GCB Kunstlexikon
MARK ROTHKO
Rothko | ‚No.1 (Royal Red and Blue)‘ | Sotheby’s | YouTube |
A large-scale masterpiece by Mark Rothko will lead Sotheby’s Evening Auction of Contemporary Art on 13 November. This majestic canvas was one of eight works hand-selected by Rothko for his landmark solo show of the same year at the Art Institute of Chicago and has remained in the same collection for 30 years.
Mark Rothko | ‚No.17‘ | Christie’s | YouTube |
Painted at the pinnacle of the artist’s career, the rare ‘blue’ canvas is set to be a highlight of Christie’s Post War & Contemporary Art sales on 10 May in New York
Mark Rothko | ‚Untitled‘ | 1952 | Christie’s | YouTube |
Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art, discusses Mark Rothko’s Untitled, 1952, to be offered in the upcoming Post-War and Contemporary Evening Sale on 13 May 2014 in New York.
Mark Rothko at Tate Modern | TateShots | YouTube | In 2008/09 Tate Modern presented an exhibition of the late works of Mark Rothko. The show’s curator, Achim Borchardrt-Hume, takes us on a tour featuring the iconic Seagram Murals, Black-Form paintings, and the Black on Grey paintings — the last series made before Rothko’s death in 1970. We find out how much importance Rothko placed on the way his work was displayed, and why these mysterious rectangles of layered pigment hold such enduring appeal | Tate Modern | https://www.tate.org.uk/visit/tate-modern
VIDEO / FILM MARK ROTHKO
Mark Rothko | Vibrations | MOCA | YouTube | https://www.moca.org/
MOCA Director Philippe Vergne, USC’s Suzanne Hudson, and artist Mary Weatherford discuss the work of Mark Rothko. Rothko’s paintings strive to express complex human emotions through vast color fields vibrating against one another. The works are physically bound by the edges of the canvas, but their impact lays in the experience of viewing. Director: Alexa Karolinski Cinematography: Ryan Carmody, Caleb Heller Editor: Grace Kline Music: Ben Sterling Color Grade: Nick Sander, The Mill Sound Mix: Owen Granich-Young
The Case For Mark Rothko | The Art Assignment | PBS Digital Studios | YouTube |
Rectangles after rectangles after rectangles. Rothko was a truly prolific artist who found his groove painting hazy swatches of color and stuck with it until the very end. Maybe you’ve wondered what the point of it all is, or why he did seemingly the same thing over and over again. Here’s your answer.
Ben Street | Mark Rothko seeing Red | Kunsthistorisches Museum Wien
https://www.khm.at/ | Im Rahmen unserer Modern & Contemporary Gesprächsreihe ist im Mai der Kunsthistoriker und Autor Ben Street mit einem Vortrag zu Mark Rothko zu Gast. Die verschiedenen Rottöne in den Bildern von Mark Rothko wirken stärker auf die BetrachterInnen als jede andere in seinen Kompositionen verwendete Farbe. Sie sind abwechselnd instinktiv, emotional und erhaben. Der Vortrag „Seeing Red“ beleuchtet Rothkos Rottöne – ihre Quellen, ihre Variationen und ihre Wirkungen – um die besondere Bedeutung dieser Farbe in seinem Werk auszuloten. Ben Street ist Kunsthistoriker und Autor und lebt in London. Er unterrichtet moderne und zeitgenössische Kunst in den Master-Lehrveranstaltungen von Christie’s Education und hält Vorträge an verschiedenen Museen und Galerien in London.
Restoring Rothko | Tate Modern | https://www.tate.org.uk/visit/tate-modern | Filmed over 18 months, this is the story behind the restoration of Mark Rothko’s ‚Black on Maroon‘. Mark Rothko’s ‚Black on Maroon‘ 1958 goes back on public view at Tate Modern on 13 May 2014, following 18 months of intensive work by the Conservation team and colleagues across Tate. The painting, one of the iconic Seagram murals which Rothko donated to Tate in 1970, was vandalised with graffiti ink in October 2012. It has since been the subject of detailed research and restoration by the core treatment team of Rachel Barker, Bronwyn Ormsby and Patricia Smithen. Over nine months the team researched methods for removing the ink from the delicate paint layers, using special test canvases to assess the appropriate solvents and cleaning methods. Rachel then spent a further nine months working on Black on Maroon itself, removing the majority of the surface ink before restoring the painting’s surface | YouTube
MARK ROTHKO
Rothko | ‚No.1 (Royal Red and Blue)‘ | Sotheby’s | YouTube |
A large-scale masterpiece by Mark Rothko will lead Sotheby’s Evening Auction of Contemporary Art on 13 November. This majestic canvas was one of eight works hand-selected by Rothko for his landmark solo show of the same year at the Art Institute of Chicago and has remained in the same collection for 30 years.
