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Working Space, by Frank Stella
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Here is a rare opportunity to view painting through the discerning eyes of one of the world's foremost abstract painters. Stella uses the crisis of representational art in sixteenth-century Italy to illuminate the crisis of abstraction in our time. Professionals, students, collectors and all lovers of art will find Stella's non-traditional evaluations of the masters' work controversial and his fresh concepts wonderfully provocative.
- Sales Rank: #459037 in Books
- Brand: Stella, Frank
- Published on: 1986-10-10
- Released on: 2003-08-26
- Original language: English
- Number of items: 1
- Dimensions: 10.90" h x .70" w x 8.90" l, 1.50 pounds
- Binding: Paperback
- 192 pages
From Library Journal
In these Charles Eliot Norton Lectures delivered at Harvard, Stella has produced a critique of abstract painting that starts in the Renaissance and ends with Abstract Expressionism. Caravaggio's brooding chiaroscuro works locate for Stella the beginnings of modern painting. Stella posits these beginnings in Caravaggio's creation of a "working space," an enveloping pictorial space. Stella, an abstract painter himself, takes abstraction to task, but this is lucid, impassioned prodding from the loyal opposition. This is art history and art criticism of a high order, detailed and refreshingly idiosyncratic. Both scholarly and hip, Stella has written a book that reveals the painter's mind and studio, allowing us to see the play of history and vision that goes on within. Highly recommended for specialists and informed readers. Calvin Reid, "Library Journal"
Copyright 1986 Reed Business Information, Inc.
Review
Mr. Stella's way of dealing with single paintings, 36 of which are reproduced in color, makes for one tour-de-force after another...Paintings familiar and unfamiliar, from the 'Mona Lisa' to Wassily Kandinsky's 'Composition IX,' gain a just washed sparkle. (Peter Schjeldahl New York Times Book Review)
Working Space comes as something of a bombshell. For this is a book that explodes a great many received ideas about abstraction...[It] is certainly one of the most remarkable books ever written on the subject. What makes it so remarkable, of course, is that Stella is unquestionably the most celebrated abstract painter of his generation. (Hilton Kramer The Atlantic)
It is seldom that a major artist is prepared to commit himself publicly to a considered, large-scale survey of the art of his time, and to relate it moreover to substantial cross-sections of the art of the past. Frank Stella has done this in his Charles Eliot Norton Lectures at Harvard, with considerable erudition, great verve and genuine originality. (John Golding Times Literary Supplement)
Working Space develops its thesis with such gusto, elegance, and conviction...The text is rich with insight, integrity, and unexpected rethinkings of erstwhile familiar images. (David Anfam Art International)
This is a marvelously insightful and thought-provoking book...Stella's perception of the problem is correct--abstraction has reached a watershed. His analysis of that problem is erudite and plausible, and at times even passionate. If he does not solve it within these pages, he at least has made us consider its ramifications, and he has enabled us to look at art from a valuable and rarely available perspective. (Edward J. Sozanski Philadelphia Inquirer)
This is art history and art criticism of a high order, detailed and refreshingly idiosyncratic. Both scholarly and hip, Stella has written a book that reveals the painter's mind and studio, allowing us to see the play of history and vision that goes on within. Highly recommended. (Calvin Reid Library Journal)
From the Back Cover
This book affords a rare opportunity to view painting from the inside out, through the eyes of one of the world's most prominent abstract painters. Frank Stella describes his perception of other artists' work as well as his own, in this generously illustrated volume.
Most helpful customer reviews
19 of 20 people found the following review helpful.
An important document
By George Mario Angel
Frank Stella is one of contemporary art's most challenging and compelling figures. This series of lectures presents his view as to how nonrepresentational art has gone astray by focusing on an excessively cold northern tradition, following it from Mondrian up through the color-field painters. He looks now instead to a warmer mediterranean strain that he traces up through Reubens and Picasso, as his own solution to the possible deadness and flatness of so called "abstract painting". A clear and thoughtful example of how a contemporary painter turns his take on art history into praxis.
