Congratulations to all the Pollock-Krasner Foundation grant recipients! - Two Coats of Paint
Interviews, Articles, and Reviews Jackson Pollock Pepe Karmel Barbara Rose, Lee Krasner/Jackson Pollock: A Working Relationship (East Hampton, N.Y. In the Smithsonian Archives of American Art began digitizing all the Jackson Pollock and Lee Krasner papers, photographs and. by Smarthistory. After WWII, Pollock, de Kooning, Rothko and other abstract artists reinvented painting. Lee Krasner, Untitled. (Opens a Frank Stella, The Marriage of Reason and Squalor. (Opens a New York School (quiz). 3 questions.
Abstract Expressionism & the New York School
I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added. When I am in my painting, I'm not aware of what I'm doing.
It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fear of making changes, destroying the image, etc.
I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well. Referring to his style of painting on the floor, Pollock stated, "I feel nearer, more a part of the painting, since this way I can walk round it, work from the four sides and literally be in the painting.
This is akin to the methods of the Indian sand painters of the West. Pollock denied reliance on "the accident"; he usually had an idea of how he wanted a particular piece to appear. His technique combined the movement of his body, over which he had control, the viscous flow of paint, the force of gravity, and the absorption of paint into the canvas. It was a mixture of controllable and uncontrollable factors. Flinging, dripping, pouring, and spattering, he would move energetically around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see.
As another important influence can be cited Wolfgang Paalen 's article on Totem Art of the indigenous people of British Columbia and his Fumage paintings which he had seen at Julien Levy's exhibition of Paalen's surrealist paintings in Another strong impact must have been Paalen's fumage technique, as it was the surrealist technique with the most magic appeal for those painters who looked for new ways of making appear what was called the unseen or the possible.
Fumage was presented also in Matta's workshop about which Steven Naifeh reports: Pollock promised to start a new painting especially for the photographic session, but when Namuth arrived, Pollock apologized and told him the painting was finished. Namuth said that when he entered the studio: A dripping wet canvas covered the entire floor There was complete silence Pollock looked at the painting. Then, unexpectedly, he picked up can and paint brush and started to move around the canvas.
It was as if he suddenly realized the painting was not finished.
His movements, slow at first, gradually became faster and more dance like as he flung black, white, and rust colored paint onto the canvas. He completely forgot that Lee and I were there; he did not seem to hear the click of the camera shutter My photography session lasted as long as he kept painting, perhaps half an hour. In all that time, Pollock did not stop. How could one keep up this level of activity?
Finally, he said 'This is it. There is not inside or outside to Pollock's line or the space through which it moves. Pollock has managed to free line not only from its function of representing objects in the world, but also from its task of describing or bounding shapes or figures, whether abstract or representational, on the surface of the canvas. He said about this: They make people look at a picture for what it is—pure painting.
The critic Robert Coates once derided a number of Pollock's works as "mere unorganized explosions of random energy, and therefore meaningless. The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, aesthetic, moral.
Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg's view of art history as a progressive purification in form and elimination of historical content. Reynold's News in a headline said, "This is not art—it's a joke in bad taste. Certain left-wing scholars, most prominently Eva Cockcroft, have argued that the U. Frank Stella made "all-over composition" a hallmark of his works of the s.
The Happenings artist Allan Kaprowsculptors Richard Serra and Eva Hesseand many contemporary artists have retained Pollock's emphasis on the process of creation; they were influenced by his approach to process, rather than the look of his work.
Lee Krasner | American painter | barcelonatraveller.info
Number 31 was ranked the eighth-most influential piece of modern art in a poll of artists, curators, critics, and dealers. The British indie band The Stone Roses were heavily influenced by Pollock; they have cover artwork made of pastiches of his work, starting in with the album The Stone Roses. The script, by Christopher Cleveland, was to be based on Jeffrey Potter 's oral biography, To a Violent Grave, a collection of reminiscences by Pollock's friends.
A second was to be based on Love Affaira memoir by Ruth Kligmanwho was Pollock's lover in the six months before his death. An American Sagadirected by and starring Ed Harriswas released. The movie was the project of Ed Harris, who portrayed Pollock. He was nominated for the Academy Award for Best Actor. Harris himself painted the works seen in the film. Inthe Republican Iowa State Representative Scott Raecker introduced a bill to force the sale of the artwork, held by the University of Iowa, to fund scholarships, but his bill created such controversy that it was quickly withdrawn.
The play's main character, Mark Rothkowas a fellow abstract expressionist of his era. In the play, Rothko speaks to his assistant, Ken, about Pollock's works and his death.
The movie's main character, played by Ben Affleckgains the painting through his career. He gifts it to the character played by Anna Kendrick at the end of the film. She was given the blessing of the directors of the centre, secured a publishing deal, put her production team together and set up a location shoot in April last year.
The team shot in a rented home nearby using props borrowed from the Pollock house and also shot at the Pollock house itself. The floorboards are covered in splattered paint. The floor is an artwork in itself.
You could sense that energy he put into a piece like Blue Poles," she says. Painting shoes and stool from Jackson Pollock's studio.
Robyn Lea The recipes in the book give an insight into the domestic side of an artist famous not only for his abstract works but also his alcoholism. The preamble to the recipe for roast beef with yorkshire pudding with Arloie's gravy describes how a soused Pollock, frustrated by a repetitious film shoot that day, overturned the heavy oak dining table during the evening meal. Krasner "adept in her skills of denial as she was as a hostess" as Lea writes in the book, quickly averted an escalation of the situation by declaring that coffee was served in the front room.
Jackson was also a man who integrated himself into the local community. Using a recipe for apple pie given to him by his mother Stella, herself an inventive cook who fed a large family during the depression on farm produce, Pollock took the pie, made with tart apples and spiced with cinnamon and nutmeg encased in simple shortcrust pastry to the local Fishermen's Fair where it won first prize.
Krasner remarked in an interview after Pollock's death that, "Of course Jackson was aware of European art but what he identified with was about as American as apple pie. Robyn Lea Balharrie points to a recipe for shellfish cooked mostly in wine that was found written on the back of a prescription for a cure for alcoholism.
And when you eat his food, as we did before and during the shoot, you understand that Jackson and Lee loved to cook, not just to look after and feed each other, but to entertain their large circle of friends and enjoy living in this really beautiful and quite remote, even today, part of New York State. Jackson Pollock's famous spaghetti sauce.