{ "objects" : [ { "embark_ID" : 2406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2406", "Disp_Access_No" : "1975.334.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Fortin de las Flores (First Version)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Stella", "Sort_Artist" : "Stella, Frank", "Disp_Dimen" : "18 x 23 in. (45.7 x 58.4 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "23 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph with graphite", "Info_Page_Comm" : "The portfolio "Ten from Leo Castelli" was created to commemorate the tenth anniversary of the Leo Castelli Gallery in New York. According to the Frank Stella Catalog Raisonne, "For this print Stella submitted a gouache based on the painting Fortin de las Flores of the Concentric Squares and Mitered Mazes Series (1962-63). A second version of this image (Cat. no. 84, 1973) was created by the artist as an offset lithograph for the four-part series Jasper's Dilemma." [Gallery label text]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "According to the Frank Stella Catalog Raisonne, "For this print Stella submitted a gouache based on the painting Fortin de las Flores of the Concentric Squares and Mitered Mazes Series (1962-63). A second version of this image (Cat. no. 84, 1973) was created by the artist as an offset lithograph for the four-part series Jasper''s Dilemma."", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.334.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.334.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.334.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.334.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33250", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4601, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4601", "Disp_Access_No" : "1975.335.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Untitled (Rabat)", "Alt_Title" : "Rabat", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Stella", "Sort_Artist" : "Stella, Frank", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "This print is an adaptation of a gouache based on the painting Rabat in the Moroccan Series (1964-65). Look at the yellow-blue-yellow vertical striped pattern in the lower left corner for 30 seconds (try not to move your eyes). Then look at the white wall to the left. What do you see? You might see the same stripes but in a different order–now reading blue, yellow, blue. This phenomenon is called an after-image. Two types of photoreceptors are known to contribute to vision in human eyes: cones and rods. Cones, which are used for color vision, come in three types, each of which responds to a particular part of the color spectrum: blue, green, or red. Conversely, rods respond to the brightness of the light source. One of the models of color perception suggests that our visual system processes inputs from these photoreceptors according to three color opponent systems: red-green, blue-yellow, and white-black. These systems work in an oppositional manner, providing the foundations of the after-image effect. Where the eye registers the color blue, the blue pathway is excited while the yellow one is less stimulated. Conversely, where the eye registers yellow, the yellow pathway is excited, while the blue one is less active. How does this explain what you might have experienced? Staring at the saturated blue and yellow color fatigues the respective color-sensitive pathways. When looking at the white wall afterwards, you might not see the color of the wall but the effects of your fatigued color system. The area that tired your blue pathway now only registers yellow, and the area that tired the yellow pathway now only registers blue. The lesson? As artist Josef Albers noted, “no normal eye, even the most trained one, is foolproof against color deception.” [Label copy from Seeing in Color and Black and White, 2018]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.335.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.335.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.335.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.335.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33251", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2407", "Disp_Access_No" : "1984.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Estoril Five I", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frank Stella", "Sort_Artist" : "Stella, Frank", "Disp_Dimen" : "66 1/2 x 51 5/8 in. (168.9 x 131.1 cm)", "Disp_Height" : "66 1/2 in.", "Disp_Width" : "51 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "handmade paper", "Disp_Medium" : "Relief printed etching and woodcut", "Info_Page_Comm" : "Frank Stella's curiosity about ideas, techniques and media keeps his work fresh and fascinating and makes him difficult to categorize. For example, in this print he used traditional printing processes in new and innovative ways. Unlike much of Stella's work that is serenely geometric, this work thrives on disorder and intensity. Not surprisingly, its name, Estoril, refers to a race track in Portugal. It is one in a series of monumental prints related to a series of paintings. The painting series and the print series are each called the Circuit Series and were inspired by race tracks Stella visited in the 1970s. Label Copy, Collection Connections - Psychedelic, installed September 15, 2010 Curated by Cynthia Culbert", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.46_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.46_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.46_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.46_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "34466", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }