Specimen, Fanette Mellier Context: Pôle graphisme de Chaumont, 2009 
Printed by: Imprimerie du Petit-Cloître
 Description: 120 × 176 cm

This poster, announcing a series of “graphic design and publishing” themed shows, isn’t a conventional image. It’s more of a printed object linked to its subject. The front, fully saturated with color and technical elements related to printing (scale 1), is offset printed with a very thin raster. This space saturation, like an obsessive canvas, presents graphical tools that are a common vocabulary for books makers. The title and info are printed on the back. The fold lets the title appear: the poster becomes informative and evokes at the same time the delicate materiality of a page.

Mark Rothko, Untitled, 1969

Acrylic on wove paper mounted on linen 52 3/4 x 41 in. (134 x 104.1 cm) Estate/Inventory Number2028.69 Collection Jon and Kim Shirley. © Kate Rothko Prizel and Christopher Rothko

Mark Rothko, Sketch for the Harvard Murals, 1961

the all-seeing one

Mark Rothko, Untitled, 1969 Oil on canvas 1998 Kate Rothko Pritzel and Christopher Rothko / Artist Rights Society, New York (ARS)

Hiroshi Sugimoto, Bay of Sagami, Atami, 1997 gelatin silver print

Both photos Courtesy of Pace Gallery

Mark Rothko

Mark Rothko (American, 1903 - 1970)

Untitled  - 1969

@ NGA - National Gallery of Art, Washington DC

Mark Rothko

for some reason i don’t think these two would like each other.

No. 10 (1950). Mark Rothko.

Mark Bradford

Mark Rothko, Untitled, 1969 acrylic on paper, mounted on canvas 71 1/2 x 41 in. Collection Kate Rothko Prizel Estate Number: 2029.69

© 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS)

Hoffman grasping onto Angelina’s hand while hysterical vs taking Strahm’s hand with a smile… Much to think about

I find his reaction to each of their mangled corpses really interesting and it highlights his development for the worse. When he sees Angelina he’s distraught, incoherent, overcome with a cocktail of grief and rage. Compare this to how he reacts to Strahm’s crushed body: he’s nonplussed, if not overjoyed, upon seeing his adversary’s demise.

It shows his desensitization to violence and his death of humanity. Even when watching Seth’s death, there is conflict on his face. He’s doesn’t like the brutality but can’t bring himself to look away.

Yet both of them result in the same thing, they both push Hoffman to do things he never thought he could. Angelina’s driving him to kill Seth and Strahm’s leading him to comitting justiceless killings, no longer bound by Jigsaw’s rules.

Untitled (Black on Grey), Mark Rothko, 1970

Willem de Kooning

Woman in a Landscape, 1965

oil on vellum mounted to card on board 60.3 x 47.9 cm

The Willem de Kooning Foundation Artists Rights Society (ARS), New York

"Bill de Kooning contrasts the distorted fragments of a woman and fuses them with his sense of the pictorial."

- Mark Rothko

Mark Rothko