Art Critic Louis Choi Chul-joo
Contemporary Art Review by Louis Choi 14
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 example [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 Chul-joo'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.
The sentimental representation image of his color field abstraction is the abstraction of conceptual abstract realism that interprets the color surface as a realism image and the desire structure of others in the previous stage of linguistic meaning. The images are the effect of repeating and combining two different contrasting colors.
Therefore, the color surface is not a simple color emotion transmission as a trace of unverified desire, but a symbolic color surface image in a linguistic sense interpreted as a trace of reality that lacks the desire of others, and realizes the color surface of unconscious existence as a pre-stage material of the image.
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.
In this way, a frame decorated by examining colors creates a boundary of the color plane as a reversible light shadow structure and illuminates it at the intersection of temporality and viewpoint to make the color plane work as a multi-layered language image that goes beyond a single emotional expression.
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.
The abstraction exists as a symbol image as a color plane in which the symbolic structure and linguistic meaning (significance) are divided, but its meaning is a structure of desire lacking in the imagination and collides with the actual image before the color plane and linguistic meaning and visualizes it as an abstract realism material image.
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.
This abstract silence of the color plane works as a structure that creates Roscoe's color plane where he can gaze at existence and makes him stare at the lack of existence in silence without speaking to the viewer. This becomes a visualized philosophical device that divides Roscoe's ego in the mirror into the color plane.
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.
In addition, the traces of abstract reality revealed at the intersection with the conceptual point of view according to the timeliness of the boundary of realist colors resulted in a color plane.
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.
Therefore, the meaning of his color surface is abstracted into a structure of unconscious desire before linguistic meaning.
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.
It expressed an image as a multi-layered material consisting of reversible shades of light as a visual structure
Therefore, the viewer's position reconstructs the other's desire as a subject staring at it, and instantly abstracts the image of the obscene non-verbal meaning.
In this way, Roscoe's color surface constitutes a philosophical abstraction that tracks traces of lack of existence and desire, and visualizes reality before linguistic meaning through color surfaces to expand modern conceptual abstractist realism art into a field of philosophical thinking.
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