#: locale=en
## Action
### URL
LinkBehaviour_54AD92D7_41BE_5D71_41CB_192653CA8AA4.source = https://mocajacksonville.unf.edu/
LinkBehaviour_209F870A_37B9_3BA7_41A6_51A10F3C854B.source = https://mocajacksonville.unf.edu/
LinkBehaviour_54AFE2D9_41BE_5D71_41B3_A6440A060E54.source = https://mocajacksonville.unf.edu/contact/
LinkBehaviour_209E770A_37B9_3BA7_41BD_5BD9B0D4D44B.source = https://mocajacksonville.unf.edu/contact/
LinkBehaviour_2D576FDA_37B7_CAA7_41CA_80F5BEA33106.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_6FDCB8CA_3889_56A7_41C2_FA287FC754C3.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_549F22F4_41BE_5D37_41C1_042905F2901F.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_5D90FDD3_38F7_4EA5_41C0_DFCFB668C38D.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_54A412E4_41BE_5D57_41CA_49C457A4F246.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_54A302EB_41BE_5D51_41CA_18238BFCAFAD.source = https://mocajacksonville.unf.edu/exhibitions/project-atrium/frank-stella.html
LinkBehaviour_54B042D9_41BE_5D71_41C9_976D13918298.source = https://mocajacksonville.unf.edu/visit/
LinkBehaviour_209E470A_37B9_3BA7_41C8_6D7AFD411154.source = https://mocajacksonville.unf.edu/visit/
LinkBehaviour_209F0709_37B9_3BA5_419A_38B66187A6CC.source = https://www.360viewvirtualtours.com/moca
LinkBehaviour_54AFA2D5_41BE_5D76_41CD_7127C729929A.source = https://www.360viewvirtualtours.com/moca
## Hotspot
### Text
HotspotPanoramaOverlayTextImage_1483761F_3798_DDDD_419B_79FC60EE726E.text = LOBBY
HotspotPanoramaOverlayTextImage_2160A30E_37B9_FBBF_41B6_1BA57E3D7FC2.text = LOBBY
HotspotPanoramaOverlayTextImage_223FC80D_37B9_35A2_4130_65E91D9C95A8.text = RETURN TO ATRIUM
HotspotPanoramaOverlayTextImage_150521B0_3799_D6E3_41C9_4A62129BF490.text = RETURN TO ATRIUM
HotspotPanoramaOverlayTextImage_261E68F0_378B_3663_41CA_A611156858CD.text = UPPER LEVELS
## Media
### Image
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imlevel_72058F05_43CD_B9BB_41CB_BB23A802B64E.url = media/zoomImage_5497B314_41BE_5CF6_41CF_87879653D048_en_0_2.jpg
imlevel_72058F05_43CD_B9BB_41CB_BB23A802B64E.url = media/zoomImage_5497B314_41BE_5CF6_41CF_87879653D048_en_0_2.jpg
imlevel_7205DF05_43CD_B9BB_41C9_A785975C8430.url = media/zoomImage_5497B314_41BE_5CF6_41CF_87879653D048_en_0_3.jpg
imlevel_7205DF05_43CD_B9BB_41C9_A785975C8430.url = media/zoomImage_5497B314_41BE_5CF6_41CF_87879653D048_en_0_3.jpg
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### Popup Image
### Title
panorama_13FDC525_379B_5FED_41C7_AB30C7085276.label = 01-1
panorama_3B585B93_3789_CAA5_41B4_EE415120B520.label = 01-1-anim
panorama_3D794E84_3789_CAA3_41C1_B8E7661F146B.label = 02-2
panorama_3D64EF1D_3789_4BDD_41CA_2AD4BAB1DBE2.label = 03-3
panorama_223C1678_3789_5A62_41C4_F520FFC0762B.label = 04-4
panorama_3D642EEF_3789_4A7D_41B7_10A0FAABA8F0.label = 04-4-animation
panorama_3D65CEEE_3789_4A7F_41BB_20E5E92AD38C.label = 05-5
panorama_3D65FF45_3789_4BAD_41B3_E28D01459092.label = 06-6
