Yellowism - A New Definition for Vandalism?

 

Sunday is usually the busiest day of the week for most of London’s art galleries and museums.  In addition to the ever-present throng of tourists, Sunday is the day when city dwellers, freed of the shackles of the working week and the tyranny of Saturday chores, venture out to explore all that London has to offer.

And for the Tate Modern, that temple on the banks of the Thames dedicated to the worship of modern and contemporary art, this past Sunday was no exception.  From the time the doors swung open at 10am, the crowds began to build, with attendance reaching its zenith by mid-afternoon.

But, as it turned out, this particular Sunday was to prove rather more exceptional that anyone at Tate Modern could possibly have predicted.  Because, unbeknownst to the overworked museum staff and the hordes of jaded art lovers elbowing their way around the various exhibition spaces that make up gallery’s cavernous interior, one man stood poised and ready to commit the ultimate act of vandalism – the defacement of one of the world’s most valuable works of art.



Tate Modern's Rothko Room

The target was Mark Rothko’s Black on Maroon (1958), one of a series of large murals (originally commissioned by the Seagram beverage company to adorn the walls of the company’s premises in Park Avenue, New York) which the artist bequeathed, free of charge, to the Tate in 1969.  This bequest was to prove something of a boon for Tate curators, especially considering the murals are now thought to be worth in the region of £50 million each.  And now, one of their number was about to be vandalized.

By 3.25pm, the deed was done.  Brandishing a brush and black paint, the culprit calmly (and in full view of anyone who happened to be passing), tagged Black on Maroon with the words ‘Vladimir Umanets ’12, A Potential Piece of Yellowism’.  Ironically, the defacer seems to have misjudged the space required because the graffiti was executed rather clumsily – the words were squished into the lower right-hand corner of the mural, while the runny paint dribbled messily into tiny black rivulets on the purple-hued canvas. 

 

The defaced canvas

Witnesses immediately raised the alarm, and the gallery was closed briefly while police were called in to investigate – albeit too late to ensnare the vandal, who had already fled the scene.  But considering Vladimir Umanets had used his real name in the cryptic message scrawled on Rothko’s canvas, it wouldn’t prove overly difficult for Scotland Yard’s finest to track him down …

And track him down they did.  The following evening, Sussex Police arrested Mr Umanets, a Polish national, in Worthing - and having been transferred into the custody of the Met Police, he was charged on suspicion of criminal damage.

Umanets has made no attempt to deny the allegations, freely admitting that he is the culprit.  He does, however, deny that he is a vandal, preferring instead to believe his actions have furthered the cause of the hitherto unheard-of Yellowism movement (of which, Umanets is, perhaps unsurprisingly, a founding member).

 

Umanets (R) with his Yellowism co-founder

So, what exactly is Yellowism?  A new art movement?  Or is it an anti-art statement?  Well, neither, apparently.  According to Umanets himself, "Yellowism is not art, and Yellowish isn't anti-art. It's an element of contemporary visual culture. It's not an artistic movement.  It's not art, it's not reality, it's just Yellowism. It can't be presented in a gallery of art, it can be presented only in Yellowistic chambers.  The main difference between Yellowism and art is that in art you have got freedom of interpretation, in Yellowism you don't have freedom of interpretation. Everything is about Yellowism - that's it.”

Confused? I certainly was. The art world is often guilty of adopting affected and grandiose vocabulary – but this opaque description of Yellowism was one of the most perplexing I have ever come across. I have, however, endeavoured to translate it for you, dear reader, into the following definition which may be somewhat easier to understand:

Yellowism is an undefinable, abstract movement borne out of an over-fertile, deluded, and most likely unhinged imagination. It has no obvious function except to increase the public profile (and consequently the income opportunities) of the owner of said imagination by engaging in the destruction of genuine works of art.

So there you have it. However, don’t expect this definition to enter the OED any time soon - after all, vandalism by any other name is still vandalism.

The Art World's Best Kept Secret

This weekend, fine art dealers throughout the globe were stunned by reports that the most significant art sale the world has ever seen had taken place in secret early in 2011, the details of which have just been released.

The painting in question is the much-sought-after Card Players (or Les Joueurs des Cartes) by the French post-impressionist painter, Paul Cézanne, which had previously been in the possession of the Greek shipping magnate, George Embiricos. And the buyer? Why, none other than the seriously minted Qatari royal family.

George Embiricos

The very fact that the transaction has been kept under wraps for so long is astonishing. Since his death early last year, there has been intense interest in Embiricos’ extensive art collection - hardly surprising considering the tycoon had jealously guarded his paintings for many years, repeatedly refusing requests to lend them to some of the world’s leading art galleries and museums (to the extent that much of his collection had not been seen by the public in decades). Given this level of attention, it was simply inconceivable to many that a deal of this magnitude could be completed without a hint leaking to the press.

But, if the level of secrecy which surrounded the transaction had surprised the art market cognoscenti, they were to be confounded further by the revelation that the painting had changed hands for a staggering $250 million (£160 million). This huge price tag makes Card Players the most expensive painting ever sold – easily overtaking the previous record (a Jackson Pollack which had been bought by a Mexican financier for $140 million or £90 million).

Rothko's White Centre

Indeed, this is not the first time Qatar’s ruling family have parted with extravagant sums for works of art – they have recently bought Rothko’s White Center (Yellow, Pink and Lavender on Rose) for $73 million and a pill cabinet by Damian Hirst for $20 million.

All this has led to accusations that the Qatari royal family’s immense purchasing power is over-inflating prices in the fine art market, which, thanks to a scarcity of great works in private hands, is already ridiculously expensive.

And while there is some veracity in such sentiments, it should be noted that, unlike the George Embiricoses of the world, the Qataris intend to put their acquisitions on display to the public in Doha. To my mind, that is infinitely more preferable to having a treasure such as Card Players languishing forlornly, unseen and unappreciated, in some dusty private collection far away from an admiring public.