Tom Lubbock says that Rothko’s paintings are like power ballads:
Rothko made a real discovery when he found that, by using a very restricted language, a few bars and panes and rectangular frames of strong colour, blurry-edged and set in simple arrangements, he could stir in the viewer a powerful empathetic and emotional response. I’m not denying his ability to move you.
No, and I don’t deny this ability to Mariah Carey or Harry Nilsson, either.
Like the songs, the paintings have a hook:
And the thing about hooks is that they have an almost neurological effect. … A Rothko work is all hook, it’s designed as a simple, strong visual catch; one riff, writ very large.
The trouble is that Lubbock confesses that he is susceptible to this simplistic stuff in songs – Lionel Richie is his most shocking example – and films – The Sound of Music and ET – just as he is to more complex material. He prefers the latter because there’s more to it than emotional manipulation. So his parallel doesn’t apply to those of us who are unmoved by the emotional porn he cites. And anyway, the power ballads and cheesy films are crafted to leave only one possible response – one positive response, anyway, as rage and misery are never far away when I hear Mariah Carey. Rothko may have succeeded in evoking big emotional responses, but the paintings don’t specify quite what they will be.
You could criticise him for being just an old Romantic, still peddling the sublime, and in those late paintings with their swirling murk and stormy blacks we do seem to be among the superhuman forces of nature. I wonder if Lubbock just has a problem, in a rather British way, with the emotion, with the talk of mysticism and religion, even if it is godless; as Adrian Searle
The dim lighting and contained feeling of the Rothko Room at the Tate has always given it, for some spectators, an air of immanence and mystery. I prefer paintings in plain sight, without the heavy breathing…
and Peter Campbell
… finding the depths in the pictures suggested by some of Rothko’s statements is now, and probably always was, an act of faith that requires a sort of self-hypnosis.
It’s true that Rothko’s paintings are imposing and direct, painted henge monuments that use optical illusions and manipulation to hold and seduce the eye. They work because they are a wallowing in the world of sense. They are as familiar and intimate as the inside of your eyelids. I think that’s why we drop our defences before them. We have known images like these since we were too young to know anything else. Such was the first thing we ever saw, and such well might be the last. No wonder these paintings release such powerful and unpredictable emotions.
In fact, I think his exploitation of the artefacts of visual perception make him more an abstract impressionist than expressionist. Or psychedelic without the primary-school colours that hippy ideology demands.
None of that makes them Celine Dion in paint.
This reminds me of The Manual (How to Have a Number One the Easy Way) by Jimmy Cauty and Bill Drummond of the KLF: a confusingly plausible method for constructing and selling the perfect pop single:
Every Number One song ever written is only made up from bits from other songs. There is no lost chord. No changes untried. No extra notes to the scale or hidden beats in the bar. There is no point searching for originality.
So why don’t all songs sound the same? Why are some artists great, write dozens of classics that move you to tears, say it like it’s never been said before, make you laugh, dance, blow your mind, fall in love, take to the streets and riot? Well, it’s because although the chords, notes, harmonies, beats and words have all been used before, their own soul shines through; their personality demands attention.
So even if the paintings are just machines for inducing a certain emotional or meditative condition in a viewer, I don’t think that makes them bad or insubstantial or unimportant art. There’s more to art than an aid to meditation or emotional release, sure, but too much contemporary art – for instance, the pointless exercise currently on show in the Turbine Hall – is directed at the conscious intellect alone. I’ve always been attracted by the idea of making art that has the immediacy, cleverness and emotional hit of a good pop song.