#dore ashton

[eternal--returned]

Rothko read everything that he could find about Rembrandt, beginning with recent monographs published by Adolph Rosenberg (1921) and David Meldrum (1923). He visited the Frick Collection, which opened in 1935, to see the four paintings by Rembrandt there, including The Polish Rider and another, slightly earlier Self-Portrait. Some of Rothko's earliest works testify to Rembrandt's influence, among them his own Self-Portrait and Family, both painted in 1936. He visited the Metropolitan's exhibition The Art of Rembrandt in the late winter of 1942, and the following year spoke about the artist's work in a radio broadcast:

The real essence of the great portraiture of all time is the artist's eternal interest in the human figure, character and emotions—in short in the human drama. That Rembrandt expressed it by posing a sitter is irrelevant. We do not know the sitter but we are intensely aware of the drama.

When Rothko was invited to teach a course on contemporary art at Brooklyn College in the early 1950s, he determined that it should begin with Rembrandt. "Rembrandt remained one of Rothko's beacons', wrote his first biographer Dore Ashton. 'Rembrandt who knew the importance of feeling rooted in the every day world of human emotion, and yet wished to transcend it'.

Jasper Sharp ֍ "Looking for the Fabulous: An Account of Mark Rothko's Voyages to Europe." Toward Clarity (2019)

Mark Rothko ֍ Self-Portrait (1936)

Mark Rothko ֍ Family (1936)

[dailyrothko]

Hello,

So I know you usually post Rothko, but since you have a healthy amount of delectation towards art, I was wondering if you have any favourite art books that you enjoy and would like to share? Rothko or non-Rothko related. I am slowly building my own art book collection and would love some recommendations. Thanks a lot!

Sure.

I think books are kind of split often between art monographs aimed mostly at giving you a lot to look at and books that have a wider throw but (Usually) fewer pictures.

One very old book but one of my sentimental favorites is "A treasury of the world's great prints" by Stephen Longstreet. It's a large book that covers the printmaking of Goya, Hiroshige, Durer etc. but I think the bref commentaries on the artwork are informative and interesting. I had this book from a young age and maybe that's why I like it, but I felt like I learned a lot from the selections.

Anything by Robert Hughes but start with American Visions: The Epic History of Art in America. Hughes is extremely bright and grumpy but offers a huge cultural context to the history of art most other people are simply not capable of. Even his reads on early American art, art that often find dull, add fascinating context to the movement. Shock of the new (mistakenly credited earlier) is certainly a staple as well.

Ways of Seeing by John Berger is still a great read all these years later and About Modern Art by David Sylvester is great because he has a great mind for the task.

I also recommend,

Women, Art, And Power And Other by Linda Nochlin and Ninth Street Women: Lee Krasner, Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen Frankenthaler: Five Painters and the Movement That Changed Modern Art, by Mary Gabriel, two books which add much needed context art history books often leave behind.

A World History of Art by Hugh Honour and John Fleming is a good general book but if you have specific interest maybe I can be more help.

-for Rothko, the new books like the Rizzoli book, The LV foundation book and the paintings on paper book, if you like scans these all have far better scans than any previous Rothko books, however, the bio stuff is probably best in the Breslin book which has all the facts of his life and not tons of insight or for more insight with fewer facts "About Rothko by Dore Ashton.

This is just a smattering I'd also read Against Interpretation by Susan Sontag, who, as one of the very smartest people in the world, had some great takes on art.

I was in a hurry writing this so feel free to add or ask more.

