Frances Stark

Secession, Vienna

Secession

Installation view of a large exhibition space with white walls, gray marble floor tiles, and skylights. To the left in the image, we can see a large white wall, and directly above it a rectangular gridded, dimmed skylight. On the wall hangs a large, rectangular, framed work on white paper depicting a female figure. Parallel to the wall, in the center of the image, we can see a thin wall or screen placed in the room, on which a rectangular work on beige paper hangs. Closer to us, to the right of the screen and in the right hand of the image, we can see a second screen where another work on white paper hangs. Depicted is a figure against a block of black text. To the left of this screen, closer to us and in the left hand of the image, we can see a third screen with a work on white paper with another block of text and a figure squatting in the lower left corner. Above the screens, we can see another skylight with gridded, dimmed window panes. In the left corner of the room, we can see a staircase leading down to the floor below. On each side of the staircase, we can see white square pillars and above it, another rectangular, gridded skylight with dimmed window panes. The floor is made out by gray marble tiles, with dark, round fasteners in their centers.

Installation view of a large exhibition space with white walls, gray marble floor tiles, and skylights. To the left in the image, we can see a large white wall with light gray exit doors, and directly above it a gridded skylight with dimmed window panes. Parallel to the wall, we can see a group of three thin walls or screens placed freestanding in the room, on which a rectangular work on paper hangs depicting figures and texts. Closer to us, to the left in the image, we can see a fourth screen with another work on white paper. Depicted is a graphical figure. In the right corner of the space, we can see a large opening with two rectangular pillars, leading into another part of the space with the same floor and skylight. The floor is made out by large, gray, polished marble tiles, with dark, round fasteners in their centers.

Installation view of a large exhibition space with white walls, gray marble floor tiles, and skylights. We are standing in front of a large rectangular, white wall with three framed works on paper. Directly above it, we can see a skylight with square, frosted window panes. In front of the wall, three thin freestanding walls or screens are placed in the room carrying works on paper with graphical figures and text depicted. To the left in the image, we can glimpse a wall perpendicular to the large one in front of which we can see two white, square pillars. Above it, we can see a rectangular skylight with square, frosted window panes. The floor is made out by large, gray, polished marble tiles, with dark, round fasteners in their centers.

Installation view of a large exhibition space with white walls, gray marble floor tiles, and skylights. In the center of the image we can see three freestanding walls or screens carrying works on paper with graphical figures and text depicted. They are spaced with equal distance from each other, placed on a diagonal in the room. Directly above the walls, we can see a large skylight with square, frosted window panes. Further back in the room, we can see two white, square pillars and behind them a wall that carries a framed work on paper. Directly above, parallel to the wall, we can see another, rectangular skylight with square, frosted window panes. The floor is made out by large, gray, polished marble tiles, with dark, round fasteners in their centers.

Installation view of a large exhibition space with two white walls, gray floor, and gray beams in the ceiling. On the left wall, we can see two framed works on paper. The work to the left is depicting black telephones stacked in a pyramid. The work to the right is depicting a female figure. On the right wall, we can see five framed works on paper depicting graphic figures and text. Perpendicular to the right wall, in the ceiling, five gray beams protrude into the room. Above them we can see a slanted roof with gray, rectangular tiles, Attached to the beams are spotlight directed at the works on the walls. The floor is polished dark gray concrete, and reflects the light.

Installation view of a large exhibition space with two white walls, gray floor, and gray beams in the ceiling. On the left wall, we can see two framed works on paper. The work to the left depicts figures against a brown background, and the work to the right depicts a graphic work in black and white. On the right wall, we can see two framed works on paper depicting female figures in a graphic style alongside text. Perpendicular to the right wall, in the ceiling, three gray beams protrude into the room. Above them we can see a slanted roof with gray, rectangular tiles. In the corner of the room, we see a skylight. Attached to the beams are spotlights directed at the works on the walls. The floor is polished dark gray concrete, and reflects the light.

Installation view of an exhibition space with two white walls, gray floor, and gray beams in the ceiling. On the left wall, we can see a framed graphic work on paper. On the right wall, we can see two framed works on paper hanging next to each other, depicting graphic figures and text. Perpendicular to the left wall, in the ceiling, a gray beam protrudes into the room. Attached to the beam are spotlights directed at the works on the right wall. The floor is polished dark gray concrete, and reflects the light.

Close view of collage on paper in previous installation views. We can see a rectangular paper in off white with four horizontal folds mounted on a white wall by two round metallic pins in the top corners. In the upper center of the paper, we can see a letter-sized white paper mounted to the off white paper. In its top left corner, we can read the text "The pain of stupidity" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. She is wearing a body or bathing suite made from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. Her left hand is hanging relaxed straight down from her shoulder, and in her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing in front of her to the right. The telephone is black, and of an old model with a rotary dial.

