenheim Museums and Foundation |publisher=The Solomon R. Guggenheim Foundation |date=2024 |access-date=May 6, 2024 |archive-date=May 6, 2024 |archive-url=https://web.archive.org/web/20240506061240/https://www.guggenheim.org/artwork/artist/frank-stella |url-status=live }}</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 [[circle|arcs]], sometimes overlapping,<ref name="Kaji-O'Grady2001">{{cite book |last1=Kaji-O'Grady |first1=Sandra |title=Serialism in Art and Architecture: Context and Theory |date=2001 |publisher=Monash University |page=75 |url=https://bridges.monash.edu/ndownloader/files/16697501 |chapter=3: The Development of Serialism in the Visual Arts |access-date=May 5, 2024 |archive-date=May 6, 2024 |archive-url=https://web.archive.org/web/20240506130556/https://bridges.monash.edu/ndownloader/files/16697501 |url-status=live }}</ref> within square borders named after circular-plan cities he had visited while in the Middle East earlier in the 1960s.<ref name="MMoA20024">{{cite web |author1=Metropolitan Museum of Art Staff |title=Frank Stella {{!}} YAZD III |url=https://www.metmuseum.org/art/collection/search/761234 |website=The Metropolitan Museum of Art |archive-url=https://web.archive.org/web/20240505182733/https://www.metmuseum.org/art/collection/search/761234 |archive-date=May 5, 2024 |access-date=May 5, 2024 |url-status=live }}</ref><ref name="Chougnet2007">{{cite book |last1=Chougnet |first1=Jean-François |title=Museu Berardo: An Itinerary |year=2007 |publisher=Thames & Hudson |isbn=978-0-500-28700-2 |page=114 |url=https://books.google.com/books?id=dukwAQAAIAAJ&q=%22Protractor%20Series%22%20%22Middle%20East%22}}</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">{{Cite web |title=Frank Stella {{!}} Pérez Art Museum Miami |url=https://www.pamm.org/en/artwork/2018.045 |access-date=9 May 2023 |website=Pérez Art Museum Miami }}</ref>

In 1969, Stella was commissioned to create a logo for the [[The Metropolitan Museum of Art|Metropolitan Museum of Art Centennial]].<ref>[http://libmma.org/digital_files/archives/Trescher_Centennial_records_b18234550.pdf Finding aid for the George Trescher records related to The Metropolitan Museum of Art Centennial, 1949, 1960–1971 (bulk 1967–1970)] {{Webarchive|url=https://web.archive.org/web/20140808033226/http://libmma.org/digital_files/archives/Trescher_Centennial_records_b18234550.pdf |date=August 8, 2014 }}. [[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>{{Cite web|title=Frank Stella {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1945|access-date=August 10, 2021|website=The Museum of Modern Art|language=en|archive-date=October 27, 2021|archive-url=https://web.archive.org/web/20211027172331/https://www.moma.org/calendar/exhibitions/1945|url-status=live}}</ref> Stella was among those artists invited to participate in the problem-plagued 35th [[Venice Biennale#Organization|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">{{cite news |last1=Hofmann |first1=Paul |title=35th Art Biennale Beset by Problems At Venice Opening |url=https://www.nytimes.com/1970/06/24/archives/35th-art-biennale-beset-by-problems-at-venice-opening.html |access-date=12 May 2024 |work=The New York Times |date=24 June 1970 |archive-url=http://web.archive.org/web/20230901094946/https://www.nytimes.com/1970/06/24/archives/35th-art-biennale-beset-by-problems-at-venice-opening.html |archive-date=1 September 2023}}</ref>

In the following decade, as he began to adopt more unusual color schemes and shapes,<ref name="Russeth2024">{{cite web |last1=Russeth |first1=Andrew |title=Artist Frank Stella Dies at 87 |url=https://news.artnet.com/art-world/frank-stella-dead-87-2481352 |website=Artnet News |archive-url=http://web.archive.org/web/20240505104413/https://news.artnet.com/art-world/frank-stella-dead-87-2481352 |archive-date=5 May 2024 |date=5 May 2024}}</ref> Stella brought to his artistic productions the element of relief, which he called "[[maximalist]]" painting because it had [[Sculpture|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 in the Polish–Lithuanian Commonwealth|wooden synagogues]] that the Nazis had burned down in eastern Poland during World War II.