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dailyrothko:

Mark Rothko, The Dark Paintings of 1969-1970, 

Part One

The Black on Gray paintings were Rothko’s final series. Like the Brown and Gray works on paper, color has been extracted to a dark upper and a lighter lower section. Most striking is the painted white edge within which the composition is circumscribed. In all of Rothko’s earlier work the edges of his paintings folding around the stretcher had been meticulously painted. In marked contrast, the white surround of the Black on Gray paintings sharply demarcates the painted surface and collapses the pictorial space into a much flatter picture plane.

Previously, Rothko had used a mixture of rabbitskin glue and pigment to douse his canvases in a first layer of colour. The Black on Gray paintings, however, were primed with white gesso which shows through in various areas, further contravening any illusion of pictorial depth. Unlike the Brown and Grays, where the variations occur within a fixed format, the Black on Gray paintings substantially vary in size and orientation, each offering a completely unique exploration of scale and ‘weight’.

The Black on Gray paintings bear witness to the tireless effort with which Rothko kept pushing the boundaries of his practice; which may also explain why one evening in late 1969 he opened his studio to select members of the New York art world to view his latest paintings, the first and only time he presented a series as such.

(via dailyrothko)

dailyrothko:

Mark Rothko, Untitled (Black on Black on Wine), 1968

 Acrylic on paper mounted on panel

dailyrothko:

Mark Rothko, Untitled, 1969

Acrylic and ink on paper

© Kate Rothko Prizel and Christopher Rothko / ARS

dailyrothko:

Mark Rothko, Untitled, 1969

signed, numbered 2042.69 and variously inscribed on the reverse

acrylic on paper mounted on canvas
78 ½ by 58 ½ in. 199.4 by 148.6 cm.

© Kate Rothko Prizel and Christopher Rothko/ARS 

theshitpostcalligrapher:

req’d by @omomareee 

my muscles involuntarily flex

(via scribebynight)

bublog:

BUB LOLs

archatlas:

Jacob Witzling’s Off-Grid Cabins 

“I started building cabins because, like lots of kids, I loved forts and Ewoks,” says Witzling, who recalls being captivated by his architect and engineer father’s favorite book, Handmade Houses: A Guide to the Woodbutcher’s Art. “I always wanted to live in a cool-looking fairy tale house, like a hobbit. I read that as a kid, and imagined living in one of those houses myself someday. I would gaze at the pictures from inside my blanket fort, and daydream about building one of my own. The uniqueness and zero restriction of the handmade home is what inspires me to create these livable sculptures from sustainable and local materials. 

(Source: dwell.com)

dailyrothko:

Mark Rothko, Untitled,  Acrylic on Paper, 1968

© Kate Rothko-Prizel & Christopher Rothko