Rothko, Mark (1903-1970)

2018 ◽  
Author(s):  
David Hodge
Keyword(s):  
New York ◽  
Native American ◽  
American Art ◽  
Museum Of Modern Art ◽  
New York School ◽  
Native American Art ◽  
Metropolitan Museum Of Art ◽  
Four Seasons ◽  
The Us ◽  
Mark Rothko

Mark Rothko is one of the most celebrated painters from a group that matured in the US of the 1940s, later dubbed ‘The New York School’. His work became increasingly famous in the US and Europe during the 1950s, and his status was solidified by a large retrospective at the Museum of Modern Art in New York in 1962. Rothko began his career as a figurative painter. From 1938, he produced an innovative style that drew on Surrealism and incorporated disparate sources from ancient Greek and Native American art to Biblical imagery. After 1945 his paintings became increasingly abstract, moving towards the style that he is most associated with today. These works involve soft, cloud-like rectangles of colour, painted in multiple layers, which produce the appearance of glowing, shimmering light. Rothko had an uneasy relationship with art critics, collectors, and institutions. In 1950, he was amongst a group known as ‘The Irascibles’, who protested that a juried exhibition of contemporary works at the Metropolitan Museum of Art was hostile to ‘advanced art.’ In 1958, he reneged on a major commission to produce murals for the Four Seasons Hotel in New York, deciding that its atmosphere was inappropriate.

Consumption as Assimilation: New York Times Reporting on Native American Art and Commodities, 1950–1970

2018 ◽  
Vol 53 (4) ◽  
pp. 972-996
Author(s):  
REETTA HUMALAJOKI
Keyword(s):  
New York ◽  
Native American ◽  
New York Times ◽  
American Art ◽  
The United States ◽  
Indian Policy ◽  
Native American Art ◽  
Federal Indian Policy ◽  
Indigenous Cultures ◽  
Art Collectors

The appropriation of Indigenous cultures has sparked multiple controversies in the United States over the past decade. This phenomenon is not new, however. This article examines New York Times reporting on Native American art and commodities to demonstrate how trends in consuming “Indian” products contributed to the assimilationist federal Indian policy of termination, between 1950 and 1970. In this period the consumption of items perceived as “Indian” shifted from an elite art collectors’ activity to a widespread fashion trend. Nevertheless, Times reporting shows that throughout this era shopping for “Indian” items subsumed Indigenous cultures into the imagined unity of a national American identity.

Bahá’u’lláh’s Influence on the New York School of Painting: The “Unapprehended Inspiration” of Newman and Rothko

1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman
Keyword(s):  
New York ◽  
Divine Revelation ◽  
New York School ◽  
The World ◽  
Mark Rothko ◽  
The Veil ◽  
The City

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.

Hartley, Marsden (1877–1943)

2018 ◽  
Author(s):  
Regina Palm
Keyword(s):  
New York ◽  
Native American ◽  
New York School ◽  
Still Life ◽  
Home State ◽  
Philosophical Movement ◽  
Religious Iconography

Marsden Hartley was a modernist painter and writer who worked in a variety of styles, from abstract to still life. After leaving school at fifteen to work in a factory, Hartley moved to Ohio where, in 1898, he received a scholarship to attend the Cleveland School of Art. It was there, after receiving a copy of Ralph Waldo Emerson’s Essays (1841), that Hartley became acquainted with the American spiritual and philosophical movement Transcendentalism. The following year Hartley enrolled at the New York School of Art, and in 1909 he received his first solo exhibition at Alfred Stieglitz’s 291 gallery. Hartley’s fascination with mysticism manifested itself in his paintings of grandiose mountains, Native American motifs, and religious iconography. In addition to his home state of Maine, Hartley came to love Germany. Berlin’s vibrant cultural scene, in conjunction with the city’s historical tolerance of homosexuality, may have contributed to the city’s appeal to Hartley, whom scholars believe to have been gay. Two of his most famous series, Amerika and War Motif, were both produced in Berlin in the 1910s. In addition to publishing treatises on art, Hartley wrote an autobiography, Somehow a Past (1933).

scholarly journals Invisible inequality leads to punishing the poor and rewarding the rich

2019 ◽  
pp. 1-21 ◽  
Author(s):  
OLIVER P. HAUSER ◽  
GORDON T. KRAFT-TODD ◽  
DAVID G. RAND ◽  
MARTIN A. NOWAK ◽  
MICHAEL I. NORTON
Keyword(s):  
New York ◽  
Public Education ◽  
School Districts ◽  
New York School ◽  
Public Goods Game ◽  
Policy Makers ◽  
The Poor ◽  
The Us ◽  
The Rich ◽  
Shed Light

AbstractFour experiments examine how lack of awareness of inequality affect behaviour towards the rich and poor. In Experiment 1, participants who became aware that wealthy individuals donated a smaller percentage of their income switched from rewarding the wealthy to rewarding the poor. In Experiments 2 and 3, participants who played a public goods game – and were assigned incomes reflective of the US income distribution either at random or on merit – punished the poor (for small absolute contributions) and rewarded the rich (for large absolute contributions) when incomes were unknown; when incomes were revealed, participants punished the rich (for their low percentage of income contributed) and rewarded the poor (for their high percentage of income contributed). In Experiment 4, participants provided with public education contributions for five New York school districts levied additional taxes on mostly poorer school districts when incomes were unknown, but targeted wealthier districts when incomes were revealed. These results shed light on how income transparency shapes preferences for equity and redistribution. We discuss implications for policy-makers.

Selected resources on Native American art

2008 ◽  
Vol 33 (2) ◽  
pp. 34-38
Author(s):  
Marilyn Russell ◽  
Thomas E. Young
Keyword(s):  
Native American ◽  
New Mexico ◽  
American Indian ◽  
American Art ◽  
Santa Fe ◽  
Electronic Resources ◽  
Native American Art ◽  
University Library ◽  
Indigenous Groups ◽  
Indian Nations

This review of selected paper and electronic resources on Native American art describes what is available at the Haskell Indian Nations University Library and Archives in Lawrence, Kansas; the Institute of American Indian Arts Library and Archives in Santa Fe, New Mexico; the H.A. & Mary K. Chapman Library and Archives at the Philbrook Museum of Art in Tulsa, Oklahoma; and the Billie Jane Baguley Library and Archives at the Heard Museum Library in Phoenix, Arizona. These four institutions develop and maintain resources and collections on Native American art and make the information they contain about indigenous groups available not only to their users and other scholars but also to the wider world.

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