Close view of collage on paper in previous installation views. We can see a rectangular paper in off white with four horizontal folds mounted on a white wall by two round metallic pins in the top corners. In the upper center of the paper, we can see a letter-sized white paper mounted to the off white paper. In its top left corner, we can read the text "Wisdom" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. Her upper body is leaned forward. She is slouching, and her arms are leaning on her thighs. She is wearing a body or bathing suite made out from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. In her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing behind her to the right. The telephone is black, and of an old model with a rotary dial.

Close view of collage on paper in previous installation views. We can see a rectangular paper in off white with four horizontal folds mounted on a white wall by two round metallic pins in the top corners. In the upper center of the paper, we can see a letter-sized white paper mounted to the off white paper. In its top left corner, we can read the text "Ugliness" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. Her upper body is leaned forward. She is slouching, and her arms are hanging in front of her thighs. She is wearing a body or bathing suit made from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. In her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing in front of her to the right. The telephone is black, and of an old model with a rotary dial.

Detail view of collage in previous image. We can see a letter-sized white paper mounted on off white paper. In its top left corner, we can read the text "The pain of stupidity" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. She is wearing a body or bathing suit made out from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. Her left hand is hanging relaxed straight down from her shoulder, and in her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing in front of her to the right. The telephone is black, and of an old model with a rotary dial.

Detail view of collage in previous image. We can see a letter-sized white paper mounted on off white paper. In the upper center of the paper, we can see a letter-sized white paper mounted to the off white paper. In its top left corner, we can read the text "Ugliness" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. Her upper body is leaned forward. She is slouching, and her arms are hanging in front of her thighs. She is wearing a body or bathing suit made out from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. In her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing in front of her to the right. The telephone is black, and of an old model with a rotary dial.

Detail view of collage in previous image. We can see a letter-sized white paper mounted on off white paper. In the upper center of the paper, we can see a letter-sized white paper mounted to the off white paper. In its top left corner, we can read the text "Wisdom" in black, modern sans-serif type. To the left of the paper, we can see a collage in paper and metallic foil depicting a woman seen in profile, facing left. She is standing, leaning her back against the letter-sized white paper, as if its left edge was a wall. Her upper body is leaned forward. She is slouching, and her arms are leaning on her thighs. She is wearing a body or bathing suit made out from a black and white geometrical pattern. Her hair or possibly a hood has the same black and white geometrical pattern. Her skin is light, collaged from white paper with a subtle pink tone, and she is wearing ballerina shoes cut from metallic paper or foil. She has no eyes or other details marked in her face. In her left hand she holds a black phone receiver from which a black spiral coil leads down to the floor and the telephone standing in front of her to the right. The telephone is black, and of an old model with a rotary dial.

Close view of collage on paper in previous installation views. We can see a rectangular turquoise colored paper oriented in portrait format, and with subtle white droplet shapes in a pattern. The paper has four horizontal folds, and is mounted to the wall with two round metallic magnets in the top corners. In the center of the paper we can see the silhouette of a note stand in black paper. The note stand holds a white paper in letter-size, with a block of black text in modern sans-serif, starting at the top and aligned to the left. The text reads: "Or, probably, the hypomaniac torture of hypomania The unspeakable sadness of the unspeakable The sadness of non-sublimation Or pain in the finger Nail Tooth Ear" At the foot of the note stand, on each sides, we can see two female figures collaged from black and white paper. They are lying with their backs on the ground, and the legs up against the note stand, each of their upper bodies and heads seen in profile and pointing in opposite directions to the left and right. They are wearing stockings and sleeveless body suits cut from a black and white geometrically patterned paper. Their shoulder length hair and bangs are also cut from the same paper. Their arms are lying flat on the ground, and their hands closes to us are touching at the center of the foot of the note stand. Their face and bare arms are collaged from white paper. Their face bares no details such as eyes or mouths. On top of their stomachs we can see weights cut from white paper with the text drawn upon them saying: "50 LBS."