panorama_3D657026_3788_D5EF_419D_149D1F1D2A68.label = 07-7
panorama_3D65A807_3788_F5AD_41B0_0B47B144EDF4.label = 08-8
panorama_3D656FB9_3788_CAE5_41AC_0EED1EF07E56.label = 09-9
panorama_3D666409_378B_5DA5_41C4_724A6143A200.label = 10-10
panorama_3D66EAD3_378B_4AA5_41C7_972082DE29C2.label = 11-11
panorama_3D66E63D_378B_3DDD_41B5_DED78AE0ECBB.label = 12-12
panorama_3D66E95F_378B_D65D_414C_FD9FCB5EB037.label = 13-13
panorama_3D66D22D_378B_D5FD_41C5_E7EF4F49C9C3.label = 14-14
panorama_3D66438F_378B_3ABD_41BC_B84EA25494AE.label = 15-15
## Skin
### Button
Button_209FD709_37B9_3BA5_419B_85562C137A04.pressedLabel = About This Exhibit
Button_209FD709_37B9_3BA5_419B_85562C137A04_mobile.pressedLabel = About This Exhibit
Button_209FD709_37B9_3BA5_419B_85562C137A04_mobile.label = About This Exhibition
Button_209FD709_37B9_3BA5_419B_85562C137A04.label = About This Exhibition
Button_17460A4B_3899_35A5_41A4_E2D39AF10604_mobile.label = Close Panel
Button_146E2A62_3899_4A67_41C5_4B6C1C81E956_mobile.label = Close Panel
Button_161B86FA_389F_7A67_41BC_86B563E6EA20_mobile.label = Close Panel
Button_2D577FDA_37B7_CAA7_41B8_BA58C4545EE8.label = Close Panel
Button_15F5EA8D_389F_4ABD_41C3_34A1E2EBCA2E_mobile.label = Close Panel
Button_6FDCE8CA_3889_56A7_41B4_DE7B93E4A96B.label = Close Panel
Button_15BB7242_3899_D5A7_41A8_A519AC7C09C6_mobile.label = Close Panel
Button_1582C8B6_3898_D6EF_41C5_5D4741ABC06C_mobile.label = Close Panel
Button_1463EB8F_3899_4ABD_41A3_DE74A9FFE7F9_mobile.label = Close Panel
Button_5D929DD4_38F7_4EA3_4179_4B91A0696927.label = Close Panel
Button_15BB7242_3899_D5A7_41A8_A519AC7C09C6.label = Close Panel
Button_146E2A62_3899_4A67_41C5_4B6C1C81E956.label = Close Panel
Button_5D929DD4_38F7_4EA3_4179_4B91A0696927_mobile.label = Close Panel
Button_1463EB8F_3899_4ABD_41A3_DE74A9FFE7F9.label = Close Panel
Button_6FDCE8CA_3889_56A7_41B4_DE7B93E4A96B_mobile.label = Close Panel
Button_1582C8B6_3898_D6EF_41C5_5D4741ABC06C.label = Close Panel
Button_2D577FDA_37B7_CAA7_41B8_BA58C4545EE8_mobile.label = Close Panel
Button_15F5EA8D_389F_4ABD_41C3_34A1E2EBCA2E.label = Close Panel
Button_161B86FA_389F_7A67_41BC_86B563E6EA20.label = Close Panel
Button_17460A4B_3899_35A5_41A4_E2D39AF10604.label = Close Panel
Button_209E670A_37B9_3BA7_41A9_58F17EAF1649_mobile.label = Contact Us
Button_209E670A_37B9_3BA7_41A9_58F17EAF1649.label = Contact Us
Button_06B8636F_38B8_FA7D_41AC_D555C93073B1_mobile.label = ENTER
Button_06B8636F_38B8_FA7D_41AC_D555C93073B1.label = ENTER
Button_209F7709_37B9_3BA5_41C0_EB32A1EC3F20_mobile.label = Exhibitions
Button_209F7709_37B9_3BA5_41C0_EB32A1EC3F20.label = Exhibitions
Button_146E0A62_3899_4A67_417D_569FE9BA92CF_mobile.label = Expand Art
Button_1747DA4A_3899_35A7_41C2_8DA7E3B9A79C.label = Expand Art
Button_161A26F9_389F_7A65_41C8_75338E3A212A.label = Expand Art
Button_082AAB3D_3899_4BDD_4140_FFB35FA751C2_mobile.label = Expand Art
Button_158218B4_3898_D6E3_41A9_FA4B19C85322.label = Expand Art