13 of 13 people found the following review helpful.
Working Space
By Steve
Frank Stella's 'Working Space' is the publication of a series of Charles Eliot Norton lectures given in 1983-4. By this time of course, Stella's heyday was long gone- the 1960s, when Michael Fried and his acolytes could fuss over whether the latest Stella could "compel conviction." Similarly, Stella's time a young rebel was also firmly in the past. In 1960, Robert Goldwater chaired a panel on modern art, where Stella claimed that he "would welcome mechanical means to paint his pictures," a comment which provoked Goldwater into saying , "that man isn't an artist, he's a juvenile delinquent." Well, 20-odd years later, here's Stella as an establishment figure- a more mature (and undoubtedly more wealthy!) artist thinking a little bit more soberly about his place in the artistic tradition. In the last chapter, Stella admits, "To do what I was able to do, and what I am able to do now, I walk on roads built by others."
Chief among Stella's concerns here is the problem of abstract painting's seeming exhaustion by the 1970s- the well of inspiration running dry after the promises of High Modernism. What Stella proposes is that abstract painting needed to create some "working space," that is create something more than just a telescoped illusionism which merely shows us the foremost plane of a conventional picture. In order to illustrate his point, he goes back to Caravaggio, who he heralds as painting a more complete, holistic sense of space; that is a pictorial space which the viewer feels physically part of, rather than being on the outside looking in, as in Albertian perspective. We feel that we could easily cross the threshold into the fictive space of Caravaggio's paintings, and that equally, his figures could just as easily enter our physical space. But Stella notes tellingly, "I believe that Caravaggio meant painting to grow outside of itself." This is fascinating, because Stella here seems to be praising a kind of theatricality in the Italian's work, the very term which his friend Michael Fried would use to defend painting such as Stella's against Minimalism in 1967. (However, I have it on good authority that this is a misreading of Fried's notion of theatricality, so maybe Stella is not so contradictory here).
Indeed, this is the real issue for Stella. For painting's problem by the 1980s was not so much one of whether painting should be done this way or that way, but rather a problem of whether it could be carried on at all, especially given that painting seemed to contain within itself the seeds of other practices, something more "literal" or "theatrical." (This is true of Stella's own paintings from the 60s, which is what makes his observation of Caravaggio so revealing.)
Its always interesting to hear artists talk about other artists, and its these contradictions which make Stella worth reading. He makes some quite eccentric claims in these lectures, singing the praises of Picasso's 1920s figuration, where he seems to concede that abstraction has never found an adequate substitute for the human figure- this, from an artist who once said he was happy to see "humanist" values go down the pan! (Actually that was Donald Judd, but it was an interview with him and Stella). The last chapter in particular, where Stella discusses a very clumsy 17th century painting by Paulus Potter in relation to his own work struck me as the oddest claim of all, but then, that's the value of listening to an artist himself- with a different "take" on things compared to a critic or historian. These lectures are eloquently written too-Stella has obviously paid attention to the writings of his friend Michael Fried, and its paid off. (Maybe he got some help with them, who knows...) Its also beautifully illustrated, with Old Masters juxtaposed with Modernists such as Stella himself.
14 of 15 people found the following review helpful.
More of a Textbook style...But still good.
By Robert Radzinski
If you're looking for one of those art books that has every turn filled with full page colored examples of Frank Stella's work, then this is not the book for you. This particular book has more of a textbook style to it ~ lot's of text, with small pictures in this corner or that corner. There are indeed some full page pictures, but they don't make up the bulk of the book, but that's not to say it's not a great book. You will definitely find a comprehensive selection of his life's work, through his different styles and medium. The book has some good weight to it and the paper quality is consistent with other fine art books. It definitely is a well made book, but I should note, also, that there is no dust jacket. I mention this because by printing the image and text on the front cover it makes it feel even more like a textbook. I'm glad I bought this book, and it is a great resource, but I will continue to hunt for a book that has more full page examples of Stella's work.
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