"I am interested only in expressing basic human emotions - tragedy, ecstasy, doom," - Mark Rothko (1903 - 1970) said of his paintings. "If you are moved only by their colour relationships, then you miss the point." Throughout his career, Rothko was concerned with what other people experienced when they looked at his canvases. As his work shifted from figurative imagery to luminous fields of colour, his concern expanded to the setting in which his paintings were exhibited. In a series of analytic, personal, and even poetic essays by contemporary scholars, this volume explains how Rothko's most compelling creations elicit such profound and varied responses. This volume also reproduces, for the first time, Rothko's "Scribble Book," in which he jotted down his ideas on teaching art to children, and a sketchbook, both dating to the early years of the artist's career. "Seeing Rothko" includes essays by David Antin, Dore Ashton, Thomas Crow, John Elderfield, Briony Fer, Charles Harrison, Miguel Lopez-Remiro, Sarah Rich, and Jeffrey Weiss, an introduction by Glenn Phillips, and a bibliography of Rothko's own writings.

About the Author

Glenn Phillips is curator and head of modern and contemporary collections at the Getty Research Institute. Thomas Crow is Rosalie Solow Professor of Modern Art at the Institute of Fine Arts at New York University and served as director of the Getty Research Institute from 2000 to 2007. He is a contributing editor to Artforum and writes frequently on contemporary art and cultural issues. Since his award-winning first book, Painters and Public Life in Eighteenth-Century Paris (1985), he has published several volumes on the art of the later twentieth century, including The Rise of the Sixties: American and European Art in the Era of Dissent (1996) and The Intelligence of Art (1999), as well as major essays on Gordon Matta-Clark (2003), Robert Smithson (2004), Robert Rauschenberg (2005), and Jasper Johns (2008).

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