Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [14] Contemporary Artwork Critic Louis Choi's art criticism published o..

Art criticism : Contemporary art review & artist artwork criticism / Contemporary Art Critic Louis Choi Chul-joo's Art Review of Contemporary painting Artwork & Modern Art criticism [14] Contemporary Artwork Critic Louis Choi's art criticism published on Google :

Mark Rrthko composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon.

 

Mark Rrthko, Untitled(red on red), acrylic on cavas, 152.4*145.1cm, 1970, a collection of works in American Folk Art Museum

 

 

Louis Choi Chuljoo's Art criticism: Mark Rrthko composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon.

 

Images are the effect of repeating and combining two different contrasting colors.

The composition of the image is ideal for symmetrical balance. The composition of monochrome as a monotone brightness difference is an aesthetic frame(監造) , which is the work of selecting the brightness  of color as one unified color by examining the image.     

 

Rothko focused the color tone on the physical properties of the surface texture.The color tone of the visual texture visualizes the relationship between color and perceptual effects by recognizing the image reflected from the clear brightness difference.

The subject who perceives the color tone senses the symbolic perception effect of the fixed color. The effect is not an image of an object to be perceived, but a symbolic meaning that reveals the structure of the phenomenon covered by color. Here, he defines and abstracts the concept of how symbolic meaning will be expressed in the image color of the phenomenon.

This is in harmony by revealing the homogeneity with the surface of the contrast of colors with similar brightness differences. In addition, the image is abstracted by overlapping the inner and shape of the contrasting color boundaries that make up the shape.

The abstraction is the meaning of symbolic color surfaces consistent with images in phenomenal life.     

 

In the 1940s, his paper paintings featured sorrows at the pinnacle of World War II, and the realistic colors on standard paper sparked a human sensibility as a classical composition.

This gave him the presence of a space that divides the work by color, silenced to give abstract ideas to viewers, and erased the title of the work.     

 

Nevertheless, the atmosphere through color-encoded shapes and color variations gave his spiritual abstraction a boost.

His abstraction is the subject of divided colors, and the phenomenal structure is identified with the symbolic color surface by abstracting the phenomenal meaning into an image of spiritual sensitivity.

In this way, he constructed an abstract expression that expresses the size of the spiritual expression of color as the texture of physical properties.     

 

The red in the painting Untitled, left where his death was known, looks like the color of a martyr who led his life as a painter. The picture hides the abstract name, which erases the phenomenal image of life and symbolizes the phenomenon in monotone red.     

 

And he composed the space of existence in which the composition of the color surface reveals symbolic meaning so that the unnamed abstract can experience consistent meaning in the phenomenon./ Writing. Art critic Choi Chul-joo (Doctor of Cultural Design)

 

Art critic Choi Chul-joo