<ref name="Patel2023">{{cite web |last1=Patel |first1=Alpesh Kantilal |title=Frank Stella: Frank Stella discusses his show at the POLIN Museum in Warsaw |url=https://www.artforum.com/columns/frank-stella-discusses-his-show-at-the-polin-museum-in-warsaw-229514/ |website=Artforum |archive-url=http://web.archive.org/web/20230927095441/https://www.artforum.com/columns/frank-stella-discusses-his-show-at-the-polin-museum-in-warsaw-229514/ |archive-date=27 September 2023 |date=7 June 2016 |quote=I came across the images in Maria and Kazimierz Piechotka's book Wooden Synagogues (Arkady, 1959). The photographs and drawings from the book are part of the exhibition, as is a close-to-scale reconstruction of the roof and painted ceiling of a synagogue that once stood in the city of Gwoździec.}}</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">{{cite book |last1=Lewin |first1=Tony |title=BMW M: 50 Years of the Ultimate Driving Machines |date=2021 |publisher=Motorbooks |isbn=978-0-7603-6848-0 |page=34 |url=https://books.google.com/books?id=fPc8EAAAQBAJ&pg=PA34 |quote=The dramatic, graph paper–themed CSL by Frank Stella was the second in BMW's Art Car series and was a crowd favorite when it competed in the 1976 24 Hours of Le Mans.}}</ref> He said of this project, "The starting point for the art cars was [[Livery#Modern usage|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">{{cite book |last1=Taylor |first1=James |title=BMW Classic Coupes, 1965 – 1989: 2000C and CS, E9 and E24 |date=2014 |publisher=Crowood |isbn=978-1-84797-847-9 |page=157 |url=https://books.google.com/books?id=iaUZBgAAQBAJ&pg=PT157}}</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|thumb|right|Frank Stella {{lang|it|La scienza della fiacca}}, 1984, [[oil paint]], [[enamel paint]], and [[Alkyd|alkyd paint]] on [[canvas]], etched [[magnesium]], aluminum and [[fiberglass]], [[National Gallery of Art]], Washington DC]]
[[File:Memantra pic.JPG|thumb|right|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">{{cite web |last1=Charlebois |first1=Gaëtan |title=Canadian Theatre Encyclopedia – Princess of Wales Theatre |url=https://www.canadiantheatre.com/dict.pl?term=Princess%20of%20Wales%20Theatre |website=www.canadiantheatre.com |access-date=May 6, 2024 |archive-url=https://web.archive.org/web/20070808185105/http://www.canadiantheatre.com/dict.pl?term=Princess%20of%20Wales%20Theatre |archive-date=August 8, 2007 |date=August 20, 2021 |url-status=live }}</ref> The mural for the dome was based on computer-generated imagery.<ref name="Mather1994">{{cite book |last1=Mather |first1=Frank Jewett |last2=Sherman |first2=Frederic Fairchild |title=Art in America |date=1994 |publisher=F.F. Sherman |page=37 |url=https://books.google.com/books?id=i1RUAAAAMAAJ}}</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>{{Cite web|url=http://www.music.uh.edu/art/#moh|archiveurl=https://web.archive.org/web/20090301163119/http://www.music.uh.edu/art/|title=About the Stella Project in the Moores Opera House|archivedate=March 1, 2009}}</ref><ref>{{cite web |url=http://www.music.uh.edu/ |title=Home |publisher=Music.uh.edu |date=April 25, 2012 |access-date=May 25, 2012 |archive-date=November 27, 2011 |archive-url=https://web.archive.org/web/20111127120733/http://www.music.uh.edu/ |url-status=live }}</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">{{cite news |last1=Lewis |first1=Jo Ann |title=Stella Sculpture to Land at National Gallery |url=https://www.washingtonpost.com/archive/lifestyle/2001/05/18/stella-sculpture-to-land-at-national-gallery/f80af0d7-158f-4163-a041-c0860c33e8e8/ |access-date=May 6, 2024 |newspaper=Washington Post |date=January 17, 2024 |archive-url=https://web.archive.org/web/20170827102253/https://www.washingtonpost.com/archive/lifestyle/2001/05/18/stella-sculpture-to-land-at-national-gallery/f80af0d7-158f-4163-a041-c0860c33e8e8/ |archive-date=August 27, 2017 |url-status=live }}</ref><ref name="NGA2019">{{cite web |last1=NGA Staff |title=Prinz Friedrich von Homburg, Ein Schauspiel, 3X |url=https://www.nga.gov/collection/art-object-page.107766.html |website=National Gallery of Art |archive-url=https://web.archive.org/web/20191031055734/https://www.nga.gov/collection/art-object-page.107766.html |archive-date=October 31, 2019 |date=1998–2001 |access-date=May 6, 2024 |url-status=live }}</ref>

