Word: rothkos
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...objects, the artificial lighting. You are now inside the Fogg Art Museum cold storage facility. Located in the basement of the museum, cold storage is not only a repository for the leftover masterpieces of the Fogg's ever-burgeoning collection, but is also the surrogate home of Mark Rothko's mythical Harvard murals. Unlike its fellow occupants, the Rothko murals, wrapped twice over in heavy, light-blocking plastic, have emerged only two times for public view, once in 1988 and more recently in 1993, since their initial storage in 1979 in the Busch-Reisinger Museum...
...sudden maturity, is waning now (How could anyone keep it up?), but it has a slightly weird consequence for this show. The older works--the ones from the teens, '20s and '30s--look fresher than the younger ones. We are used to seeing endless reproductions of de Kooning, Pollock, Rothko--but not of Elie Nadelman, Arthur Dove or Joseph Stella. Because of this contrast, the top two floors of the show--it starts at the top and, taking advantage of gravity, goes downward--seem more interesting than the third. That's not the art's fault, but it goes...
...were either lost to modern, Euro-American culture or buried so far back in its origins that they seemed mysterious and exotic. Pollock in the late 1930s was a boy in deep emotional trouble, drinking like a fish and undergoing Jungian analysis. Like other Abstract Expressionists-to-be (Mark Rothko, for instance), he was on the lookout for archetypes and dark, unconsulted levels of feeling, in the hope that art could release his inner shaman, antlers, rattle and all. Hence the portentous "mythic" subjects of his pictures (The Moon Woman Cuts the Circle, Pasiphae and so on) and their general...
...residences and look tasteful and patriotic. Through agreements with an array of institutions, artists and collectors, the program encourages ambassadors to become their own art dealers, selecting works that strike their aesthetic fancy. Among the most chosen artists in the diplomatic service: Childe Hassam, Maurice Prendergast, Edward Hopper, Mark Rothko, Jacob Lawrence, Morris Louis, Andrew Wyeth, Robert Rauschenberg, Dale Chihuly and Helen Frankenthaler. Says director Roselyne Swig: "Our ambassadors see the works as an invaluable outreach tool...
...visionary. Sometimes it was drenched in a yearning for nature as a source of metaphor, as in the pantheistic paintings of Arshile Gorky; sometimes its sources lay hidden in the unconscious, as with Pollock. Except for de Kooning and Franz Kline, most of the Abexers--Gorky, Pollock, Mark Rothko, Robert Motherwell, William Baziotes, Barnett Newman, Adolph Gottlieb, Clyfford Still--saw the socially grounded activist art of the 1930s, whether Nativist like the Regionalism of Grant Wood and Thomas Hart Benton or left-wing Social Realist, as provincial, shallow and irrelevant. "Poor art for poor people," sniffed Gorky. They wanted...