[mosertone]

" ... I asked Duchamp whether he had anything to say about the extensive linking of art with technology, and the attempts to make him a progenitor of the tendency. ‘They have to get somebody as a progenitor so as not to look as though they invent it all by themselves. Makes a better package. But technology: art will be sunk or drowned by technology. Look, I’ll show you an example.’ Duchamp then plugged in a framed box in which electric heat acts on the liquid and crystals within, making them surge up in a sea-green orgy of movement. ‘This is a work by Paul Matisse, Matisse’s grandson, who does not regard himself as an artist. In fact, he intends to manufacture this, and you’ll probably see it in every motel in the country. It could be seen as an artistic conception I suppose.’ ‘Technology will surely drown us. The individual is disappearing rapidly. We’ll eventually be nothing but numbered ants. The group thing grows. You can already feel the tendency in the arts today. Speed, money, interest. A hundred years ago there were few artists, few dealers and few collectors. Art was a world by itself. Now it is completely exoteric—not my cup of tea. There is something wonderful about the secret society that is lost. ‘To get back to what you asked me about the ready-mades. You can’t choose with your taste. Taste is the great enemy. The difficulty I had was to choose. Now my Bottle Dryer is in the books and some regard it as a beautiful sculpture, but not all ready-mades were the same. Once, many years ago, I was dining with some artists at the old Hotel des Artistes here in New York and there was a huge old-fashioned painting behind us—a battle scene, I think. So I jumped up and signed it. You see, that was a ready-made which had everything except taste. And no system. I didn’t want to be called an artist, you know. I wanted to use my possibility to be an individual, and I suppose I have, no?’ We then spoke a little while about Duchamp’s renown, and he pointed out that he had never been particularly cherished by the French. ‘You can’t be a prophet in your own country. I certainly am not.’ Are you better appreciated here, and why did you settle here? ‘The melting pot idea, you know. And the lack of difference between classes. It interested me then. The French Revolution was more evident here in those days. It was good for an artist. Of course, it’s a little messy now. Such business affairs, papers, taxes! Do you know there was hardly any tax to pay here until after the crash?’ Duchamp spoke then about how lazy he is, how much he enjoys a placid life, and how, although he is no beatnik, he is ‘very like’. Then he abruptly shifted back to the problem of art in America. ‘We don’t speak about science because we don’t know the language, but everyone speaks about art. Art is going down to the people who talk about it. You know, about that question of success: you have to decide whether you’ll be Pepsi-Cola, Chocolat Meunier, Gertrude Stein or James Joyce... James Joyce is maybe Pepsi-Cola. You can’t name him without everybody knowing what you’re talking about. What happened to me is worse, though. That painting [meaning Nude descending a staircase, which he referred to only as "that painting" throughout the interview] was known but I was not. I was obliterated by the painting and only lately have I stepped on it. I spent my life hidden behind it.... You know, an artist only does one or two or three things in his whole life. The rest is merely filling up the hole. It is not desirable to be Pepsi-Cola. It is dangerous.’ - Dore Ashton, An interview with Marcel Duchamp, 1966

[theartisthawkins]

Cappuccino with Dore Ashton...Photo ©️ Hawkins, 2023 #tuesday #coffee #artist #newyork #school #lifestyle #love 🎨🙏 www.theartisthawkins.art (at Bosco Lounge) https://www.instagram.com/p/Crc9dusLQcd/?igshid=NGJjMDIxMWI=

[justthishumanheart]

When he was moved, he could be very thorough in exploring the causes for his emotions... This painter was to remain a beacon for Rothko... It is not a matter of ‘influence’ or even temperamental affinity. Fra Angelico was important to Rothko because Rothko understood the context within which he functioned, and because he himself had shifted his sights. His aesthetic was now a renunciation of self-expression in favour of meditation.

—Dore Ashton, About Rothko

[katyahina]

Merry Christmas!!

Or rather just holidays because I am a bit late.

[davidsimonton]

One of the first juried exhibitions my black-and-white photographs were ever included in (1990) was juried by Dore Ashton (May 21, 1928 - January 30, 2017).

A great honor! then and now. RIP.

