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  • this is about colour as material, about creating space, about process and about lowering, about violence through erasing, showing what's behind, about covering and revealing, about figure and ground merging and activating the surface it is sitting on.... all absolutely overpowering once you get a hang on the theory - bowls one over. and I agree with Marden: Ryman is the modern day Vermeer

  • that looks hard to paint...

  • Fucking shite.

  • @draoi99 feel better now?

  • The white could be annihilation; the black something constrained and tight.

  • lot's of pretentious artsy people will not like this: Most modern art is utter childish shite. And don't gimma the ' well why won't you do it than and stop complaining.' Fuck you. I'm no artist. Most artists don't even know what that term 'art' is so... Lets keep it that way and stop preasing the Pollocks of the world. When art becomes greedy it dies..

  • @texasB666

    Wrong

  • @texasB666 threatened by art? ... sort of an odd phobia ... good luck with it.

  • @texasB666 Are the A and the E swapped around on your keyboard? You seem to be typing a lot of A's where they should be E's.

    I also don't understand most of your post, especially the word 'preasing'

    =

  • @texasB666 How was Rothko greedy, he struggled for years until he had any real success and when it finally did come, he committed suicide. His paintings are inner-expressions of emotion that you're supposed to draw from the painting. If you ever see one of his pieces in real life, you'll understand that they absorb you. In my opinion, Rothko's paintings are some of the most unpretentious meditations on what a basic human reaction to art is.

  • dam that guy is so stupid

  • Where art has lost itself due to the intellectual clique of curators and renowned galleries who want to create the trends...conceptual installation art is in vast majority a load of 'cobblers'

  • Abstract painting is a very hard thing to get right. It

  • There is more to abstract expressionism than just what any fool can talk. Anyone who has stood in front of a Rothko will understand that between video or a book the real life experience of just looking at a Rothko is SO different. The painting seems to radiate with a colour. Be it red or brown or yellow or even orange the painting will shine and fill the area with it's color.

  • Hahahahahahahahahahahahahhahah­ahahahaha.

  • If you see observe the light on and from a Ryman painting, you start to understand Marden's comparison between Ryman and Vermeer.

  • I'm a damn good artist myself & let me tell you something ... most artists are frauds & full of shit! Rothko killed himself ... so I guess he didn't have all the fucking answers. To compare Rothko to Vameer is like comparing a Filet Mignon to a can of fucking dog food! Give me a break! This guy is sooo full of shit it's not even funny! I just want to know what this jackass is smoking! I want to get some! The art world is full of nutcases like this moron!

  • @c1magr8 if the image in the background of your channell is actually a painting of yours, you're not that "damn good"...at all; and i doubt you can really hold a brush! ps: i see many people yelling at you: go figure i'm not surprised.

  • @c1magr8 plus: Marden didn't compare Rothko to Vermeer, that was Ryman. and, if you did know something about Rothko, you would be aware of his knotted mind (keen to self destructive attitudes), and his personal and physical issues. show some respect.

  • Newman was a beast.

  • well, comparing ryman to vermeer is simply embarrasing. i would hang my head in shame to have that on tape in internet land if that was me. rothko, in my oppinion is the best of the abstract expressionists (pollack, newman, de kooning, etc.), for any number of reasons which i won't get into. newman is simply...simple and uninteresting. any thoughts...

  • @codylawrence100 How many Museum`s are you in?

  • Clearly Brice "is having a challenging and hard time standing in front of a Newman and really kind of deal with whats going on with that picture". Please Brice, tell us how you really really feel and don't really kind of deal with the painting. It sounds like Brice is talking to his therapist.

  • Rothko isn't my style.

  • Camp: I agree. I can tell you'd be fun to have a beer with! We could talk paint all night!

  • Brice, how can you handle all the bullshit spewing from your own mouth?

  • Camp 3:

    Nice (articulate) try.You could say the same about a brick wall! :)

  • @toiseywoisey I actually agree. Difference being that Ryman does so in a purposeful, controlled and (usually) subtle way, brick walls only do so by default. That is why Rymans paintings are almost exclusively white. And it should be noted that Ryman utilizes the wall extensively in many of his paintings, for that very reason. :)

  • @camp3rchizzle

    You have a good mind and writing ability--maybe too good! I respect you man, and no offense, but your defense of Marden is so very subtle and therefore brittle, it crumbles to dust under consideration of it! (: (: (:

  • Comment removed

  • @toiseywoisey Thanks for the feedback! Its just good to hear from other people who care about painting!

  • Looking at a painting is a personal experience. You can't explain it verbally.

  • What you said makes no sense. He doesn't paint like that because of a "linear tradition" , he paints like that cause that's what he feels. Just because other artists express them selves with linear style paintings doesn't mean they are all connected, they just chose similar means of painting. And who said modernist painting is dead?!

  • What does Ryman have to do with Vermeer? Vermeer was all pictorial formal composition. The Rymans I know have no composition--or one composition--and surface.

  • @toiseywoisey It doesn't have to do with composition. Ryman and Vermeer are both masters of light in painting. Vermeer handled light in a pictorial way while Ryman does it literally. The actual light falling on a Ryman painting is a part of the painting itself, they change appearance under different conditions. The frontality that Marden is talking about here (the "up in your face" quality) is what Ryman takes to the extreme, the actual environment enters into the space of the painting

  • @camp3rchizzle Agreed totally.

  • People choose painting because its a way of expressing one's self. They choose painting because what they are trying to let people - or force people - to understand, cant be expressed in words, but it can be in a painting. So trying to explain a painting is a very hard thing (especially non-subjective) because the painting was painted in the first place because what the artist was trying to say in the first place couldnt be said in words.

  • Drummer:

    You're limiting the reasons. People do get into paint to express themselves and that tends to be masterbatorial. There is a linear painting tradition in the West that is built onto, one school reacting to a former school, with occasional revivals.

    It's far from an original thought that Modernist painting is dead and nostalgic at this time, a victim of it's driving force being "originality".

  • this is one of the worst videos i've ever seen.

    he isn't saying anything. to think someone would dedicate their life to formalism in painting is either brainwashed by clement greenberg, or, worse, their art history 200 professor.

  • @ihavenolegslol : Yes, he has swallowed the Kool-Aid, at least he's committed, and happy...

  • great video. All three, Rothko, Newman and Marden are fascinating artists with sharply defined visions (as well as Pollock and Still)

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