Corey D’Augustine (educator and independent conservator) discusses the techniques Mark Rothko used in the course of making his paintings.
filmed by Plowshares Media
Images courtesy of Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York; and The Museum of Modern Art, New York
Music by Chris Parrello
Chris Parrello, Ian Young, Kevin Thomas, Ziv Ravitz
© 2010 The Museum of Modern Art
Franz Ackermann is a multimedia artist whose practice is entwined with the action and implications of travel and tourism. His works encompass painting, drawing, photography, sculpture, and, perhaps most famously, immersive installations. In his installations, Ackermann is known for incorporating the architecture of a space, at times making use of the ceiling, floors, and hallways of a gallery space. His works are made in part during his own excursions, and in part in his studio, based on memories of experiences. One of his first major series, “Mental Maps” (begun 1996) is a series of watercolors created around the world, which mixes factually precise maps of a city along with his own interpretations. Other works address themes of globalization, and the glamor and waste of commercialization.
As part of The Mistake Room series on Contemporary Art and Thought,TMR Director and Chief Curator Cesar Garcia interviews artist Oscar Murillo. Los Angeles, 2014. 62 minutes.
Composer Morton Feldman’s epic, 4.5 hour long piece dedicated to his friend Philip Guston hovers in place, shimmering like a slowly revolving mobile, its langorous harmonies hanging in mid-air as they gradually evaporate. The piece was written in 1984, in memoriam to Philip Guston, who passed away in 1980. Feldman and Philip Guston were best friends until 1970, when the painter’s sudden switch back from abstract expressionism to representational painting appalled the composer so much that the two men remained estranged until Guston’s death 10 years later. For Philip Guston is one of the longest of Feldman’s serenely expansive late scores. Continue reading MORTON FELDMAN :: FOR PHILIP GUSTON – S.E.M Ensemble, 2000, 285 minutes
The late Martin Kippenberger and his complex, intertwined oeuvre and work has been widely discussed, in attempts to reconcile his mythic persona with his multi-faceted and highly prolific artistic output, which moved between painting, drawing, sculpture, and performance. Kippenberger blurred the lines between the artist and their art, between ordinary life and art performance, between the banal and the substantial, between the vernacular and the formal, between high and low culture. He was highly prolific and left a trail of confounded critics and controversial readings of his pursuits. Continue reading MARTIN KIPPENBERGER – A COLLAGED PORTRAIT: “My style is where you see the individual and where a personality is communicated through actions, decisions, single objects and facts, where the whole draws together to form a history.”
Palermo was born Peter Schwarze in Leipzig, Germany, in 1943, and adopted as an infant, with his twin brother, Michael, by foster parents named Heisterkamp. He adopted his outlandish name in 1964, during his studies with Bruno Goller and Joseph Beuys at the Kunstakademie Düsseldorf between 1962 and 1967. The name refers to Frank “Blinky” Palermo, an American Mafioso and boxing promoter who managed Sonny Liston. Continue reading BLINKY PALERMO
![Untitled [Fragment 7/5] 1965 Bridget Riley born 1931 Purchased 1970 http://www.tate.org.uk/art/work/P07110](https://gregletson.files.wordpress.com/2016/12/tumblr_o9amed1rlg1t6vefuo1_1280.jpg?w=186&resize=186%2C93&h=93#038;h=93 "Untitled [Fragment 7/5] 1965 by Bridget Riley born 1931")
Bridget Riley is an abstract painter who came to prominence in the American Op Art movement of the 1960s, after her inclusion in the 1965 exhibition “The Responsive Eye” at The Museum of Modern Art. There, her black-and-white paintings—which created illusions of movement—were shown alongside works by Victor Vasarely, Richard Anuszkiewicz, Frank Stella, and Ellsworth Kelly, among others. In the late ’60s, she introduced color into her work and went on to win the Prize for Painting at the 1968 Venice Biennale. Since then her work has unfolded through numerous groups and series that engage the viewers’ perception to induce simultaneously shifting patterns of forms and changing, optical mixtures of colors. Over the past decade, she has also made large, black-and-white murals that shape and articulate the environments they occupy. Her work is ultimately inspired by nature—“although in completely different terms,” she says, adding, “For me nature is not landscape, but the dynamism of visual forces—an event rather than an appearance.”
British, b. 1931, Norwood, London, United Kingdom, based in London, United Kingdom – Artsy.net
a small assortment of works from the highly prolific and multi-faceted Amy Sillman.
Los Angeles-based painter Dion Johnson makes dynamic hard-edged works. Geometric forms mutate intuitively with graphic contrasting colors into delicately balanced compositions. Continue reading DION JOHNSON, recent hard-edge abstraction from Los Angeles
Morris Louis Bernstein was one of the earliest exponents of what became known as Color Field painting in the 1950s. While he was living in Washington D.C. he, along with Kenneth Noland, Gene Davis, Tom Downing, Howard Mehring Anne Truitt and Hilda Thorpe and others, formed an art movement that is known today as the Washington Color School. Ultimately Morris would become one of the leading figures of Color Field painting along with his peers Kenneth Noland and Helen Frankenthaler and Jules Olitski. Continue reading MORRIS LOUIS, Washington Color School Abstraction/Color Field Painting, Pt2
The Incubator 