While researching my essay I was pleased to learn that women were important in the art scene in New York during the 50's and 60's. So much has been written about those 'genius' male artists that it is easy to overlook the women who were involved. I researched Katharine Kuh because she was the person that Mark Rothko called first when he decided to withdraw his paintings from the Seagram building. Kuh had curated Rothko's first solo exhibition at the Art Institute of Chicago in 1956 and remained friends with the artist for the rest of his life. Another close friend of Rothko was Dore Ashton, also an art critic. When Dore visited Rothko in his studio and they were surrounded by the dark red and purple Seagram Murals he told her "I have created a place". Dore Ashton's book About Rothko (1973) remains in print to this day. (Because I have not read it I won't give an opinion on its merit but I will say that I am reading James B Breslin's biography of Mark Rothko and would give it four stars.)
Tuesday, May 15, 2007
Katharine and Dore
While researching my essay I was pleased to learn that women were important in the art scene in New York during the 50's and 60's. So much has been written about those 'genius' male artists that it is easy to overlook the women who were involved. I researched Katharine Kuh because she was the person that Mark Rothko called first when he decided to withdraw his paintings from the Seagram building. Kuh had curated Rothko's first solo exhibition at the Art Institute of Chicago in 1956 and remained friends with the artist for the rest of his life. Another close friend of Rothko was Dore Ashton, also an art critic. When Dore visited Rothko in his studio and they were surrounded by the dark red and purple Seagram Murals he told her "I have created a place". Dore Ashton's book About Rothko (1973) remains in print to this day. (Because I have not read it I won't give an opinion on its merit but I will say that I am reading James B Breslin's biography of Mark Rothko and would give it four stars.)
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I can see you are deep into Rothko at the moment so something that may be of interest to you. During a discussion between some of 'us' fellow OPUS students at the V&A in London recently we were interested to discover how the Rothko room at the Tate effected us differently. Personally I sat in there several times when undertaking this module and each time felt a desperate sense of pressure that became increasingly uncomfortable. Antother friend said it gives her a feeling of despair whilst a third said it always leaves her feeling uplifted.All I can say is that when I was there last a group of primary school children actually refused to enter the room. Food for thought! thank goodness he decided to withdraw them from the Seagram restaurant.
Chris
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