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 Princess Stomper

Why artists shouldn’t stick to art

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mark rothko painting fair use discussion of artist

MARK ROTHKO

Big, fuzzy blocks of colour.

My Bloody Valentine – ‘Only Shallow’

Since we’re on the subject, am I the only one who didn’t buy the remastered Loveless after streaming it? The remasters clarify what should remain hazy, stripping it of the essential mystery that makes it so moreish. It’s the feeling of something undeniably solid but only just out of reach, like a ghost of a pop song.

Tashaki Miyaki – ‘Hollywood Forever Cemetary Sings’

This cover of the Father John Misty song is one of my favourite songs this year. Again, it pulls off being robustly sensual but fuzzy round the edges. There’s a free download at the Bandcamp page.

Loop – ‘Arc Lite’

The droning, repetitiveness and angular riffs to me suggests the unending square blocks of Rothko’s most famous period.

Nine Inch Nails – ‘A Warm Place’

OK, so a bit of a cheat given the abstract sleeve art for the Low-era-Bowie-inspired Downward Spiral, but it does fit. The two sections of the track suggest the multiple blocks in a typical Rothko painting.

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3 Responses to Why artists shouldn’t stick to art

  1. Princess Stomper August 8, 2012 at 9:40 pm

    (BTW I do love Knifeworld – I wouldn’t include them if I didn’t – but I do have to admit it’s bonkers music in the same way that Bastards of Fate are bonkers)

  2. Daniel August 9, 2012 at 12:52 am

    As a twenty-something snob, I never gave Rothko his due, but when I saw some of his work up close (as a (thirty-something snob) it turned me around. There was a piece called untitled blue and green, where a velvety blue shared the canvas with an ashen black. Upon closer inspection their was green underneath the black, but it only revealed itself when the viewer leaned in close. That’s a pretty similar to hearing “A Warm Place” for the first time since high school.

    great article!

  3. Princess Stomper August 9, 2012 at 7:46 am

    I just thought people who liked art like Rothko’s were gullible and stupid until I saw ‘Red on Red’ (untitled), which sold for about £4 million a decade or so ago. It was like a very loud musical chord that strikes you in the gut – it just sort of resonates on a totally primal and intuitive level. It was the exact shades of red used were so … biological. Nothing else I’ve seen of his has affected me that way – but then, I’ve never seen his stuff close up.

    Almost of all of his copyists are just people slapping a wadge of paint onto a board, though, so my contempt towards them still stands.

    Really glad you enjoyed the article.

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