Button_15F60A8C_389F_4AA3_41C0_2D67C92D0BC8.label = Expand Art
Button_158218B4_3898_D6E3_41A9_FA4B19C85322_mobile.label = Expand Art
Button_15BBC240_3899_D5A3_419F_AA0434FFCDB0.label = Expand Art
Button_15BBC240_3899_D5A3_419F_AA0434FFCDB0_mobile.label = Expand Art
Button_146E0A62_3899_4A67_417D_569FE9BA92CF.label = Expand Art
Button_1747DA4A_3899_35A7_41C2_8DA7E3B9A79C_mobile.label = Expand Art
Button_082AAB3D_3899_4BDD_4140_FFB35FA751C2.label = Expand Art
Button_15F60A8C_389F_4AA3_41C0_2D67C92D0BC8_mobile.label = Expand Art
Button_161A26F9_389F_7A65_41C8_75338E3A212A_mobile.label = Expand Art
Button_5D35ED62_38F9_CE67_41AF_1B09A7D4B682.label = JACKSONVILLE STACKED STAR
Button_5D35ED62_38F9_CE67_41AF_1B09A7D4B682_mobile.label = JACKSONVILLE STACKED STAR
Button_5D8EBDD2_38F7_4EA7_41C6_27B0185CC6DE_mobile.label = More Info
Button_6FDF28C9_3889_56A5_4179_B47817FD54E5_mobile.label = More Info
Button_2D569FDA_37B7_CAA7_41A7_599775D5ECE5_mobile.label = More Info
Button_5D8EBDD2_38F7_4EA7_41C6_27B0185CC6DE.label = More Info
Button_2D569FDA_37B7_CAA7_41A7_599775D5ECE5.label = More Info
Button_6FDF28C9_3889_56A5_4179_B47817FD54E5.label = More Info
Button_209FF709_37B9_3BA5_41B0_A56BBAEB7403.label = Our Website
Button_209FF709_37B9_3BA5_41B0_A56BBAEB7403_mobile.label = Our Website
Button_5B3F68B1_38F9_36E5_4190_6F39E7B2F98D.label = PRINTMAKING
Button_5B3F68B1_38F9_36E5_4190_6F39E7B2F98D_mobile.label = PRINTMAKING
Button_06B8936F_38B8_FA7D_41C5_9C6E86D9605B.label = START
Button_06B8936F_38B8_FA7D_41C5_9C6E86D9605B_mobile.label = START
Button_209FB70A_37B9_3BA7_41BD_A45A8092E873.label = Visit MOCA
Button_209FB70A_37B9_3BA7_41BD_A45A8092E873_mobile.label = Visit MOCA
### Image
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Image_06BBF36E_38B8_FA7F_41C6_F453DA0F48D0_mobile.url = skin/Image_06BBF36E_38B8_FA7F_41C6_F453DA0F48D0_mobile_en.jpg
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Image_15CA6A8A_389F_4AA6_41C3_810C20F49994.url = skin/Image_15CA6A8A_389F_4AA6_41C3_810C20F49994_en.jpg
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HTMLText_5D8CADCB_38F7_4EA5_41C9_CB43C3D5373A.html = FRANK STELLA
JACKSONVILLE STACKED STARS
February 29 - August 18, 2024
Frank Stella (b. 1936; Malden, MA) has produced an extraordinary body of work over the past six decades. Since his first solo gallery exhibition at Leo Castelli Gallery in 1960, when he presented his famous Black Paintings, Stella has continuously explored the possibilities of the expression of visual space. Initial paintings based on the rejection of the conventionally rectangular canvas, and of painting-as-representation, gave way to complex wall reliefs made from paint, cardboard, and felt. He further blurred the distinction between painting and sculpture in baroque works that seemed to leap off the wall. Today, Stella uses digital modeling to explore how subtle changes in scale, color and material can affect our perception and experience of the free-standing object.
