View allAll Photos Tagged ROTHKO
2017 Weekly Alphabet Challenge, week 18, R for Rothko
I captured the maroon/purple lampshade against the off-white wall and framed it with a maroon/purple background in PS Elements 13 to look a bit like a Rothko painting
Last days of summer on Mutiny Bay, Whidbey Island in Washington state. Part of Puget Sound, Mutiny Bay is located in Island County near the southern end of Whidbey Island, northwest of Useless Bay and adjoining Admiralty Inlet. Mutiny Bay was named by the United States Coast Survey in 1855.
328. Modernity is the way to conformity - the way to conformity forever in the direction of the lowest.
329. Kali-yuga is characterised mainly by the passionate clinging to the continuous deterioration and disintegration of consciousness.
331. »Being devoured«: this is the fundamental word for what the rule of darkness realises; being devoured, which is followed by annihilation.
332. Kali-yuga is not merely a state but a threatening and devouring throat.
333. The disintegrating forces of darkness are living forces, living forces that bring death.
335. The forces of darkness can gain power in the world only because they have already gained power in the soul.
Aquarelle sur papier , 64 x 48 cm, 1944, collection Phillips, Washington.
Cette œuvre sombre est sans aucun doute l’une de ses œuvres d’art les plus extraordinaires. Aubade reflète les circonstances difficiles du monde, tel qu'elle a été créée en 1944 vers la fin de la Seconde guerre mondiale. L’œuvre évoque la bataille existentielle de la génération actuelle dans une époque extrêmement compliquée. Simultanément, dans la crudité du moment, la technique s’apparente à l’Arte Povera. Il s'agit d'une sorte de collage sur papier, utilisant des éléments de base et des accidents créés par le papier lui-même. Petit à petit, il se détache de la représentation et expose clairement les marques de ce qui sera dans le futur la manière caractéristique de peindre de Rothko.
Les transparences, le rectangle comme objet pictural, se transforment en un extérieur de la réalité. Dans ce tout nouveau où la couleur domine incontestablement en tant que protagoniste, une certaine sensation est créée, un phénomène distinctif dans lequel la pièce devient une structure unique de couleur. Cet objet qui flotte sur le mur semble s'écarter de toute restriction, comme s'il était sur le point de s'envoler à tout moment. Donald Judd a laissé entendre que Rothko n'avait réalisé rien de moins que la création d'une "nouvelle réalité et d'une nouvelle intégralité (cf. Donald Judd, Complete Writings, Eindhoven: Van Abbemuseum, 1987) (cf. collection Phillips).
Rothko painting at the "National Museum of Modern Art" at the Pompidou Centre in Paris, France. Interestingly, non-flash photography was allowed in most of the museums we visited.
[ 2007 France ]
Blogged by The Ink
Passing train cars. I focused on the train passing in front of me and waited for a colorful combination of shipping containers to come along.
en.wikipedia.org/wiki/Color_Field
If you're in or near Flagstaff: I will be showing at La Bellavia Restaurant (18 S. Beaver St.) in November and December. The opening reception will be Friday, November 2nd during the First Friday Art Walk from 6-8 p.m.. Stop by and say hi!
(or: Crying in front of Rothko)
"It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism."
📍 From A Letter from Mark Rothko and Adolph Gottlieb to the Art Editor of the New York Times - June 7, 1943
Films: CineStill
Dan Budnik had an illustrious career with Magnum for over 25 years. His major portfolios were on famous personalities such as Georgia O'Keefe, Henry Cartier Bresson, and Martin Luther King.
As a photojournalist, Dan Budnik is known for his photographs of artists, but also for his photo-documentation of the Civil Rights Movement and of Native Americans. Born in 1933 in Long Island, New York, Budnik studied with Charles Alston at the Art Students League of New York (1951-53) and began his photography career as Philippe Halsman’s assistant. Working at Magnum Photos (1957-64) in 1963, Budnik persuaded Life Magazine to have him create a long-term photo essay showing the seriousness of the Civil Rights Movement, documenting the Selma to Montgomery march and other historical Civil Rights moments. Budnik went on to photograph for premier publications such as Life, Fortune, Look, Newsweek, Sports Illustrated and Vogue. He has been a major contributor to eight Time-Life Wilderness and Great Cities series and received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology Project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation.BiographyDan Budnik, (b. 1933), whose career as a photographer has spanned more than half a century, was most recent recipient, in 1998, of the prestigious American Society of Media Photographers Honor Roll Award, an accolade previously accorded to such eminent photographers as Man Ray, Edward Steichen, Walker Evans, Dorothea Lange, André Kertész, Ernst Hass, and Henri Cartier-Bresson.After studying with Charles Alston at the Art Students League of New York (1951-53), Budnik began his career as a Magnum photographer. His photo-essays have appeared in periodicals that include Art in America, LIFE Magazine, Fortune, The London Sunday Times, Magazine, Look, Modern Photography, Newsweek, The New York Times Magazine, Réalités and Vogue. He has been a major contributor to many books, including six from the Time-Life Wilderness and Great Cities series. Budnik’s photographs appear in The Museum: An Informal Introduction to The Museum of Modern Art by Richard Schickel (1970). He is included in two seminal histories of photography: Nathan Lyons’ Photography in the Twentieth Century (1967) and The Picture History of Photography from the Earliest Beginnings to the Present Day, by Peter Pollack (1977).
Dan Budnik lives in Flagstaff, Arizona, and is currently involved with creating a photographic record of ancient petroglyphs. Widely acclaimed for his photo-documentation of Native Americans (including his collaboration with Sandy Johnson, The Book of Elders: The Life Stories of Great American Indians, 1994), the Civil Rights Movement, and environmental issues. Budnik received a 1973 grant from the National Endowment for the Arts for his work on the Hudson River Ecology project and a 1980 grant from the Polaroid Foundation for Big Mountain: Hopi-Navajo Forced Relocation.
The scope of Dan Budnik’s documentation of major 20th century artists has yet to be fully recognized. In addition to David Smith, he photographed Lee Bontecou, Alexander Calder, John Chamberlain, Willem de Kooning, Helen Frankenthaler, Jasper Johns, Roy Lichtenstein, Robert Motherwell, Georgia O’Keeffe, Mark Rothko, and many others.
Dan Budnik’s photographs of David Smith first appeared as an April 5, 1963 photo essay for LIFE Magazine. They were first exhibited, in 1974, at the University Art Museum State University of New York, Albany, The Cooper Union for the Advancement of Science and Art, New York, and Rice University, Houston, Texas. The same exhibition circulated nationally under the auspices of the American Federation of Arts, from 1975-78. They have been widely published, and have become an essential part of the extensive body of literature on Smith. Twenty-four of Budnik’s photographs of Smith were reproduced in the catalogue of the exhibition at The Solomon R. Guggenheim Museum, David Smith: A Centennial.
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two little rug from the bathroom reminded me of Rothko's paintings.
Rothko around us. you only have to take a close look.
Mark Rothko, Untitled, c.1950-2, Oil paint on canvas [asphalt], 1900 x 1011 [1900] x 35 mm, Tate Modern, London
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