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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

ARCHIVE
2009

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

 

 

red_theaterred_theaternew 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.

red studio matissenew 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

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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

 

 

 

 

 

 



 

 

 


 



   

 

 

 

 
 
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