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Abstract Expressionist New York 中文翻译：贝蒂 译文校对：卢克与龙 翻译仅供参考 | 视频不得商用

英文稿：

Abstract expressionism is often divided

into two classifications, one of which

is action painting, which is the work typified by Bill de

Kooning or Jackson Pollock, where you feel

the action of the artist on the canvas.

The other side doesn't really have a name,

but you might call it still painting,

because in fact, there's an absence of gesture,

or activity, or angst on the canvas.

Instead, what you have is quiet contemplation,

a mood of deep immersion in color.

In a Rothko painting, you have three or four zones

of different thinly-washed layers of color

all interacting with each other in a subtle way.

Not like bold contrasts, but instead

almost swimming into each other to get your eye and your brain

working optically to almost immerse your consciousness

in these fields that Rothko has created.

They may look simple.

On the other hand, to really figure out

how he created those effects is far more complicated.

And it's not easy to understand what colors are actually

in which layers on the canvas.

The mystery of the whole thing is actually

appropriate to Rothko's goals.

He's wanting to make a picture which

advertises its own mystery, its solitary quality,

its introspective quality.

It's a quality that he felt was reflecting his own state while

painting.

And I think it's a quality that he

wanted to inspire in the viewers who

were in the space of his paintings.

In the exhibition, we've installed an entire room

only of Rothko, not only for the reason

that we have many beautiful paintings to present,

but because of this power they have to create an environment.

You feel the intimacy of the atmosphere

that he has made for you.

The point of Rothko's art is to provide a universe for viewers

that they don't have in the real world.

There is definitely a spiritual side to what Rothko was doing.

It's not at all an ironic art, or a kind

of calculated, clever, sort of tactical art.

In fact, one of the quotations of Rothko's that's

repeated often is, "Silence is so accurate."

What he was really doing was extolling the power

of an abstract language to say so much

more than words could do.

I think when you look at a painting by Rothko,

you also realize what is meant by the term "all over," which

is often used in regard to Abstract Expressionist

painting.

It's not like there's a center point and the edges,

or the corners, or the sides are of lesser importance

than the core.

In fact, the action of the painting, if there is action,

is distributed equally from top to bottom, and from side

to side.

And there's no way that you can complete

your experience of that picture without letting

your eye wander, or even your body wander,

all over the surface of that canvas.

You end up feeling like you're in a zone with no gravity,

almost as if there is not a weight.

Rothko often said that he liked his paintings

to be hung rather low to the floor.

The reason for that is that he really saw these paintings

as something that mattered in terms

of the physical presence of the viewer.

The physical presence of the viewer starts with their feet

being on the floor.

And he wants the paintings to not literally begin

on the floor, but as close to that as is reasonably possible,

so that you're almost standing in the painting,

rather than admiring some kind of separate object on the wall.

Your space is the painting space and vice versa.

Like many of the artists in the Abstract Expressionism era,

Rothko did not want his paintings to be framed.

Paintings that were made on easels and then put on frames

were understood to be illusions of another scene,

of an imagined place.

Rothko and his peers did not feel

that they were alluding to another space,

or place, or time with what they were making.

What they were making was the reality

that they wanted to present to the viewer.

And for that reason, it didn't need the borderline

of a frame separating its reality from their reality.

What they wanted was the joint reality

of spectator and painting.

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