Jacksonville Stacked Stars was created by the artist especially for MOCA Jacksonville, in honor of the museum’s 100-year anniversary. Throughout his career, Stella has returned to the star as motif; exploring its form, both abstract and figurative, in multiple variations of two-dimensional, free-standing, and wall relief sculptural shapes. Since the 1990s, the star has appeared in all possible sizes and materials, both traditional and new: aluminum, stainless steel, birch plywood, fiberglass, carbon fiber or plastics. Through the use of sophisticated computer models, his most recent works, including Jacksonville Stacked Stars, seem to defy the forces of gravity and sculptural norms.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
JACKSONVILLE STACKED STARS
February 29 - August 18, 2024
Frank Stella (b. 1936; Malden, MA) has produced an extraordinary body of work over the past six decades. Since his first solo gallery exhibition at Leo Castelli Gallery in 1960, when he presented his famous Black Paintings, Stella has continuously explored the possibilities of the expression of visual space. Initial paintings based on the rejection of the conventionally rectangular canvas, and of painting-as-representation, gave way to complex wall reliefs made from paint, cardboard, and felt. He further blurred the distinction between painting and sculpture in baroque works that seemed to leap off the wall. Today, Stella uses digital modeling to explore how subtle changes in scale, color and material can affect our perception and experience of the free-standing object.
Jacksonville Stacked Stars was created by the artist especially for MOCA Jacksonville, in honor of the museum’s 100-year anniversary. Throughout his career, Stella has returned to the star as motif; exploring its form, both abstract and figurative, in multiple variations of two-dimensional, free-standing, and wall relief sculptural shapes. Since the 1990s, the star has appeared in all possible sizes and materials, both traditional and new: aluminum, stainless steel, birch plywood, fiberglass, carbon fiber or plastics. Through the use of sophisticated computer models, his most recent works, including Jacksonville Stacked Stars, seem to defy the forces of gravity and sculptural norms.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
JACKSONVILLE STACKED STARS
February 29 - August 18, 2024
Frank Stella (b. 1936; Malden, MA) has produced an extraordinary body of work over the past six decades. Since his first solo gallery exhibition at Leo Castelli Gallery in 1960, when he presented his famous Black Paintings, Stella has continuously explored the possibilities of the expression of visual space. Initial paintings based on the rejection of the conventionally rectangular canvas, and of painting-as-representation, gave way to complex wall reliefs made from paint, cardboard, and felt. He further blurred the distinction between painting and sculpture in baroque works that seemed to leap off the wall. Today, Stella uses digital modeling to explore how subtle changes in scale, color and material can affect our perception and experience of the free-standing object.
Jacksonville Stacked Stars was created by the artist especially for MOCA Jacksonville, in honor of the museum’s 100-year anniversary. Throughout his career, Stella has returned to the star as motif; exploring its form, both abstract and figurative, in multiple variations of two-dimensional, free-standing, and wall relief sculptural shapes. Since the 1990s, the star has appeared in all possible sizes and materials, both traditional and new: aluminum, stainless steel, birch plywood, fiberglass, carbon fiber or plastics. Through the use of sophisticated computer models, his most recent works, including Jacksonville Stacked Stars, seem to defy the forces of gravity and sculptural norms.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
PRINTMAKING
February 29 - August 18, 2024
Frank Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at the famed workshop Gemini G.E.L. in Los Angeles, CA. This pioneering studio brought together artists, such as Robert Rauschenberg, Roy Lichtenstein, and Jasper Johns who, like Stella, were interested in investigating the creative opportunities offered by prints and multiples. As a result, in 1973 Stella had a print studio installed in his New York house, to further explore the medium.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
JACKSONVILLE STACKED STARS
February 29 - August 18, 2024
Frank Stella (b. 1936; Malden, MA) has produced an extraordinary body of work over the past six decades. Since his first solo gallery exhibition at Leo Castelli Gallery in 1960, when he presented his famous Black Paintings, Stella has continuously explored the possibilities of the expression of visual space. Initial paintings based on the rejection of the conventionally rectangular canvas, and of painting-as-representation, gave way to complex wall reliefs made from paint, cardboard, and felt. He further blurred the distinction between painting and sculpture in baroque works that seemed to leap off the wall. Today, Stella uses digital modeling to explore how subtle changes in scale, color and material can affect our perception and experience of the free-standing object.