Mark Rothko | ‚No.17‘ | Christie’s | YouTube |
Painted at the pinnacle of the artist’s career, the rare ‘blue’ canvas is set to be a highlight of Christie’s Post War & Contemporary Art sales on 10 May in New York
Mark Rothko | ‚Untitled‘ | 1952 | Christie’s | YouTube |
Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art, discusses Mark Rothko’s Untitled, 1952, to be offered in the upcoming Post-War and Contemporary Evening Sale on 13 May 2014 in New York.
Mark Rothko at Tate Modern | TateShots | YouTube | In 2008/09 Tate Modern presented an exhibition of the late works of Mark Rothko. The show’s curator, Achim Borchardrt-Hume, takes us on a tour featuring the iconic Seagram Murals, Black-Form paintings, and the Black on Grey paintings — the last series made before Rothko’s death in 1970. We find out how much importance Rothko placed on the way his work was displayed, and why these mysterious rectangles of layered pigment hold such enduring appeal | Tate Modern | https://www.tate.org.uk/visit/tate-modern
VIDEO / FILM MARK ROTHKO
Mark Rothko | Vibrations | MOCA | YouTube | https://www.moca.org/
MOCA Director Philippe Vergne, USC’s Suzanne Hudson, and artist Mary Weatherford discuss the work of Mark Rothko. Rothko’s paintings strive to express complex human emotions through vast color fields vibrating against one another. The works are physically bound by the edges of the canvas, but their impact lays in the experience of viewing. Director: Alexa Karolinski Cinematography: Ryan Carmody, Caleb Heller Editor: Grace Kline Music: Ben Sterling Color Grade: Nick Sander, The Mill Sound Mix: Owen Granich-Young
The Case For Mark Rothko | The Art Assignment | PBS Digital Studios | YouTube |
Rectangles after rectangles after rectangles. Rothko was a truly prolific artist who found his groove painting hazy swatches of color and stuck with it until the very end. Maybe you’ve wondered what the point of it all is, or why he did seemingly the same thing over and over again. Here’s your answer.
Ben Street | Mark Rothko seeing Red | Kunsthistorisches Museum Wien
https://www.khm.at/ | Im Rahmen unserer Modern & Contemporary Gesprächsreihe ist im Mai der Kunsthistoriker und Autor Ben Street mit einem Vortrag zu Mark Rothko zu Gast. Die verschiedenen Rottöne in den Bildern von Mark Rothko wirken stärker auf die BetrachterInnen als jede andere in seinen Kompositionen verwendete Farbe. Sie sind abwechselnd instinktiv, emotional und erhaben. Der Vortrag „Seeing Red“ beleuchtet Rothkos Rottöne – ihre Quellen, ihre Variationen und ihre Wirkungen – um die besondere Bedeutung dieser Farbe in seinem Werk auszuloten. Ben Street ist Kunsthistoriker und Autor und lebt in London. Er unterrichtet moderne und zeitgenössische Kunst in den Master-Lehrveranstaltungen von Christie’s Education und hält Vorträge an verschiedenen Museen und Galerien in London.
Restoring Rothko | Tate Modern | https://www.tate.org.uk/visit/tate-modern | Filmed over 18 months, this is the story behind the restoration of Mark Rothko’s ‚Black on Maroon‘. Mark Rothko’s ‚Black on Maroon‘ 1958 goes back on public view at Tate Modern on 13 May 2014, following 18 months of intensive work by the Conservation team and colleagues across Tate. The painting, one of the iconic Seagram murals which Rothko donated to Tate in 1970, was vandalised with graffiti ink in October 2012. It has since been the subject of detailed research and restoration by the core treatment team of Rachel Barker, Bronwyn Ormsby and Patricia Smithen. Over nine months the team researched methods for removing the ink from the delicate paint layers, using special test canvases to assess the appropriate solvents and cleaning methods. Rachel then spent a further nine months working on Black on Maroon itself, removing the majority of the surface ink before restoring the painting’s surface | YouTube
MARK ROTHKO
Rothko | ‚No.1 (Royal Red and Blue)‘ | Sotheby’s | YouTube |
A large-scale masterpiece by Mark Rothko will lead Sotheby’s Evening Auction of Contemporary Art on 13 November. This majestic canvas was one of eight works hand-selected by Rothko for his landmark solo show of the same year at the Art Institute of Chicago and has remained in the same collection for 30 years.
