The one thing I learned is no...
The one thing I learned is not to say anything about my own paintings. Keep my mouth shut. You'll never stop hearing what you said. It will come back to you again and again, people will always tell you about it. Even if you were the source of what's wrong with it.
I like real art. It's difficu...
I like real art. It's difficult to define 'real' but it is the best word for describing what I like to get out of art and what the best art has. It has the ability to convince you that it's present - that it's there. You could say it's authentic... but real is actually a better word, broad as it may be.
As far as I was concerned, wi...
As far as I was concerned, with the early paintings, I liked them, I thought they were pretty good, but I didn't think it was the end of the world. I also thought of it as a kind of structure, a base to build on. So this proves I can do this and that, and they don't collapse, so then what can I do from here? How can I build on it?
The integrity of being an art...
The integrity of being an artist for Frank Stella means going into the unknown.A great artist is somebody who's not scared to reinvent themselves and to start all over again. And some artists do it once, twice, three times in their career. He's done it probably a dozen times or more.
I never noticed competing wit...
I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.
It's hard to say that my twen...
It's hard to say that my twenties were the most miserable time in my life or that my first wife drove me crazy or that I hated the job that I had. You can say all of those things. But for the most part, people manage to have a good time when they're that age.
You have bits of canvas that ...
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
Abstraction didn't have to be ...
Abstraction didn't have to be limited to a kind of rectilinear geometry or even a simple curve geometry. It could have a geometry that had a narrative impact. In other words, you could tell a story with the shapes. It wouldn't be a literal story, but the shapes and the interaction of the shapes and colors would give you a narrative sense. You could have a sense of an abstract piece flowing along and being part of an action or activity. That sort of turned me on.
I think for a lot of artists, ...
I think for a lot of artists, if you're lucky enough to have a kind of career, especially toward the end, you start to think about what the whole ensemble looks like. It's the whole that counts. The parts are given, but you don't know how the whole thing's going to look when it's all put together.
I never noticed competing with...
I never noticed competing with other generations. There's competition within your own generation, but that competition is good. Maybe you're annoyed that somebody's getting more money than you are, but what's really annoying is if someone's painting a better painting than you're making. So it's something to think about and work toward and stay focused on.
The one thing I learned is not...
The one thing I learned is not to say anything about my own paintings. Keep my mouth shut. You'll never stop hearing what you said. It will come back to you again and again, people will always tell you about it. Even if you were the source of what's wrong with it.
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