Since 1959, when, as a recent Princeton graduate, Frank Stella stunned the art world with big, symmetrical bands of black enamel pin-striped by lines of unpainted canvas, he has belonged to New York art as Rockefeller Center belongs to the city's architecture...
Stella's work was revolutionary for what it didn't do as much as for what it did, with sardonic titles like 'The Marriage of Reason and Squalor' and 'Die Fahne Hoch!' reflecting power as both subject and modus operandi.
Throughout the nineteen-sixties, Stella rattled standards of modernist abstraction much like Bob Dylan did for folk music, with an Apollonian art history trajectory that remained unwavering despite the conceptual shifts in the seventies.
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