[fofocasefamosos]

Alô? Naomi Campbell divulga número de telefone na web

[equatorjournal]

Isamu Noguchi: California Scenario, 1980, outdoor plaza and sculpture garden, Costa Mesa. Photo by Denise Browne Hare. "When the time came for me to work with larger spaces, I conceived them as gardens, not as sites with objects but as relationships to a whole.” - Isamu Noguchi. From "Noguchi, east and west" by Dore Ashton. https://www.instagram.com/p/CZSQ0myNram/?utm_medium=tumblr

[u-mspcoll]

A Free Palestine

"’When, so many years ago, Jean-Paul Sartre condemned prejudice he wrote: 'Not one Frenchman will be free so long as the Jews do not enjoy the fullness of their rights. Not one Frenchman will be secure so long as a single Jew -- in France or in the world at large -- can fear for his life.' Now, by a terrible irony, he would have to say that not one Jew will be free so long as a single Palestinian fears for his life.’  Dorn [Dore] Ashton

A Free Palestine

Poster from a silkscreen print by Malaquias Montoya, from the touring group show ‘In Celebration of the State of Palestine’... Published by Inkworks Press on its 15th Anniversary (1974-1989) ... Produced in collaboration with the Palestine Solidarity Committee... and the Middle East Children's Alliance...”

Political Posters, Labadie Collection, SCLP 1659

[artbookdap]

A few of the texts excerpted in 'The Soul of a Nation Reader,' a Staff Pick on Juneteenth and every day.⁠⁠ ⁠⁠ Conceived as a reader connected to the landmark exhibition 'Soul of a Nation: Art in the Age of Black Power,' which shone a light on the vital contributions made by Black artists over two decades, this anthology published by @gregoryrmiller collects over 200 texts from the artists, critics, curators and others who sought to shape and define the art of their time.⁠⁠ ⁠⁠ Exhaustively researched and edited by exhibition curator @markgodfrey1973 — who provides the substantial introduction — and @vampirefriendly included are rare and out-of-print texts from artists and writers, as well as texts published for the first time ever. Afterword is by @zoe.whitley⁠⁠ ⁠⁠ Contributors include: Emma Amos, Dore Ashton, Amiri Baraka, Romare Bearden, Dawoud Bey, Frank Bowling, Gwendolyn Brooks, Linda Goode Bryant, John Coplans, Hugh M. Davies, Melvin Dixon, Jeff Donaldson, Emory Douglas, David C. Driskell, Melvin Edwards, Ralph Ellison, Sam Gilliam, David Hammons, Napoleon Henderson, Jay Jacobs, Jae Jarrell, Wadsworth Jarrell, Daniel LaRue Johnson, Hilton Kramer, Jacob Lawrence, Al Loving, Evangeline J. Montgomery, Toni Morrison, Lorraine O'Grady, John Outterbridge, Joe Overstreet, Marion Perkins, Howardena Pindell, Noah Purifoy, Ishmael Reed, Faith Ringgold, Barbara Rose, Betye Saar, Jeanne Siegel, Lowery Stokes Sims, Beuford Smith, Alma Thomas, Ruth Waddy, Charles White, Jack Whitten, William T. Williams, Gerald Williams, Hale Woodruff and Cherilyn C. Wright, among dozens more.⁠⁠ ⁠⁠ Read more via linkinbio.⁠⁠ ⁠⁠ #soulofanationreader #soulofanation #juneteenth #blackpower https://www.instagram.com/p/CQTe6SljKcH/?utm_medium=tumblr

[othersystems]

reminiscing about Dore Ashtons 20th century art history class which was basically her smoking cigs and just gossiping about her dead friends. she would ask like “someone ask me what de kooning had for breakfast” and someone would ask and she would go “nothing, stupid. he was a fucking alcoholic NEXT QUESTION”

the older professors would basically just gossip and monologue and the younger professors would try and give us like "nonbiased overview" even in studio classes..and tbh the gossip and insane monologuing was so much more helpful everything else i could've just gotten from the internet/jstor

RIP <3

[dailyrothko]

Looking to read more about Rothko’s life. Do you have a preferred biography on him?

The only book that I consider a straight biography that's worthwhile is the James EB Breslin book. It is exhaustively researched and contains all the facts of his life.

The problem with the book is perhaps that it's written by somebody who didn't know any of the people. Not necessarily a handicap but, at times I would say his sensitivities or understanding of the art maybe falls a little short.

