new-york

Frank Stella

Knoedler & Company

Art-historically retardataire in its extravagant acknowledgment of junk sculpture and assemblage, Frank Stella’s series “New Work: Projects and Sculpture,” 1992, nevertheless represents an “advance” in terms of Stella’s own oeuvre: a continuation of his violent dismemberment of the flat painting constructions that originally made his reputation. The seemingly infinite play of textures in the new works is hypnotic, creating a chillingly brittle sensuality—as “manufactured” and subliminally macabre as that of the early painting constructions. It is as though each sculpture were a damaged, discarded, obsolete robot in an industrial graveyard—its decaying, suppurating flesh establishing a contrast to his earlier, smoothly functioning mechanical abstractions. But Stella’s self-deconstruction and self-overturning fail to eradicate the aura of ironic impersonality created by the austere asymmetry

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