Posts Tagged ‘Mark Rothko’
November 17, 2011 | by Lauren O'Neill-Butler
Born in a small town in northwest Iran in 1924, Monir Farmanfarmaian studied fine arts at the University of Tehran for only six months before deciding to move to Paris. But, with World War II raging, the ambitious young artist was denied entry in France; she opted instead for the United States, landing in New York City in 1944. “She traveled to the right place at the right time,” argues her old friend Frank Stella in Cosmic Geometry, Farmanfarmaian’s first and much-anticipated monograph, a testament of her continuing importance to contemporary Iranian art. Stella goes on to describe her facility with Abstract Expressionism’s “flatness” and “imagelessness”—her childhood home was filled with stained glass and wall murals—but neglects to mention all the other juicy details of her first decade in New York: how she rubbed elbows with the great artists of the day, including Pollock, de Kooning, and Rothko, at the Cedar Tavern and at the Arts Students League; how she worked as an illustrator for Bonwit Teller under Andy Warhol. “I wasn’t bad looking,” she says, “so everyone invited me to their parties.”
In 1957, she moved back to Tehran, married a young, American-educated lawyer named Abolbashar Farmanfarmaian, and began working with broken glass and mirrors in her studio—materials that became her hallmarks. She recounts traveling in 1966 to the Shāh Chérāgh mosque in Shiraz, Iran, a shrine “filled with high ceilings, domes, and mirror mosaics with fantastic reflections.” “We sat there for half an hour, and it was like a living theater,” she notes. “People came in all their different outfits and wailed and begged to the shrine, and all the crying was reflected all over the ceiling … I said to myself, I must do something like that, something that people can hang in their homes.” Read More »
November 9, 2011 | by Dawn Chan
At this time of year, the Bowery seems colder and brighter than other streets nearby, maybe because it’s several lanes wide and flanked by buildings no more than four or five stories tall. To me, it’s also a resonant place, and has been since I moved to New York. Along the Bowery, there are traces of a cultural history I tell myself I’m a part of (artists and musicians making prescient, eerie, underground things) as well as a cultural history that, let’s be honest, I’m actually a part of (Chinese immigrants starting businesses to meet market demand). Mark Rothko, Eva Hesse, and William S. Burroughs lived or worked along the Bowery. CBGB’s was there. It has also been the site of lighting outlets and restaurant-supply stores with exactly the sort of aspirational, front-of-the-phonebook names that my parents, with their limited English, would choose: AA International Trading Inc. A-1 Restaurant Equipment. A-Plus Restaurant Equipment.
Maybe it’s because the rest of the Bowery seems so familiar that I found “Experience,” Carsten Höller’s solo show at the New Museum, so disorienting. Of course, as the Belgian-born artist recently told a colleague at Artforum.com, “My entire show is set up to make you [go] mad.” Read More »