From 1978 to 2005, Stella owned the [[Van Tassell and Kearney Horse Auction Mart]] building in Manhattan's [[East Village, Manhattan|East Village]] and used it as his studio which resulted in the facade being restored.<ref>128 East 13th Street [http://www.gvshp.org/_gvshp/preservation/stella_stable/stella_stable_main.htm] {{Webarchive|url=https://web.archive.org/web/20141010155120/http://www.gvshp.org/_gvshp/preservation/stella_stable/stella_stable_main.htm|date=October 10, 2014}} 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>{{cite web|title=Van Tassell & Kearney Auction Mart Designation Report|url=http://s-media.nyc.gov/agencies/lpc/lp/2205.pdf|publisher=New York City Landmarks Preservation Commission|access-date=October 1, 2014|archive-date=February 1, 2021|archive-url=https://web.archive.org/web/20210201033324/https://s-media.nyc.gov/agencies/lpc/lp/2205.pdf|url-status=live}}</ref> After 2005, Stella split his time between his West Village apartment and his [[Newburgh, New York]], studio.<ref>[https://blogs.wsj.com/magazine/2010/03/15/sightlines-frank-stella/ Sightlines: Frank Stella] {{Webarchive|url=https://web.archive.org/web/20170807193253/https://blogs.wsj.com/magazine/2010/03/15/sightlines-frank-stella/ |date=August 7, 2017 }} ''[[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">{{cite news |last1=Jebb |first1=Louis |title=Frank Stella, a painter's painter and one of the leading abstract artists of his generation, has died, aged 87 |url=https://www.theartnewspaper.com/2024/05/05/frank-stella-one-of-the-leading-abstract-artists-of-his-generation-has-died-aged-87 |access-date=11 May 2024 |work=The Art Newspaper - International art news and events |date=5 May 2024 |archive-url=http://web.archive.org/web/20240506014327/https://www.theartnewspaper.com/2024/05/05/frank-stella-one-of-the-leading-abstract-artists-of-his-generation-has-died-aged-87 |archive-date=6 May 2024}}</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">{{cite web |last1=The Phillips Collection Staff |title=Stella Sounds {{!}} The Phillips Collection |url=https://www.phillipscollection.org/event/2011-06-10-stella-sounds |website=www.phillipscollection.org |access-date=May 6, 2024 |date=June 11, 2011 |archive-date=May 6, 2024 |archive-url=https://web.archive.org/web/20240506143945/https://www.phillipscollection.org/event/2011-06-10-stella-sounds |url-status=live }}</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">{{cite web |author1=Freedman Staff |title=Frank Stella {{!}} New Work |url=https://static1.squarespace.com/static/5d56bbf5bdf59100013d1dcf/t/5d76688427a38b3a5d5c7227/1568041094016/FA_Stella_PR-2012.pdf |website=Freedman Art |access-date=11 May 2024 |date=17 May 2012}}</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), [https://www.nytimes.com/2021/02/04/arts/design/frank-stella-aldrich-museum.html In Frank Stella's Constellation of Stars, a Perpetual Evolution] {{Webarchive|url=https://web.archive.org/web/20211130193724/https://www.nytimes.com/2021/02/04/arts/design/frank-stella-aldrich-museum.html |date=November 30, 2021 }} ''[[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), [https://www.nytimes.com/2021/11/22/arts/design/frank-stella-sculpture-world-trade-center.html After 20 Years, Frank Stella Returns to Ground Zero] {{Webarchive|url=https://web.archive.org/web/20211130193726/https://www.nytimes.com/2021/11/22/arts/design/frank-stella-sculpture-world-trade-center.html |date=November 30, 2021 }} ''[[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 file]]s to [[3D print]] the art works in the NFTs.<ref>{{Cite web |last=Levin |first=Alex |title=Frank Stella's New NFTs Come With The Right To Print His Art |url=https://www.forbes.com/sites/alexlevin/2022/09/22/on-sale-this-morning-frank-stellas-new-nfts-come-with-the-right-to-print-his-art/ |access-date=March 9, 2023 |website=Forbes |language=en |archive-date=March 9, 2023 |archive-url=https://web.archive.org/web/20230309222849/https://www.forbes.com/sites/alexlevin/2022/09/22/on-sale-this-morning-frank-stellas-new-nfts-come-with-the-right-to-print-his-art/ |url-status=live }}</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"/>