Abstract
ABSTRACT I take Mark Rothko at his word when he claims that an encounter with his paintings involves ‘companionship’ and argue that this insight reflects the artist’s recognition that an observer and his work are in a relationship in which, as the German sociologist Hartmut Rosa puts it, ‘both sides speak with their own voice’. To understand what this might mean, I first discuss Rosa’s theory of ‘resonance’ and its importance for the study of art. Then, I explore ‘resonance’ in relation to Rothko, relating it to how he manipulated the language of painting to de-centre the normative visual perception of the observer, but also how he potentially opens this observer up to radically non-normative psychological and somatic experiences. The de-centring involves making space for an active relationship with Rothko’s paintings which shifts the observer from the focused, outer-directed and controlling attention that usually dominates visual perception towards a more inwardly directed but more porous mode enacted under conditions of essential uncontrollability.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.