Detail view of collage on paper in previous image. In the center of a turquoise colored paper with subtle white droplet shapes in a pattern, we can see the silhouette of a note stand in black paper. The note stand holds a white paper in letter-size, with a block of black text in modern sans-serif, starting at the top and aligned to the left. The text reads: "Or, probably, the hypomaniac torture of hypomania The unspeakable sadness of the unspeakable The sadness of non-sublimation Or pain in the finger Nail Tooth Ear"

Detail view of collage on paper in previous images. On a turquoise colored paper with subtle white droplet shapes in a pattern and two horizontal folds, we can see the foot of a note stand. On each sides of the note stand, we can see two female figures collaged from black and white paper. They are lying with their backs on the ground, and the legs up against the note stand, each of their upper bodies and heads seen in profile and pointing in opposite directions to the left and right. They are wearing stockings and sleeveless body suits cut from a black and white geometrically patterned paper. Their shoulder length hair and bangs are also cut from the same paper. Their arms are lying flat on the ground, and their hands closes to us are touching at the center of the foot of the note stand. Their face and bare arms are collaged from white paper. Their face bare no details such as eyes or mouths. On top of their stomachs we can see weights cut from white paper with the text drawn upon them saying: "50 LBS."

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper mounted against a white wall with metallic, round pins in each corner. Extending from the top left corner to the center of the bottom edge of the paper, we can see a row of identical female figures in positions as if dancing. The first figure is seen in full body and from the front, with her arms raised to her sides and her left leg in front of her right. She is wearing a dress cut from a paper with circular, hypnotic patterns in white, blue, yellow and black. Her arms, hands, legs and feet are all made from black paper, suggesting she is wearing stockings and gloves. Her décolleté, neck, and face is cut from white paper and she is wearing a hat or a haircut made from two rows of six black triangles. Her eyes, nose and mouth are indicated by black lines and her cheeks by two pink semi-circles. The second figure in the row is identical to the first figure but partly obscured. The third figure in the row is also identical but obscured by the second figure. We can only see the hands of the fourth figure, suggesting the row of dancing figures extends beyond the frame. On the left side of the figures, at each of their hands, we can see cut out sections of text mounted on a 45 degree angle, slanting to the left. The texts, printed in black modern sans-serif, reads from the bottom up: "Probably, however, the work was to a certain extent born as a result of co- existence with real persons ..." "Or out of the inability to write an ordinary book?" "Or perhaps it was the result of a fear psychosis?" "Or just a blunder" On the right side of the figures, we can see cut out sections of text mounted on a 45 degree angle, slanting to the right. The texts read, from the bottom up: "Or, who knows? It might have been written in imitation of masterpieces" "Or some other psychosis?"

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper mounted against a white wall with metallic, round pins in each corner. The right half of the paper has been covered by a black paper, fastened by metallic pins at the corners. From behind the black paper, a female figure peeks out. We can see half of her torso as she leans in, and her right arm and hand. We can also see her face and head, which is only slightly out of frame to the right. She is wearing a black glove and she is holding a white paper in her hand with the text "Or a part?" printed in black modern sans-serif in the upper left corner. Her skin is light, and her haircut or hat is made from two rows of six black triangles. Her eyes, nose and mouth are indicated by black lines and her cheeks by two pink semi-circles. She is wearing a dress cut from a paper with circular, hypnotic patterns in white, blue, yellow and black.

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper in portrait format mounted against a white wall with metallic, round pins in each corner. At the bottom center of the paper, we can see a female figure extending to about half of the paper. She is sitting with her legs extended in the air to left and right, while her hands are holding her wrists. Her body is covered by a dress cut from a paper with circular, hypnotic patterns in white, blue, yellow and black. Her neck and face are made out from the white background paper, and her eyes, eyebrows, nose and mouth are marked by black lines. Her cheeks are indicated by two pink semi-circles, and she is wearing a hat or a haircut made from two rows of six black triangles. Her legs, feet, hands and arms are cut from black paper, suggesting she is wearing gloves and stockings. Her facial expression is neutral, and she is looking straight at us.

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper in portrait format mounted against a white wall with metallic, round pins in each corner. At the bottom center of the paper, we can see a female figure extending to about half of the paper. She is standing wide legged with her back against us, and her upper body leaned forward. Her arms are extended outside her legs, and her hands are flat on the ground and angled in a direction away from her body. Between her legs, we can see her head and face, upside down. Her body is covered by a dress cut from a paper with circular, hypnotic patterns in white, blue, yellow and black. Her face is made out from the white background paper, and her eyes and eyebrows are marked by black lines. Her cheeks are indicated by two pink semi-circles, and she is wearing a hat or a haircut made from two rows of six black triangles. Her legs, feet, hands and arms are cut from black paper, suggesting she is wearing gloves and stockings. Her facial expression is neutral, and she is looking straight at us.

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper in portrait format mounted against a white wall with metallic, round pins in each corner. To the left on the paper, a sliver of a black paper has been mounted on top of the paper by metallic pins at the corners. From behind the black paper, a female figure peeks out. We can see half of her torso as she leans in, and her left arm and hand. We can also see her face and head, which is only slightly out of frame to the left. She is wearing a black glove and she is holding a white paper in her hand with the text "Or a particle?" printed in black modern sans-serif in the upper left corner. Her skin is light, and her haircut or hat is made from two rows of six black triangles. Her eyes, nose and mouth are indicated by black lines and her cheeks by two pink semi-circles. She is wearing a dress cut from a paper with circular, hypnotic patterns in white, blue, yellow and black. At the right side of the paper, we can see a foot and parts of a leg cut from black paper disappearing out of the frame, as if a figure is exiting the frame to the right.