Jacksonville Stacked Stars was created by the artist especially for MOCA Jacksonville, in honor of the museum’s 100-year anniversary. Throughout his career, Stella has returned to the star as motif; exploring its form, both abstract and figurative, in multiple variations of two-dimensional, free-standing, and wall relief sculptural shapes. Since the 1990s, the star has appeared in all possible sizes and materials, both traditional and new: aluminum, stainless steel, birch plywood, fiberglass, carbon fiber or plastics. Through the use of sophisticated computer models, his most recent works, including Jacksonville Stacked Stars, seem to defy the forces of gravity and sculptural norms.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
PRINTMAKING
February 29 - August 18, 2024
Frank Stella began his extended engagement with printmaking in the mid-1960s, working first with master printer Kenneth Tyler at the famed workshop Gemini G.E.L. in Los Angeles, CA. This pioneering studio brought together artists, such as Robert Rauschenberg, Roy Lichtenstein, and Jasper Johns who, like Stella, were interested in investigating the creative opportunities offered by prints and multiples. As a result, in 1973 Stella had a print studio installed in his New York house, to further explore the medium.
Lithography was Stella’s first exploration of the medium of print, ideal for the formal concerns that occupied his painting practice at the time, such as scale, color and texture, as we can see in Sinjerli Variation II, 1977 and Moultonville, 1974, as well as in the screenprint from the same year, York Factory. From the 1980s onward, his prints have evolved in ever growing complexity, equally as innovative as his paintings or sculptures. Covering all techniques, including lithography, screen printing, etching and offset lithography, Stella often combines various printmaking and drawing techniques in one work, such as in Had Gadya: Back Cover (from El Lissitzky), 1984 (which combines hand coloring collaged with lithographic, linoleum block and silkscreen prints), Shards V, 1982, The Butcher Came and Slew the Ox, 1984 or the Pergusa Three, 1982, from the Circuits series, inspired by the artist’s long-standing interest in car racing.
FRANK STELLA
FEBRUARY 29 – AUGUST 18, 2024
This exhibition was curated by Shana Dickler, Assistant Curator, MOCA Jacksonville. Support for this exhibition was made in part by the City of Jacksonville, the Cultural Council of Greater Jacksonville, The Florida Division of Cultural Affairs, The National Endowment for the Arts, and the University of North Florida. Special thanks to Bridget Donahue Gallery, Lisa Alvarado, Keith Doles, Doug Eng, Jessica Borusky, and Kenny Nguyen.
FRANK STELLA
FEBRUARY 29 – AUGUST 18, 2024
This exhibition was curated by Shana Dickler, Assistant Curator, MOCA Jacksonville. Support for this exhibition was made in part by the City of Jacksonville, the Cultural Council of Greater Jacksonville, The Florida Division of Cultural Affairs, The National Endowment for the Arts, and the University of North Florida. Special thanks to Bridget Donahue Gallery, Lisa Alvarado, Keith Doles, Doug Eng, Jessica Borusky, and Kenny Nguyen.
FRANK STELLA
(American, b. 1936)
Had Gadya: Back Cover (illustrations after Had Gadya by El Lissitzky), 1984
Lithograph, linocut, and screen print in colors, with hand coloring and collage on T.H. Saunders and Somerset wove papers, ed.44/60 + 10AP
Publisher: Waddington Graphics, London
Promised Gift. Collection of Dita Domonkos
FRANK STELLA
(American, b. 1936)
Moultonville, 1974
Lithograph and screen print in colors on Arches paper, ed. 95/100
Publisher: Gemini G.E.L., Los Angeles Emmett Broward Memorial Fund and N.E.A. Purchase Grant, 1976.22
FRANK STELLA
(American, b. 1936)
Pergusa Three, State I, #1/10, 1983
Relief woodcut on white TGL handmade, hand-colored paper
Publisher: Tyler Graphics Ltd.
