Rooted in the Sacred? On Mark Rothko, Tears Flowing, and Enargeia

2020 ◽  
pp. 217-234
Author(s):  
Herman Roodenburg
Keyword(s):  
1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman

As members of the New York School of painters, Barnett Newman and Mark Rothko announced not only the passing away of an entire creation but also the bringing forth of a new one. Though unaware that they were living and painting in the City of the Covenant whose light would one day rise from darkness and decay to envelop the world even as their painting of light consciously arose from the void of a blank canvas, Newman’s and Rothko’s work may nevertheless be best understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” Their work may yet find its true spiritual location in the spiritual city founded by ‘Abdu’l-Bahá on his visit to New York in 1912.


Author(s):  
Mark Byers

The Practice of the Self situates the work of American poet Charles Olson (1910–70) at the centre of the early postwar American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson’s work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson’s published and unpublished writings to establish an original account of early postwar American modernism. The development of Olson’s work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists—including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage—The Practice of the Self offers a new reading of a major American poet and an original account of the emergence of postwar American modernism.


2017 ◽  
Vol 13 (2) ◽  
Author(s):  
Armin Gómez ◽  
Eva Citlali Martínez

AbstractLaureate play “Red,” by John Logan, is a dramatic representation of biographical facts about and intellectual positions of the Abstract Expressionist painter Mark Rothko (1903–1970). With the tool of semiotic methodology named “Dramatology” it is possible to appreciate both text and staging – which go beyond a theatrical experience. “Red” leads the reader/spectator to question current human pragmatism and environmental insensitivity. Its main character wants to change the usual perspective of seeing and understanding pictures in order to achieve a more emotional and enriching art experience. The staging embraces certain tasks such as the construction of a large-format frame and the application of red paint on a canvas to stimulate the audience’s senses, breaking theatrical illusion. Ecocriticism allows us to describe the dramatic strategies of “Red” that raise audience awareness.


2017 ◽  
Vol 16 (1) ◽  
Author(s):  
Eleonora Jedlińska

Wydarzenia rozgrywające się w Europie w okresie panowania ideologii faszystowskiej wywarły znaczący wpływ na malarstwo artystów amerykańskich związanych z ekspresjonizmem abstrakcyjnym. Nazwa „ekspresjonizm abstrakcyjny”, nieprecyzyjna i nieco myląca, pozostała pojęciem trwale obecnym w terminologii naukowej historii sztuki. Rozważając jednak tę sztukę z perspektywy wydarzeń, które miały miejsce w Europie między 1933 a 1945 r., posiłkując się znaczącymi tytułami prac i kontekstem ich powstania – Marka Rothko ponumerowane, szare, brunatne i czarne murale do Seagram Building na Manhattanie z końca lat pięćdziesiątych, czarne i brunatne obrazy do kaplicy w Houston powstałe w latach siedemdziesiątych, Barnetta Newmana 14 obrazów The Stations of the Cross: Lema Sabachthani, Franka Stelli minimalistyczny obraz zatytułowany Arbeit macht frei (1958), The Polish Village Series, seria 24 czarnych obrazów powstałych w młodzieńczym okresie twórczości artysty – sięgając do wypowiedzi tych artystów, ich biografii, winniśmy tę sztukę rozpatrywać jako sztukę historyczną. Trzej przedstawiciele tego nurtu, Barnett Newman, Mark Rothko, Frank Stella, którym poświęcony jest niniejszy artykuł, reprezentują malarstwo pozornie pozbawione odniesień formalnych, próbują poprzez nie wyrazić niewyobrażalne, niejako zmuszając umysł do wyobrażenia sobie, czym było piekło Auschwitz.


1986 ◽  
Vol 16 ◽  
pp. 1-41
Author(s):  
James E. B. Breslin
Keyword(s):  

1980 ◽  
Vol 15 (2) ◽  
pp. 184-186 ◽  
Author(s):  
Robert Knott
Keyword(s):  

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