Close view of a collage on paper seen in previous installation views. We can see a large, white rectangular paper in portrait format mounted against a white wall with metallic, round pins in each corner. Against the white background, we can see a block of black text in modern sans-serif aligned to the left margin. The text reads: "By way of digression ... the separate parts of the body suffice to form a solid and artistically constructed whole, and this applies to words and my constructions yields in no way to the best examples of construction. What will you say, finally, when you have seen the whole of all the parts as well as the parts of all the parts?...Do you not agree that the reader is able to assimilate only one part at the time? Sometimes he reads two or three passages and never returns; and not, mark you, because he is not interested, but because some totally extraneous circumstance; and, even if he reads the whole thing, do you suppose for one moment he has a view of it as a whole, appreciates the constructive harmonies of the parts, if no specialist gives him the hint? It is for this that authors spend years cutting, rearranging, revising and sweating, straining and suffering? Let us carry the matter further... May not a telephone call, or a fly, distract the reader's attention just at the moment when all the parts, themes, threads, are on the point of converging into a supreme unity... Consider, moreover, that that unique and exceptional work of yours on which you have expended so much effort and sweat is just one of the thirty thousand equally unique and exceptional works which will appear during the year. Oh! Terrible and accursed parts. So it is for this that we laboriously construct; so that part of a part of a reader may partially assimilate part of a part of a book. What in reality is a person aiming at nowadays who feels a vocation for the pen, the paint-brush or the clarionet? Above all, he wants to be an artist... to offer himself whole to others, to burn on the altar of the sublime in providing humanity with this so desirable manna. What noble aims! What magnificent intentions! Are they not identical with those of S---, G---, B---, or C---? But there you run into trouble. The awkward fact is that you are neither C---, nor S---. but at most half a -S, or quarter -C (Oh! Cursed parts!), and consequently the sole result of your attit to draw attention to your sad inadequacy and inferi d it is as if, the course of your clumsy efforts to leap you were breaking the most precious parts" In the left corner of the paper, we can see the figure of a woman squatting with the back against us in front of the text, painted in black and white. Her body is facing her left, while her torso and head is turned towards the text, away from us. We can see her left shoulder and arm, which is bent. Her hand is raised, and her fingers spread, as if grasping for the text. She is wearing white Le Coq Sportif sneakers, and a black skirt with a white apron, and a white t-shirt. She has light skin and black, short hair. Her head is obscuring parts of the text.

Close view of a work on paper seen in previous installation views. We can see a large, white rectangular paper in portrait format mounted against a white wall with metallic, round pins in each corner. At the center of the paper, we can see two figures of roosters in profile, taking up about the third of the paper's surface. The roosters are identical, mirrored or facing each other, and are drawn in black and red against the white background. Their wattles and combs are drawn in red, their open beaks and faces in white. Their chest and tail feathers are black and their bodies white. Their feet are white with black outlines. One is fixed to the ground while the other is raised in the air behind them. On the back of the roosters, we can see two female figures. Their legs are both facing us, as if in sidesaddle. The female figures are also identical. They are depicted in white with black outlines, and black hair. They are wearing dressed with wide skirts and tight bodies, lace collars and large hats with plumage. Their arms are raised in front of them, and in their hands they are holding ribbons which end in the roosters' mouths, as if reins. Their eyes, eye-browns, mouths, and noses are drawn in black. They are looking to the sides, in opposite directions, out of the frame. On the ground in front of the roosters, positioned in between them, we can see two identical eggs hatching, from which small chickens are breaking out. The chickens are facing each other, and are just about to jump out of the eggs. The eggs and chickens are drawn with black outlines. Starting at the top, and ending at the bottom, we can see eight lines of text, aligned to the center, unfolding between the figures. The lines are made from cut-outs of white paper with printed black text in modern sans-serif. The text reads, from the top to bottom: "But the sum-total of all these possibilities, torments, descriptions and parts is so vast, so incommensurable, so inconceivable and, what is more, so inexhaustible, that, with the most profound respect for the Word, and after the most scrupulous analysis, it must be admitted that we are no wiser than when we began, Cluck! Cluck! Cluck! as the chicken said."

Frances StarkA Torment of FolliesSecession, Vienna

Exhibition Images

Frances StarkA Torment of Follies
Secession, Vienna