Editing Frank Stella (section)

===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"/>