For a good personal take you would read Dore Ashton's, "about Rothko". She was an extremely bright person and a friend, who has a very good handle on him as a person, snd writes with a sensitivity and understanding of art that you don't get in most of the other biographies. However, you won't read as many historical facts.

There are a number of good biographical references, letters and notes in the Louis Vuitton book that just came out last year, but again it's more of an art monograph. Well worth having but still focuses on reproductions. All of the books that I've recommended for reproductions have some biographical material and analysis but the Breslin book is the most complete.

You often see the Lee Seldes book "the legacy of Mark Rothko" I think it's called. I would highly recommend not reading it as I consider it to be mostly gossipy nonsense. It does contain a lot of information about the trial that happened after his death for the rights to the artwork but it's not really worth it for the way that it is written and shoddily researched.

[wearetheheroesoftomorrow]

Spoiler - Capítulo 38 de Heroes of Tomorrow

     Bastou ouvir a voz da garota tremer que, sem se controlar, foi até ela. Parou a sua frente, vendo-a observá-lo como uma estátua. Nem respirava. Delicadamente e devagar, passou a mão por seu rosto ferido, em um ato carinhoso, depositando em seguida um beijo em cada machucado.      — Eu só estava perdido, mas você me encontrou — ele sussurrou, emocionado. — Encontramos um ao outro. Estamos juntos agora, finalmente. Nada mais de ruim vai acontecer. Não mais. Eu não vou deixar.      Skye começou a chorar. Chorou como uma criança. Chorou como uma adolescente com o coração partido. Chorou como uma mulher forte que era. Chorou por todas as vezes que engoliu a dor e a guardou para si.      Chorou por ter percebido que era realmente Ashton ali, seu Ashton. E não aquele monstro que tinha o possuído.      Chorou por sentir, em muito tempo, esperança de novo.      Tudo era difícil ainda, mas agora com ambos juntos... tornavam-se mais fortes e prontos para enfrentarem o que viesse pela frente.      Ashton também deixou escapar muitas lágrimas. Pelas suas próprias dores e pelas dela, que também se tornavam suas. Ele a abraçava forte, como se nunca mais fosse soltá-la. Ficaram assim por muito tempo. Minutos... horas... Era difícil saber ao certo.    Mas, por eles, podiam ficar assim para sempre.

[harvardfineartslib]

Happy Birthday to Marisol Escobar who was born on this day in Paris in 1930. She was known simply as Marisol. She was a French sculptor who was born to Venezuelan parents, but it was New York City that she made her home and was active. Marisol died at the age of 85 on April 30, 2016.

Marisol : sculptures and works on paper Attribution: Marina Pacini ; essays by Bill Anthes, Dore Ashton, Deborah Cullen, and Douglas Dreishpoon. Memphis: Yale University Press, 2014. 191 pages: 30 cm HOLLIS number: 990140074470203941

Marisol Attribution: palabras de José Ramón Medina ; fotografías de Jack Mitchell. Published: Caracas : Ediciones Armitano, 1968. 190 p. : ill. (some col.), ports.; 28 cm. Language: Spanish HOLLIS number: 990052369670203941

[miafic]

“Hey, gentlemen,” Lucas called, “I’m back. Come downstairs, please!”

Ashton and Travis hurried out of their room and down the steps. Jordan emerged from his bedroom, too, but he hung behind. Zakk brought up the rear.

“Is he here?!” Ashton cried as he rushed across the floor. 

“Come see for yourself.”

In the kitchen stood Lucas, who had a new teenage boy at his side. Most of the boy’s upper body was hidden beneath a giant, olive green coat that came down to his knees. The boy looked up at Lucas, who nodded at him and motioned to the other kids. 

“Um um um um um,” the boy muttered, leaning forward a little and looking pointedly at the tile. “Um um um. Hi m-my n-n-n-name is T-Tedd-d-d-d-dy.” 

Jordan didn’t hide his confusion. Neither did Travis. 

Luckily, Ashton stepped forward and stuck a hand out. “Hi! I’m Ashton.” 

