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| Mark Rothko's Harvard Murals, Holyoke Center, 1964 |
A special shout-out to Louis Menand for his terrific
"Watching Them Turn Off the Rothkos" (“Cultural Comment,” newyorker.com, April
1, 2015), on the restoration of Mark Rothko’s Harvard murals, “Panel One,” “Panel Two,” and “Panel Three,”
originally installed, in 1964, in the penthouse of Harvard University’s Holyoke
Center, now hanging in the Harvard Art Museums, and revivified through the use
of what’s known as “compensating illumination.” Menand explains:
Five digital projectors have been programmed to light the
canvases so that the original colors reappear. At four o’clock every day, the
projectors are turned off one by one, and the colors revert to (mostly) muddy
blacks and grays. You can still see the bones of the murals, the formal
architecture—Rothko’s floating blocks, made to resemble portals in these
pieces—but the glow is gone. As one observer put it, when the lights go off,
comedy turns into tragedy.
Menand says that the
restoration story gets people hooked “because it raises ancient and endlessly
fascinating philosophy-of-art questions. In this respect, the restored murals
are really a new work, a work of conceptual art. To look at them is to have
thoughts about the nature of art.”
Well, maybe. Could it also be that to look at them is to experience the exhilaration and pleasure of reading red on maroon, purple-black on purple, and maroon on pink? Menand is a tad too thinky. But he’s onto a great subject.
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