Word: rothko
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Dates: during 1970-1979
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DIED. Harold Rosenberg, 72, author (Saul Steinberg, Barnett Newman) and art critic of The New Yorker; of a stroke, in Springs, N.Y. Rosenberg's essays on Pollock, de Kooning, Gorky, Motherwell and Rothko, whom he called action painters, helped legitimize the first New York school of abstract expressionism...
...displaying a Gallic idiosyncrasy or an American one? Both. Is that his business, not anyone else's? Yes. Is name changing an American quirk? Absolutely, says this SuperAmerican. Look at Natasha Gurdin (Natalie Wood); Marcus Rothkowitz (Mark Rothko); Michael Igor Peschkowsky (Mike Nichols). If Columbus had hung around, he might have called himself Collins. By the end of the volume does the reader feel a giddy temptation to throw away his own first name and mess around with the letters of the rest? As De Gramont-Morgan proves, that requires a lot of thought. - S. Wok (formerly John Skow...
...onward -cubism, futurism, constructivism, surrealism, in fact nearly every successive European movement found its provincial resonance among New York artists. But then, in the early 1950s, the stream slackened and reversed its course. New York was the center, Paris the province. It was now the turn of the Americans-Rothko and de Kooning, Johns and Rauschenberg, the Pop artists in the '60s-to alarm and stimulate the French. Thus the puritan Yankee paying his awkward homages to Matisse's sensuality was replaced, in the commedia dell'arte, by the French Pop artist in his new-faded denims...
...York art world, the decade 1955-64 has an almost magical air: a bath of transformations. Rauschenberg entered it as a frog and emerged a certified prince holding the first prize of the 1964 Venice Biennale. By 1955 the achievement of the abstract expressionists?Pollock, Gorky, de Kooning, Still, Rothko, Kline, Motherwell?was recognized across the Atlantic, and the aesthetic colonization of Europe by New York art began in earnest. In this momentous shift of taste, energy and locus, a younger generation of American artists would be the legatees. Its symbolic twins, its Castor and Pollux, were Robert Rauschenberg...
...stuff, but American transcendentalism was persistent and-so the exhibition argues-it survived the impact of modernism. The authority of the landscape remained, as did the artists' meditations on primitive nature and the origins of consciousness. Reams of exegesis have been devoted to the numinous imagery of Mark Rothko's paintings, with their feathery bars and rectangles of hovering light. The vital text, however, was unwittingly furnished by a popular American preacher in the 1920s, when asked to describe his vision of God. "I see him," said the evangelist, "as a sort of oblong blur...