It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.
Mark RothkoRead
The artist invites the spectator to take a journey within the realm of the canvas... Without taking the journey, the spectator has really missed the essential experience of the picture.
Interpretation
Art requires the viewer's engagement to fully appreciate its depth and experience.
Mark Rothko's quote emphasizes that art is not just a visual display but an invitation for the viewer to interact and explore the meanings and emotions conveyed through the canvas. Without this engagement, the spectator misses out on the essential emotional and experiential depth that the artwork offers.
In practice
During a gallery opening, I shared Rothko's words to highlight the importance of engaging with the artwork.
It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.
Look, it's my misery that I have to paint this kind of painting, it's your misery that you have to love it, and the price of the misery is thirteen hundred and fifty dollars.
We favor the simple expression of the complex thought. We are for the large shape because it has the impact of the unequivocal. We wish to reassert the picture plane. We are for flat forms because they destroy illusion and reveal truth.
The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.
If our titles recall the known myths of antiquity, we have used them again because they are the eternal symbols upon which we must fall back to express basic psychological ideas.
Art to me is an anecdote of the spirit, and the only means of making concrete the purpose of its varied quickness and stillness.
I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.
In my naïvety, I thought people who were in rock 'n' roll bands were great artists, and it was a huge shock to the system to realise that they weren't, that they didn't even aspire to be, really. Some of them did, maybe, but some of them, like Samson, were very frightened of the idea.
If I go to the museum and see white bodies, black bodies, Asian bodies, Latino bodies, then I will expect to see those things every time I go. That matters a lot.
I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of stories and from language.
Art has a way of confronting us, of reminding us, of engaging us, in what it means to be human, and what it means to be human is to be flawed, is to be contradictory, is to be often weak, and yet despite all of these what we would consider drawbacks, that we're also quite beautiful. Spin is the opposite.
Architecture is a dangerous mix of power and importance.
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