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ARCHIVE
2010
aug days
• greener, whiter, redder vegetables
jun days
• french & american recycled colored plastic
may days
• gray walk through sunny oakland
apr days
• color
concept &
theory widgets and apps
mar days
• red:
a portrait of a artist rothko
feb days
• talking
heads as figure/ground
jan days
• tanja's
black light dance party
dec days
• tootsie roll pop wrappers colors & flavors
nov days
• stephen vitiello's four color
sound
oct days
• atmospheric perspective
sept days
• a rainbow
of antioxidants
colors
aug days
• floor stain colorants
jul
days
• minimal colors
jun days
• wildflowers cataloged by color
may days
• tennis court colors
apr days
• morandi's neutral colors
mar days
• grid colorists
feb days
• black as
film noir
jan days
• flood of toxic minerals used in paints
ARCHIVE
2008
dec days
• comple-mentary
colors
nov days
• kettle korn
packaging color change
oct days
• green fluorescent protein
sept days
• red palms - not green
aug days
• blue tunes
jul days
• “blue” -
textile museum
jun days
• “fiesta- ware”
colorants
may days
• “blue alchemy” hive gallery
apr days
• “sennelier” selecting
watercolours for travel
new
yorker 4/12/10 publication excerpt:
“In John Logan’s “Red” (elegantly directed by Michael Grandage, at the
Golden), Rothko (Alfred Molina) is onstage twenty minutes before the play
begins. He’s in his studio, a vast cave of consciousness that, subtly designed
by Christopher Oram, also suggests a sanctuary. Rothko sits in a blue wooden
chair with his back to us, surrounded by unfinished canvases that are propped
against the high, dingy walls; he is studying one of five huge murals that
he’s been commissioned to do for the new Seagram Building. His first gesture,
once the play begins, is to walk up to the painting and feel the canvas
with the flat of his hand. Rothko is already well inside the painting;
the success of Logan’s smart, eloquent entertainment is to bring us in
there with him.” . . . continued below.
new
yorker 4/12/10 publication excerpt:
For a month in 1949, Rothko went to the Museum of Modern Art to stand
in front of Matisse’s “The Red Studio,” which the museum had newly acquired.
Looking at it, he said, “you became that color, you became totally saturated
with it.” Rothko turned his transcendental experience into an artistic
strategy; his work demanded surrender to the physical sensation of color.
“Compressing his feelings into a few zones of color,” Rosenberg wrote,
“he was at once dramatist, actor, and audience of his self-negation.”
Rothko escaped from the hell of personal chaos into the paradise of color.
“To paint a small picture is to place yourself outside your experience,”
he said. “However, you paint the large picture, you are in it.”
click
to read full article
red,
a portrait of artist rothko
In the april 12, 2010 new yorker article, the theatre critique john lahr reviews logan's “red, a portrait of artist rothko”. below are excerpts (two paragraphs) from the article: lahr describes rothko's experience in seeing matisse's “the red studio” and gives readers a heady dose of rothko's color sensibility.
also described below are publication excerpts from the tate museum web post by christoph grunenberg on the details about rothko's 1958 controversial seagram commission:
“Mark Rothko (1903-1970) was born in Russia. He emigrated to the USA
in 1913, and from 1925 lived and worked in New York. In the late 1950s,
Rothko was commissioned to paint a series of murals for the fashionable
Four Seasons restaurant in the Seagram Building on Park Avenue, New York
. . . Rothko soon realized that their brooding character required
a very different environment.
. . . The bright and intense colours of his earlier paintings shifted
to maroon, dark red and black . . . Recognising that the worldly setting
of a restaurant would not be the ideal location for such a work, Rothko
withdrew from the commission.”
click
to read full article
The final series of Seagram Murals: London’s Tate Modern, Japan’s Kawamura Memorial Museum and the National Gallery of Art in Washington, D.C.
Sample on left: The Red Studio /
Henri Matisse (French, 1869-1954)
Issy-les-Moulineaux, fall 1911. Oil on canvas, 71 1/4" x 7' 2 1/4" (181
x 219.1 cm).
museum of modern art nyc publication/web post excerpt: "Where I
got the color red—to be sure, I just don't know," Matisse once remarked. "I
find that all these things . . . only become what they are to me when
I see them together with the color red." . . . The artworks appear
in color and in detail, while the room's architecture and furnishings
are indicated only by negative gaps in the red surface. The composition's
central axis is a grandfather clock without hands—it is as if,, in the
oasis of the artist's studio, time were suspended.”
click
to read full article