Hyena Stomp
"A two-dimensional surface…has to allow for both a flat and shallow space. It has to create convincing recessional depth and theatrical projective illusionism” -Stella
Personal Thoughts:
Unlike Rothko, whose works focused on the liberation of hues, Stella is intrigued by the containment of color as well as their ability to define designs. As in Hyena Stomp, intricacy, precision, and the fundamental drawing are the key concepts in affecting how red or green might be used as form. The flatness of the paint’s application and lack of fluctuation within the lines is also contrasted with the depth created by the illusion of a tunnel or spiral maze. And unlike Rothko's interest in color subtleties (perhaps to erase linearity and create a lack of structure), Stella juxtaposes color (in particular, pure, one toned-colors) in hopes of putting an almost architectural, robotic graphic spin on his artwork so that there is very much structure and definition.
Question:
Geometry, dimensionality, and color are all components of Rothko's No. 16 and Stella's Hyena Stomp; yet, the two have very different feels. What do you think this says about the goal of each artist? Are they trying to achieve a similar end, but simply by different means? Or are their focuses completely different? Does the fact that Stella came after Rothko change your opinion/alter your understanding of these pieces at all?
Hi Jenn,
ReplyDeletewhat a great post on Stella (and Rothko too): thanks for starting us off!
Any chance you could put the dates up so that we could get a sense of the time periods for both paintings?
Thanks!
Phoebe
PS: curious about if you have any take on the fabulous title, "Hyena Stomp," which conjures an image of wildness, animality, lawlessness balanced by the rhythms of American jazz... all of which seems in tension with what, as you say, are the "almost...robotic graphic[s]" of the painting.