Mark Rothko | ‚No.17‘ | Christie’s | YouTube |
Painted at the pinnacle of the artist’s career, the rare ‘blue’ canvas is set to be a highlight of Christie’s Post War & Contemporary Art sales on 10 May in New York
Mark Rothko | ‚Untitled‘ | 1952 | Christie’s | YouTube |
Brett Gorvy, Chairman and International Head of Post-War and Contemporary Art, discusses Mark Rothko’s Untitled, 1952, to be offered in the upcoming Post-War and Contemporary Evening Sale on 13 May 2014 in New York.
Mark Rothko at Tate Modern | TateShots | YouTube | In 2008/09 Tate Modern presented an exhibition of the late works of Mark Rothko. The show’s curator, Achim Borchardrt-Hume, takes us on a tour featuring the iconic Seagram Murals, Black-Form paintings, and the Black on Grey paintings — the last series made before Rothko’s death in 1970. We find out how much importance Rothko placed on the way his work was displayed, and why these mysterious rectangles of layered pigment hold such enduring appeal | Tate Modern | https://www.tate.org.uk/visit/tate-modern
VIDEO / FILM MARK ROTHKO
Mark Rothko | Vibrations | MOCA | YouTube | https://www.moca.org/
MOCA Director Philippe Vergne, USC’s Suzanne Hudson, and artist Mary Weatherford discuss the work of Mark Rothko. Rothko’s paintings strive to express complex human emotions through vast color fields vibrating against one another. The works are physically bound by the edges of the canvas, but their impact lays in the experience of viewing. Director: Alexa Karolinski Cinematography: Ryan Carmody, Caleb Heller Editor: Grace Kline Music: Ben Sterling Color Grade: Nick Sander, The Mill Sound Mix: Owen Granich-Young
The Case For Mark Rothko | The Art Assignment | PBS Digital Studios | YouTube |
Rectangles after rectangles after rectangles. Rothko was a truly prolific artist who found his groove painting hazy swatches of color and stuck with it until the very end. Maybe you’ve wondered what the point of it all is, or why he did seemingly the same thing over and over again. Here’s your answer.
Ben Street | Mark Rothko seeing Red | Kunsthistorisches Museum Wien
https://www.khm.at/ | Im Rahmen unserer Modern & Contemporary Gesprächsreihe ist im Mai der Kunsthistoriker und Autor Ben Street mit einem Vortrag zu Mark Rothko zu Gast. Die verschiedenen Rottöne in den Bildern von Mark Rothko wirken stärker auf die BetrachterInnen als jede andere in seinen Kompositionen verwendete Farbe. Sie sind abwechselnd instinktiv, emotional und erhaben. Der Vortrag „Seeing Red“ beleuchtet Rothkos Rottöne – ihre Quellen, ihre Variationen und ihre Wirkungen – um die besondere Bedeutung dieser Farbe in seinem Werk auszuloten. Ben Street ist Kunsthistoriker und Autor und lebt in London. Er unterrichtet moderne und zeitgenössische Kunst in den Master-Lehrveranstaltungen von Christie’s Education und hält Vorträge an verschiedenen Museen und Galerien in London.
Restoring Rothko | Tate Modern | https://www.tate.org.uk/visit/tate-modern | Filmed over 18 months, this is the story behind the restoration of Mark Rothko’s ‚Black on Maroon‘. Mark Rothko’s ‚Black on Maroon‘ 1958 goes back on public view at Tate Modern on 13 May 2014, following 18 months of intensive work by the Conservation team and colleagues across Tate. The painting, one of the iconic Seagram murals which Rothko donated to Tate in 1970, was vandalised with graffiti ink in October 2012. It has since been the subject of detailed research and restoration by the core treatment team of Rachel Barker, Bronwyn Ormsby and Patricia Smithen. Over nine months the team researched methods for removing the ink from the delicate paint layers, using special test canvases to assess the appropriate solvents and cleaning methods. Rachel then spent a further nine months working on Black on Maroon itself, removing the majority of the surface ink before restoring the painting’s surface | YouTube
