As someone who admires and was influenced by Frank Stella’s early paintings I get irritated by those who minimise his achievement and then congratulate themselves on their lack of interest in his work. If we lose sight of Stella, and his contribution to the history of abstraction, we may be doomed to a future consisting of a combination of Hans Hofmann and Pierre Soulages, a Druidical impasto fest, accompanied by necromantic invocations of Pissarro and Tintoretto, which goes on forever. There has got to be an alternative.
This is not an attempt to make anyone like Stella. Aesthetic judgements aren’t enforceable. But it is an attempt to throw a spanner into the machinery of rejection by following up on the challenge posed in Stella’s well-known remark ‘What you see is what you see’. So it concerns not aesthetics but phenomenology, what you see in Stella.
Stella’s technical originality shows up clearest in contrast to Barnett Newman. But they also have a lot in common. They were both making big paintings in New York at a time when American painting was a major cultural force. A progressive concept of history was also in play. The idea that painting could ‘advance’ in response to the best i.e. ‘most advanced’ work of the immediate past, made sense. Going ‘beyond’ Newman, therefore, was a reasonable motivation. What helped was that Stella wasn’t an Abstract Expressionist. He was free of the elaborate belief structure that surrounded the artists within that movement and found himself at the start of a new sensibility that eventually led to full-blown minimalism.