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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.

The beautiful thing about Life, is that we will never reach an age where there is nothing left to learn, see or be; it’s magical really.

Dulce Ruby (via kushandwizdom)

and i don't necessarily believe any of this i'm just saying words recreationally

Be with someone who asks you “Why?” a lot, “Why do you think that?” “Why do you feel that way?” be with someone who is fascinated by you

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Watch: Fox News sent a reporter to Princeton to make fun of “sensitive” college students

’woman wiring an early ibm computer’

Berenice Abbott Documenting Science series (1938-58)

Ease, technology, art, and fun come together in the living room. The industrial-style shelves are colorfully balanced by a papier-mache rocking horse, a Moroccan rug, and a mixed-media composition of rice paper, photographs, and tempera.

Rooms by Design, 1989

reblog if you want to kiss someone rn

ALL THE POKAYMAN TRAINERS (except for Crystal i guess).

First 11x17 print for AX! More to comeeee ^Q^

I’ll be selling this along with other prints at AX.