We have not been able to independently verify this information, but it appears that a Rothko painting at the Tate Modern in London has been defaced by a vandal. Tim Wright tweeted a photo of the painting today and he tweeted an eyewitness report:
The painting that was defaced appears to be Rothko’s “Black on Maroon” (1958), and if that is true than the writing that appears above is quite large as the painting is 90 x 81 1/2″ (2286 x 2070mm) [EDITOR’S NOTE: Please see UPDATE 13]:
The Tate Modern has been evacuated according to a number of sources, including this tweeter:
And this from the BBC:
We will post more information as it becomes available.
UPDATE: Greg Allen, of greg.org, has potentially found the culprit:
And what’s with that site? It reads like shlocky high school art theory, and, of course, “Yellowism” has a manifesto:
Using this newfound knowledge, we can probably deduce that the vandalism reads:
UPDATE 2: BBC confirms that the painting has been vandalized:
UPDATE 3: A Tate spokesperson said the following to BBC:
“Tate can confirm that there was an incident in which a visitor defaced one of Rothko’s Seagram murals by applying a small area of black paint with a brush to the painting.”
UPDATE 4: As this story develops, Sarah Hromack has a great point about the role of technology in the reporting of this incident:
UPDATE 5: The Yellowists, is that what they’re called, have a Twitter account (@thisisyellowism) but it hasn’t been active since August 29.
UPDATE 6: The Independent has the story:
In a short statement a spokeswoman for the Tate said: “Tate can confirm that at 15.25 this afternoon there was an incident at Tate Modern in which a visitor defaced one of Rothko’s Seagram murals by applying a small area of black paint with a brush to the painting.
And the suspect, according to police, is a white male in the mid 20s, which appears to synch up with the description of Vladmir Umanets, who is pictured in an photo here.
UPDATE 7: Curious how this story spread? Greg Allen has his take:
And a blogger in New Zealand provides her perspective on how the news spread.
UPDATE 8: Tim Wright, the man who posted the original tweet about the incident, gave the following quote to The Guardian:
“Then we heard the sound of a pen, but by the time we turned around he was pretty much finished with his tag,” said Wright, who was with his girlfriend on a weekend visit to London from Bristol. “The pen ink then just dripped down the painting. Once we realised what had happened, we went to find a member of staff. They were really shocked when they came and saw what he had done.”
UPDATE 9: A Londoner made the following keen observation:
But as another commenter mentioned, it was probably a graffiti paint marker, which can leave marks somewhat like a brush.
UPDATE 10: Ben Quinn of The Guardian seems to be onto something … and we’re all waiting with bated breath:
UPDATE 11: The very clever Holly Knowlman has figured out that:
“I believe that if someone restores the [Rothko] piece and removes my signature the value of the piece would be lower but after a few years the value will go higher because of what I did,” he said, comparing himself to Marcel Duchamp …
“I was expecting that the security at Tate Modern would take me straight away, because I was there and I signed the picture in front of a lot of people. There is video and cameras and everything, so I was shocked.”
“I didn’t destroy the picture. I did not steal anything. There was a lot of stuff like this before. Marcel Duchamp signed things that were not made by him, or even Damien Hirst.”
He said that he admired Rothko, describing him as one of the great figures in art of the last century, but added: “I don’t believe that what I have done is criminal. If the police are going to arrest me, then they are going to arrest me. I am OK with that.”
UPDATE 13: BBC has a video report. And they state that the painting that was damaged was “Black on Maroon” (1959), and not “Black on Maroon” (1958). Though I think they may be wrong. The red band on the right appears much thicker in the 1959 “Black on Maroon” than the photo would suggest. I’ve juxtaposed a screenshot of the BBC video and Tim Wright’s original twitterpic.
“The Rothko family is greatly troubled by yesterday’s occurrence but has full confidence that the Tate Gallery will do all in its power to remedy the situation. Our father donated his legendary Seagram paintings to the museum in 1969 sensing the commitment of the institution to his work and impressed by the warm embrace it had received from the British public. We are heartened to have felt that embrace again in the outpouring of distress and support that we and our father have received both directly and in public forums.” —Kate Rothko Prizel & Christopher Rothko
BusinessWeek also quotes the Tate as saying the London police were pursuing the suspect.
THIS CHRONOLOGY OF EVENTS REGARDING THE TATE ROTHKO DEFACEMENT CONTINUES HERE.
As art history buffs on the app have pointed out, both movements attribute meaning to the meaningless.
Multiple posts about the film have been taken down on Twitter, many of them following the government’s removal requests.
Located in Des Moines, Iowa, this residency for emerging and established artists includes studio and living space, a $1,000 monthly stipend, and more.
This week, blonde hair supremacy, Salman Rushdie’s new novel, and why do boutique shops all look the same?
Fayneese Miller is under fire after the school failed to renew the contract of an adjunct who showed artworks depicting the Muslim Prophet Muhammad.
Hundreds of visitors were evacuated from the Incan site over the weekend.
The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.
Fully-funded teaching assistantships are standard for MFA students at the top-ranked, flagship research university in the state of New York.
A posthumous show of Price’s work is curated by James Hart of Phil Space, the self-proclaimed “gallerist of death.”
She has raised generations of Bay Area artists and changed the local landscape with her public artworks, colleagues tell Hyperallergic.
Saim Sadiq’s crushing debut, the first Pakistani film to be shortlisted for the Oscars, is imbued with a crisis of space.
Asma Naeem’s appointment comes in the wake of a tumultuous period for the institution.