Teddy looked up and smiled a bit, clearly relieved. He shook Ashton’s hand. “H-h-h-hi. S-sorry,” he said, motioning to his throat, “I-I-I’m n-nervous-s-s-s.” 

“That’s okay,” Lucas assured. 

“I-I-It g-gets b-better when I’m ca-ca-ca-cal-cal-l-lmer. Um um um. Prom-Promise.” 

“Hey, man, I’m Zakk,” Zakk said, shaking Teddy’s hand also. “It’s great to officially meet you.” 

Teddy smiled again.

“This is Travis and Jordan,” Zakk noted, pointing at the each boy as he said his name.

“Nice to m-m-meet you,” Teddy said to the other kids.

“How come you talk like that?” Travis asked. 

“I h-ha-ha-have a s-stutte-e-er,” Teddy said, but he had clearly been prepared for the question.

Travis looked at Lucas for explanation. Or perhaps translation. 

“Is it okay if I tell them a little bit of what you told me?” Lucas asked Teddy. 

Teddy nodded.

“Teddy had a stroke when he was four years old,” Lucas told the boys. “That’s something that happens when your brain stops getting enough blood.” 

“My grandma had a stroke,” Jordan mumbled. 

“Yes,” Lucas nodded. “It’s the same thing. It usually happens in older adults, but it can happen to kids, too.”

“To me?” Travis asked worriedly.

Lucas smiled. Instead of answering directly, he said, “It happened to Teddy a long time ago. Strokes change the way that some people’s minds and bodies process language, and that’s what happened to Teddy. It changed the way he talks. Like he said, he has a stutter now. The way he explained it to me earlier was that he knows what he wants to say-”

“B-b-but the-the-the-the wor-rds get st-stuck-k-k,” Teddy finished.

“Right. The words might get a little bit stuck.”

“That’s fine,” Ashton said. Then he asked, “Do you wanna come see your room?”

Teddy nodded again, but Lucas held up a hand. “We’re not done.”

“Oh - sorry,” Ashton murmured.

“It’s okay. I know you’re just excited.”

Ashton smiled sheepishly.

“While Teddy and I were on the way here, we talked about things that he likes people to know about his stutter, and he wrote some down for you guys. Do you want to read them your list?” 

Teddy reached deep, deep down into the pocket of his jacket and produced a folded piece of lined paper. He started to hand it to Lucas, but Lucas again motioned to the kids. Teddy held it out to Ashton. 

With a glance at Lucas to make sure he had approval, Ashton took it and opened it. “‘My name is Teddy Bruin,’” he read off the paper. “‘Yes, that is my real name. I am 15 and I have a stutter. What I want people to know about my stutter is: one, please be patient. It’s just as frustrating to me as it is to you. Two, if I’m stuttering really bad, I’m probably nervous or upset, so please be extra patient then if possible. Three, sometimes I say “um” a lot. It’s not me stalling. It’s part of the stutter. Four, please don’t finish my words or sentences for me. Five, if people get upset with my stutter, so do I.’ And then there’s a frowny face next to that,” Ashton noted, showing the other kids. 

“I’m gonna tell you now, man,” Jordan said to Teddy warningly, “I’m your roommate, and I’m a real impatient dude. But I’m gonna try.” 

Teddy nodded. “Th-th-th-thanks.”

“Teddy let me know that it takes some time for people to get used to,” Lucas said, looking at Teddy as he spoke, “but that after a while, they hardly notice it.”

“Y-y-y-ye-yeah.”

Ashton was busy staring down at the page. “Teddy Bruin,” he read again. Then he looked up at Teddy. “Your name is teddy bear?” 

“Th-th-th-theod-d-d-dore J-James,” Teddy said, “but yea-ah.” 

“Teddy bear?” Travis asked, brightening and finally feeling like he had something to say. “I seen some teddy bears!” 

Teddy smiled and pointed at his own chest.

“And now,” Travis reported happily, understanding, “I seen you, too!”

The room filled with gentle laughter.