Collection of Haywood Hill
FRANK STELLA
(American, b. 1936)
Shards V, 1984
Color lithograph and screen print on Arches paper
Publisher: Petersburg Press
Collection of Jill Davis
FRANK STELLA
(American, b. 1936)
Sinjerli Variation II, 1977
Offset lithograph and screen print in colors on Arches Cover paper, Ed. 50/100 + 20AP
Publisher: Petersburg Press, New York
Gift of Donald and Maria Cox, 2016.04.07
FRANK STELLA
(American, b. 1936)
The Butcher Came and Slew the Ox (illustrations after Had Gadya by El Lissitzky), 1984
Color screen print, lithography, and linocut with hand-coloring and collage
Collection of Kristen Surface
FRANK STELLA
(American, b. 1936)
York Factory II, 1974
Screen print in colors, on Arches Cover Black paper, ed. 100; 3 GEL
Publisher: Gemini G.E.L., Los Angeles
Gift of Judy Eisen, 2018.05
FRANK STELLA
(American, b. 1936)
Had Gadya: Back Cover (illustrations after Had Gadya by El Lissitzky), 1984
Lithograph, linocut, and screen print in colors, with hand coloring and collage on T.H. Saunders and Somerset wove papers, ed.44/60 + 10AP
Publisher: Waddington Graphics, London
Promised Gift. Collection of Dita Domonkos
FRANK STELLA
(American, b. 1936)
Moultonville, 1974
Lithograph and screen print in colors on Arches paper, ed. 95/100
Publisher: Gemini G.E.L., Los Angeles Emmett Broward Memorial Fund and N.E.A. Purchase Grant, 1976.22
FRANK STELLA
(American, b. 1936)
Pergusa Three, State I, #1/10, 1983
Relief woodcut on white TGL handmade, hand-colored paper
Publisher: Tyler Graphics Ltd.
Collection of Haywood Hill
FRANK STELLA
(American, b. 1936)
Shards V, 1984
Color lithograph and screen print on Arches paper
Publisher: Petersburg Press
Collection of Jill Davis
FRANK STELLA
(American, b. 1936)
Sinjerli Variation II, 1977
Offset lithograph and screen print in colors on Arches Cover paper, Ed. 50/100 + 20AP
Publisher: Petersburg Press, New York
Gift of Donald and Maria Cox, 2016.04.07
FRANK STELLA
(American, b. 1936)
The Butcher Came and Slew the Ox (illustrations after Had Gadya by El Lissitzky), 1984
Color screen print, lithography, and linocut with hand-coloring and collage
Collection of Kristen Surface
FRANK STELLA
(American, b. 1936)
York Factory II, 1974
Screen print in colors, on Arches Cover Black paper, ed. 100; 3 GEL
Publisher: Gemini G.E.L., Los Angeles
Gift of Judy Eisen, 2018.05
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
A map is commonly defined as a graphic representation, drawn to scale, which concretely depicts features of an area of the Earth or of any other celestial body. However, as many artists have explored throughout history, the way in which each of us map our world is abstract and individualistic. Informed by our unique experiences and identities, our way of mapping is conceptually layered with historical, social, and political meaning. As geographer Philippe Rekacewicz once said, “There is no such thing as an innocent map…” a map is fundamentally political by nature. What we see, choose to see, or omit are all factors that shape how we interpret the world around us.
Contemporary Cartographies includes works from MOCA Jacksonville’s permanent collection, complemented by loans from local and national artists, charting their surrounding landscape both literally and figuratively; whether it be through tracing a familiar route, capturing the movement of a bustling city, or portraying the people and features of the milieu that defines them.
Company Name
www.loremipsum.com
info@loremipsum.com
Tlf.: +11 111 111 111
A map is commonly defined as a graphic representation, drawn to scale, which concretely depicts features of an area of the Earth or of any other celestial body. However, as many artists have explored throughout history, the way in which each of us map our world is abstract and individualistic. Informed by our unique experiences and identities, our way of mapping is conceptually layered with historical, social, and political meaning. As geographer Philippe Rekacewicz once said, “There is no such thing as an innocent map…” a map is fundamentally political by nature. What we see, choose to see, or omit are all factors that shape how we interpret the world around us.
Contemporary Cartographies includes works from MOCA Jacksonville’s permanent collection, complemented by loans from local and national artists, charting their surrounding landscape both literally and figuratively; whether it be through tracing a familiar route, capturing the movement of a bustling city, or portraying the people and features of the milieu that defines them.