The Enduring Power of ‘Plainness’: William Scott, Mark Rothko, and the Future of Site-Specific Art
Over $8.5 billion was spent on art globally in 2023, yet a growing movement is challenging the notion that artistic value resides solely in spectacle. A new exhibition, “Beauty in Plainness – William Scott in Somerset,” opening November 15th at the Museum of Somerset, highlights this shift, revealing how one of Britain’s most significant abstract painters found profound inspiration in the everyday – and how a pivotal encounter with Mark Rothko reshaped his approach to large-scale, public art. This isn’t just a retrospective; it’s a glimpse into a future where art increasingly prioritizes context, community, and a deliberate rejection of ostentation.
Scott and Rothko: A Transatlantic Dialogue
The exhibition centers around three key paintings from the late 1950s, a period when **William Scott** was at the peak of his creative confidence. Works like “Ochre Still Life,” depicting humble kitchen objects, and “Black Painting,” evocative of the Somerset landscape, demonstrate Scott’s commitment to finding “beauty in plainness.” But the story deepens with the revelation of a 1959 visit from American abstract expressionist, Mark Rothko.
Their meeting, sparked by an initial encounter in New York, wasn’t merely a cultural exchange. Both artists were grappling with ambitious mural projects: Scott for Altnagelvin Area Hospital in Derry, Northern Ireland, and Rothko for the Seagram Building in New York. These conversations, as curator Tim Martin explains, were crucial. They explored the challenges of translating abstract art into functional spaces, and the responsibility artists bear when their work impacts public life.
The Murals and Their Discontents
Scott’s mural for Altnagelvin Hospital, unveiled to a stunned silence, serves as a cautionary tale. While intended to offer solace and contemplation, the abstract work was met with incomprehension and even hostility from the local community. This experience, though painful, underscored a critical point: successful site-specific art demands a deep understanding of its audience and context.
Rothko’s experience was equally revealing. Initially commissioned for the Seagram Building, he ultimately withdrew, deeming the restaurant’s opulent setting incompatible with the contemplative nature of his work. He famously stated that he didn’t want his paintings to serve as “decoration for a fancy restaurant.” This decision, documented by the Tate, cemented his commitment to creating art that fostered genuine emotional engagement, not superficial aesthetic pleasure.
From Abstract Expressionism to Relational Aesthetics
The dialogue between Scott and Rothko foreshadows a broader evolution in artistic practice. The mid-20th century emphasis on individual expression, exemplified by Abstract Expressionism, gradually gave way to approaches that prioritized relationships – between the artist, the artwork, and the audience. This shift, often termed Relational Aesthetics, emphasizes the social and participatory aspects of art.
Today, we see this trend manifesting in numerous ways. From immersive installations that invite audience interaction to community-based art projects that address local concerns, artists are increasingly focused on creating experiences rather than simply objects. The rise of digital art and NFTs, while often driven by speculative markets, also reflects a desire for new forms of artistic engagement and ownership.
The Future of Public Art: Beyond Decoration
The lessons from Scott and Rothko’s mural experiences remain profoundly relevant. As cities grapple with issues of social cohesion and public space, the demand for meaningful public art will only increase. However, simply commissioning large-scale abstract works is unlikely to suffice.
Future success hinges on several key factors: genuine community consultation, a deep understanding of the site’s history and context, and a willingness to embrace collaborative approaches. We may see a move towards temporary installations, allowing for experimentation and adaptation, or a greater emphasis on art that directly addresses local needs and challenges. The focus will be less on creating monuments and more on fostering dialogue and belonging.
The “Beauty in Plainness” exhibition isn’t just a celebration of William Scott’s artistry; it’s a timely reminder that the most powerful art often emerges from a quiet contemplation of the ordinary, and a genuine commitment to the communities it serves. What role do you see for art in fostering a sense of place and belonging in your own community? Share your thoughts in the comments below!
