From "Child damages €50m Rothko in ‘unguarded moment’ at museum/The abstract painting will undergo restoration works after it was scratched at the Boijmans Van Beuningen museum in Rotterdam" (London Times).
If the peanut butter people had to pay for peanut butter "clean-up," does that mean the parents will pay for the restoration needed after this "number of visible scratches in the unvarnished paint layer... caused by a child who scratched the underside of the work in an unguarded moment"?
"Scratched the underside"... I'm trying to picture that. I'm guessing the child did not scratch the front surface or the back of the painting, but the bottom edge of what was an unframed painting.
I ask Grok: "Did Rothko leave paintings unframed and paint the edges (the part 90° from the surface plane)?"
Answer: "Yes, Mark Rothko often left his paintings unframed and painted the edges of the canvas (the sides at 90° from the surface). He typically wrapped the paint around the edges to create a seamless, immersive experience, emphasizing the painting as an object rather than a framed window. This approach complemented his large-scale, abstract works, where the edges were integral to the viewer's encounter with the color fields. However, practices varied slightly depending on the piece and period, with some works later framed for exhibition or preservation purposes."
Perhaps the child was fascinated by the seamless, immersive experience and became a tad too immersed.
पोस्ट्स
३० टिप्पण्या:
"If the peanut butter people had to pay for peanut butter "clean-up," does that mean the parents will pay for the restoration needed after this "number of visible scratches in the unvarnished paint layer."
now tell us about WHAT Happens to SJW's that smear red paint on an old work of art to Protest "global warming"
how about keying Tesla's?
A floor smeared with peanut butter. Wow, would that stink. I have to fight a wave of nausea just thinking about it.
"Unguarded moment" What a nice phrase to describe negligent parents.
Europeans don't understand American's fascination with peanut butter ... and for many of us "fascination" or "passion" is the right word. I like Nutella, too, but it seems more self-indulgent than good old American peanut butter.
""Unguarded moment" What a nice phrase to describe negligent parents."
It also "describes" the museum guards.
I wonder what brand of peanut butter was used. Chunky or creamy?
Shoulda threw some chunks of chocolate on there.
Harvard has some Rothkos which it kept in its boardroom, in a new International Style building with floor-to-ceiling windows. Within a few years, the sun faded the crap out of them.
JSM
"Rothko painting worth up to €50 million..."
That reminds me of a PT Barnum saying.
The discussion of both Rothko and peanut butter reminds me of one of my all-time favorite academic parody articles, "The Sandwiches of the Artists" by E. A. Carmean, Jr. from October magazine, Spring 1981:
Unlike the artists of Paris in the 1940s, those working in America were known for the variety of their diets. Where we expect to find the same bowl of apples and oranges served by Cezanne, Matisse, or Picasso, no such continuity exists on the abstract expressionists' tables. Here, Pollock's taste for tomato sauce contrasts sharply with Newman's choice of mustard. Yet one factor does tie these artists together: their expressed interest in sandwiches This is most clearly seen in the cafeteria opened by Motherwell, Newman, and Rothko in 194B, called "The Sandwiches of the Artist" "The name was Barneys," recalls Motherwell, "to paint out we all used bread. " To be sure, the abstract expressionists drew upon European ingredients. But as Gottlieb observed, "We quickly discovered that by a shift in presentation we were getting into diet problems we hadn't anticipated. We were exploring.'" The sense of the adventure of the sandwich was best summarized by Harold Rosenberg, who wrote, "At a certain moment bread began to appear to one American artist after another as an arena in which to act-rather than a space in which to deposit butter. What was to go on the bread was not a snack but a meal." As the abstract expressionists continued to make sandwiches, they grew larger and more complex. They changed the concept of lunch around the world, leading critics to call them '"truely, the Hero Generation."
. . .
Mark Rothko: The Brown and Gray Sandwiches Rothko's sandwiches of the 1950s, his most popular, are marked by the free use of colorful ingredients: mustard, ketchup, and lettuce. '"Mark was always interested in produce," recalls Motherwell, "but once he got mad when I said a hamburger he had fixed reminded me of a salad by Matisse." In 1958 Rothko was asked to fix lunch at the Four Seasons restaurant, but he could not stand the idea of people drinking while eating his sandwiches. Nevertheless, at this point the idea of grouping his sandwiches must have entered his mind. In 1962 the De Menils asked him to prepare a menu for Houston, leading to the intense Rothko Chock-Full. His last works. the brown and gray sandwiches, combine liverwurst and peanut butter. They differ from earlier sandwiches where Rothko spread the filling to the edge of the bread, here he cut off the crust, leaving the sandwiches with a clean white border.
The museum should be sued on behalf of the peanut-allergic community.
And if peanut allergies are so common and dangerous, why do most airlines serve them to people trapped in their metal cylinders?
The astronomical value on art is for money laundering and tax avoidance. Many are fake as well.
With regard to suing for monetary damages, I’d like to see some concerted effort to have these modern art valuations challenged in court. The ‘expert’ witnesses giving testimony should not only be those curators and artists on the big-money side of the art community, but also other types of art critics who perhaps would not be as biased to take what others claimed as gospel.
And if peanut allergies are so common and dangerous, why do most airlines serve them to people trapped in their metal cylinders?
I haven't seen peanuts served on a plane in at least a decade.
How did the museum value the peanut butter "art" installation? Or did they just charge for cleaning the footprints off of the regular floor?
I do fly several time a year. I guess I didn't notice that the little nut packages were now peanut free. Althouse "Community notes."
This is very arrogant of the museum.
I wonder whether any of the patrons who slipped on the peanut butter found themselves a personal injury attorney after they got the "clean-up bill."
"Many are fake as well."
I would argue that all of them are fake.
I am on the board of my local art museum, so it's safe to say that I love and appreciate fine art and modern art much more than the average person. And I've seen a Rothko exhibit at MOMA in person, so I am familiar with his work.
Despite that, I simply do not understand other modern art fans' fascination for Rothko. To me, his excessively simplistic works are uninteresting, uninspired, and unaesthetic. They do not even achieve the limited value of surprise or shock that DuChamp or Maplethorpe cultivated in their most famous works. I would literally value an empty canvass higher. So it pains me that Rothko pieces have been ascribed such value. And it pains me more that a museum attendee's family might have to pay hundreds of thousands of dollars for restoration work to the insult to children's paintings that is that piece.
Chunky-style would’ve mitigated the lack of traction.
Meet my lawyer, Slip’n Fall Skippy!
"Sandwiches of the Artists" reads like a rip-off of Woody Allen's "If the Impressionists Were Dentists."
He typically wrapped the paint around the edges to create a seamless, immersive experience, emphasizing the painting as an object rather than a framed window.
Is that really more "seamless" and "immersive" than if he'd painted differently? Isn't the paint around the edges another "seam"? Much art writing and aesthetic musing sounds like just throwing fashionable buzz words around, at least to me.
At the risk of just throwing fashionable buzz words around, I was told that Rothko's works were meditations on the absolute. Don't look to be surprised, just immerse yourselves in them.
It’s hard to imagine a clean-up bill from stepping in peanut butter that is worth the administrative cost of billing the museum visitor. The parents of this child, on the other hand, should be expected to cover the cost, whatever it may be.
Next trime keep an eye on your child or leave him at home.
"Rothko's works were meditations on the absolute."
No, Ad Reinhardt's paintings were meditations on the absolute.
I see a Rothko and I want it painted black. . . .
Iman said...
Meet my lawyer, Slip’n Fall Skippy!
Or Slippin’ Jiffy.
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