Wednesday, November 21, 2007


Mark Rothko, 1968

This is one of a group of paintings on paper which Rothko made after a period of illness in 1968,
when he was too weak to work on his customary large-scale canvases.

image and text from the tate collection here

Tuesday, November 20, 2007

Monday, November 19, 2007

Black on Maroon

Black on Maroon, Mark Rothko, 1959

Black on Maroon, Mark Rothko, 1958

Photo © Kate Rothko Prizel and Christopher Rothko/DACS 2006 here and here

Mark Rothko

/.../On the journey down from Naples the party had fallen in with a couple of Italian youths who offered to act as guides.
At Paestum, where the odd-assorted little band picnicked at noon in the Temple of Hera, the young men expressed their
curiosity as to the identity and occupations of the Americans. Fischer's daughter, who was acting as interpreter, turned
to Rothko and said: "I have told them that you are an artist, and they ask whether you came here to paint the temples,"
to which Rothko replied: "Tell them that I have been painting Greek temples all my life without knowing it."

John Banville on Rothko here

Saturday, November 17, 2007

Tools and Grammar

/.../Utgångspunkten är en tysk journalfilm från 1926, som handlar om en klosterskola för blinda barn i Stuttgart.
I en scen besöker barnen en kyrkogård, som de sedan får återskapa i klostrets sandlåda. - Klosterskolan syftade
till att stärka de blinda barnens självkänsla genom att stärka deras andra sinnen. På den tiden fanns inte blindskrift
och de enda stället de kunde läsa, var på gravstenar där bokstäverna är urkarvade/.../

ur DN:påstan om Felix Gmelins utställning Tools and Grammar

Sunday, November 11, 2007

the origins of time

"the days and nights had the same colour, as if everything happened just before daybreak..."
(Giacometti on The Palace..., Minotaure, No. 3-4, 1933)

The Palace at 4 A.M. enigmatically and explicitly is about time. But, one could hardly say that this "time-structure" reveals
any suggestions of organic vitality. Its balance is fragile and precarious, and drained of all notions of energy, yet it has a
primordial grandeur. It takes one's mind to the very origins of time - to the fundamental memory.

All above from Robert Smithson's Quasi-Infinities and the Waning of Space, November 1966 (in collected writings)

Saturday, November 10, 2007

The Palace at 4 A.M.

The Palace at 4 A.M., Alberto Giacometti 1933

Study for The Palace at 4 A.M., Alberto Giacometti 1932