(Who, of course, started out as an architect, so Stella could be said to be bringing Smith’s architectonic sculpture back to its point of origin.) That’s true, for instance, of his proposal for a guest house that looks like a sculpture by Tony Smith. “First of all because there is not much to walk on.” In her review in the Times, Roberta Smith objected that Stella’s looping, contorted models didn’t appear to be inhabitable. Gate House (Model), 1994 - Photo: Steven Sloman Frank Stella/Artists Rights Society Gehry also once asked Stella to design a gatehouse for the Peter Lewis estate outside Cleveland that Gehry worked on for years, though none of it was ever built. ……served as inspiration for “Da Monsta”, the visitor center that Philip Johnson designed for the grounds of his Glass House.ĭa Monsta, Philip Johnson - Photo: Paul Warchol
#Fifge stella architect series#
(That’s the one pictured up top.) And his scheme for a series of pavilions along curving paths, an unbuilt commission for a culture park in Dresden….įirst Model, Kunsthalle Dresden, 1991 - Photo: Steven Sloman Frank Stella/Artists Rights Society In the late 1990s he produced a really interesting scheme for a gallery and park in Buenos Aires. (Even if Richard Serra has said publicly that it’s presumptuous of Gehry to think of himself that way.) But it turns out that Stella has been designing structures for almost 20 years. Maybe the closest we come now to the artist-architect is Frank Gehry, who likes to think of himself as a kind of sculptor. Hey, Sansovino, a good architect, was a mediocre sculptor, too. By the 19th century the gradual professionalization of architecture had pretty much pushed artists out of the field, though you can still find the occasional architect like Calatrava who also makes (inert, prosaic) sculpture. Michelangelo, Sansovino and Bernini are the obvious examples. It was Santiago Calatrava who said “a building is a sculpture you walk into.” Which is why the artist-architect was a combination that used to be taken for granted. The Met show consists largely of models and large scale mock ups of those designs. He’s made a number of architectural proposals, mostly on commission, all of them so far unbuilt. Though Stella has qualified for decades as one of the best known American painters, not many people are aware that he’s also had a serious interest for many years in architecture. (The smaller show of Stella sculpture on the roof of the Met is another matter.) I think I put it on the back burner partly because of a mostly negative review from Roberta Smith in the New York Times, a review that I now think missed the point, at least of the architectural work. The larger of the two, Painting Into Architecture, is closing July 29. I finally caught up last week with the pair of Frank Stella shows at the Metropolitan Museum. Follow Museum (Model), 1999 - Photo: Steven Sloman Frank Stella/Artists Rights Society
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