new-york

Frank Stella

Gagosian Gallery (21)

Though Frank Stella’s work has sometimes been attacked as a sham extension of Modernist logic, in recent years it has evinced the wild diversity, energy, and inventiveness that comes only from someone who follows his own whims. At this point in his career, it seems that Stella will try anything that promises to come out looking like a Stella—and by now, almost anything will. His new paintings, most of them huge, look a bit like steam rolled versions of his familiar painted relief constructions, but they relate more closely to his technically ambitious prints. Like prints, they are essentially reproductions, deriving from elaborate collages which are then blown up and painstakingly copied. The effect of looking at absurdly magnified reproductions is heightened in the paintings—such as Fladrine, Polombe, and Zinglantz (all works 1994)—in which Stella’s multicolored cacophony of abstract

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