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The shift from medium specificity as the organizing principle for advanced art production to the notion of “site” and “system” can be seen as a bold attempt—it challenges the expectation for art marketing as well as criticizing consumer centric culture. During the period, artists may still be invested in the visual or formal aspects of art, however, there is a new sense of prioritizing the conceptual ideas that reveal different understandings of artwork and even painting. It is inadequate for viewers to just focus on the presentation of the article, because only the words behind the objects can show the great shift. Frank Stella, an artist who embraced geometric abstract painting, switching his concentration from fascinating visual shock to simplified painting form by using minimalist strategies, when he created works, such as “Die Fahne Hoch!”. Frank made minimal decision as to how to extract necessity from his format. Apart from this, Frank minimized the presentation of the color and aesthetic strategy. “This flew in the face of the Modernist idea that painting imposes a fixed set of aesthetic limitations.” (Frank Stella, Seltz and Stiles, P143) As I mentioned before, “Die Fahne Hoch!”(Franks Stella, “Die Fahne Hoch!” 1959), which translate to English means “Raise the Flag” consists of black background and white lines, it seems like the painting has nothing to do with “flag”. However, the idea of naming the title “Die Fahne Hoch” comes from the Nazi marching song which emphasis the “domination”. Here, in the painting, the color of background—black dominates the whole Yinxuan Ma 2
article and we can also easily find the scheme of sketch and the symmetry pattern he applied in painting. As the basic and surfaces are so ordinary and unadorned that many critics of that time refused to accept them as art. But Frank argued that, his painting is based on the fact that only what can be seen there is there. It really is an object. Any...
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