Assistant Registrar Gretchen Martin confirmed Director of Membership Jeff Petrie’s hunch that in Iron Man 3, the Rothko painting hanging on the wall of Tony Stark’s Malibu mansion as he and Pepper Potts are sent flying after a blow up is in fact our Ochre and Red on Red (1954). Spoiler alert? Oh well, it’s in the trailer. You’ll see the Phillips thanked in the credits if you’re one to stay ’till the bitter end. On Thursday, we’ll sacrifice some street parking to help the filming of Captain America. Bringing you the big stars and the big explosions is just part of our work here at the museum. You’re welcome.
A modest exhibition, Paintings by Tomlin, Rothko, Okada opens in The Print Rooms on the ground level of The Phillips Gallery and runs through February 26. This is the first time works by Mark Rothko are exhibited at the museum. The exhibition includes: Mauve Intersection; Plum and Brown; Yellow, Red and Blue; Green and Maroon, Yellow, Green and Black; and Purple and Yellow.
Over the summer, I presented a gallery talk on a series of 12 works by Augustus Vincent Tack, commissioned by Duncan Phillips in 1928. It is currently reinstalled in the wood-paneled Music Room, for which it was originally created. Below are excerpts from the discussion. Join me on December 15 at 6:30 pm for the next in our series of Director’s Perspectives, this time on work by Joseph Marioni.
Duncan Phillips and Augustus Vincent Tack met in 1914 and developed a deep and enduring friendship. Painter and patron had a lot in common: both were born in Pittsburgh and both had deep ties to Yale. Tack played an important role in fostering Duncan Phillips’s appreciation of the power and beauty of modern art.
The Phillips Collection owns seventy-five Tack paintings. “Tack” never became a household name. Whether Tack was fashionable was not the point. Duncan Phillips was passionately engaged in supporting emerging American artists alongside Europeans. The project was never about a suite of trophies, but about getting to know the artist and collecting his work in depth. Continue reading “Director’s Desk: Augustus Vincent Tack” »