Frank Stella’s (1936 – 2024) work has long captivated audiences with its bold, geometric precision and daring use of form. A pivotal figure in post-war American art, Stella’s career continuously pushed the boundaries of abstraction and minimalism. His innovative techniques and material choices have influenced generations of artists, cementing his place in art history. When a print by Stella arrived at The Conservation Center, it presented a compelling challenge—one that demanded both technical expertise and a deep respect for the artist’s vision.
Before treatment.
This particular work belongs to Stella’s Polar Co-Ordinates series, a striking body of prints created in 1980. The series, titled Polar Co-Ordinates for Ronnie Peterson, is the result of a complex layering process that combines lithography and screenprinting, drawing on visual motifs first introduced in Stella’s Saskatchewan Series paintings. The title references both the grid-like structure present in the compositions and Stella’s close friend, Swedish race car driver Ronnie Peterson, who tragically lost his life following a crash at the Grand Prix in Monza in 1978. Inspired by the energy and movement of motorsports, the Polar Co-Ordinates series translates the thrill and velocity of racing into dynamic, overlapping forms that challenge the boundaries of traditional printmaking.
The Polar Coordinates series.
© Frank Stella / Artists Rights Society (ARS), New York
F.J. Thomas Photography
“In the Polar Co-ordinates Stella built the image in stages, relying only loosely on preliminary mixed-media drawings as models. To begin, he drew and painted on initial proofs that bore only the summary outlines of the configuration. He had no foreknowledge of where the print might lead, each proof suggesting the next stage. These working proofs with painted additions were translated into printed trial proofs which were, in turn, painted on for the next step. Developed in this manner, the print was an organic accretion. Indeed, Stella's distinction as a printmaker rests in the success with which he coerces the materials and methods at his disposal. The remarkable visual effects of the prints made since the Polar Co-ordinates are the result of an artful accrual of media: the numerous screenprintings and/or runs through the press, the diversity of colors and textures, the intermingling of printmaking processes, the great saturations of ink. The effects are enormously rich.”
Axsom, Richard H., The Prints of Frank Stella : A Catalogue Raisonné, 1967-1982, Hudson Hills Press, New York, New York, 1983, pp. 24-25
The artwork arrived framed in a vitrine that exhibited significant structural and aesthetic concerns. The upper left corner of the vitrine had impact damage and was broken, which also caused creasing at the paper.
The broken corner of the vitrine.
Some of the hinges on the artwork also failed due to the impact damage. The sheet itself displayed inherent age-related discoloration, had gummed linen hinges on the verso, and was covered with a layer of particulate film that further obscured its clarity.
The broken corner of the vitrine.
The vitrine was in poor condition overall, marred by cracks, scratches, abrasions, and accretions. The backing consisted of a wooden mount that had suffered considerable losses and was identified as non-archival and acidic. Like the vitrine, the mount also exhibited a layer of particulates that needed careful removal.
Before treatment.
Before treatment.
To preserve and stabilize the work, a meticulous conservation treatment plan was developed. The sheet was carefully photographed to document its pre-treatment state. The gummed linen hinges were removed using methylcellulose and a microspatula. The sheet was surface cleaned using crumbled eraser on the verso and a soft brush on the recto.
To address the creases near the broken vitrine, the upper left corner of the sheet was locally humidified and flattened, which reduced surface deformations while preserving the paper’s original texture. To provide a stable and archival support system, the artwork was mounted onto a custom archival mount. A custom-fabricated UV Plexiglas vitrine, featuring conservation-grade acrylic glazing with solvent-sealed seams, was introduced to safeguard the piece from harmful UV rays while maintaining its aesthetic presentation.
A close-up after treatment.
The simple flush mounting and minimal vitrine highlight Stella’s bold composition, allowing the dynamic interplay of color and form to take center stage. By presenting the work in a conservation-grade display, the treatment ensures that the artwork remains both protected and visually impactful.
With careful conservation, this Frank Stella print has been stabilized, restored, and safeguarded for the future. The Conservation Center’s approach not only preserves the material integrity of the piece but also maintains the clarity and brilliance of Stella’s vision, ensuring its continued appreciation for years to come.
After treatment.
Stella’s artistic legacy is defined by his groundbreaking exploration of color, form, and structure. His compositions, built on bold geometric arrangements, create an optical dynamism that challenges traditional notions of painting. Unlike many of his contemporaries, Stella’s work remains purely nonrepresentational, devoid of narrative or symbolic references, reinforcing his commitment to formal abstraction. In 1970, he became the youngest artist to receive a retrospective at the Museum of Modern Art in New York, a testament to his profound influence on modern art.
Frank Stella painting, courtesy of the American Academy in Rome, Institutional Archive.
Stella’s contributions continue to be celebrated in major institutions, including The Metropolitan Museum of Art, the National Gallery of Art, the San Francisco Museum of Modern Art, and the Tate Gallery in London, among many others. Until his passing in 2024, he remained an active and influential figure in the art world. His relentless innovation and fearless approach to abstraction reshaped the landscape of contemporary art, leaving behind a legacy that continues to inspire and challenge artists and audiences alike.
Sources:
https://www.moma.org/calendar/exhibitions/2242
https://cristearoberts.com/artists/86-frank-stella/
https://www.artgallery.nsw.gov.au/collection/works/88.2014.1/#about
