Jackson Pollock's abstract paintings are some of Greg's favorites. While hard to understand and explain, Pollock's drip and pour technique during the late 1940's into 1950 is unique and acclaimed by many. For that reason, his paintings are splattered scattered around the world.
Fortunately, next month, MoMA will be exhibiting a large collection of Pollock's work: Jackson Pollock: A Collection Survey, 1934–1954. Susan and Greg will attend and report back. Of course, if you would like to join us, we will make it a party. Like Andy Warhol said, one's company, two's a crowd, and three's a party.
In the meantime, Greg has to be satisfied with two Pollock's on view at MoMA.
Shimmering Substance (1946) |
One: Number 31, 1950 (1950) |
One: Number 31, 1950 above is a very large canvas that Jackson Pollock painted on the floor. Here are some odd observations and questions:
- If painted on the floor, is there a top and bottom?
- How would you know for sure?
- Shouldn't Pollock drip paintings be displayed flat rather than hung on a wall? Why disregard the artist's perspective?
- Why not let people stand atop a clear platform and, like the artist did, look down to view the painting.
Let's see how daring the MoMA curator will be next month.
For a sense of how Jackson Pollock painted, here are two links that give some idea. Jackson Pollock channeling himself. Actor Ed Harris channeling the artist in Pollock.
On a recent museum tour, the extremely knowledgeable guide explained that Jackson Pollock approached art as process not representation--in Pollock's own words, expression not illustration. He let his mind and emotion guide his hand and brush spontaneously rather than consciously attempting to recreate a known image, even an abstract image. A complete explanation is likely far more complex. Let's pick up this topic next month.
Apologies for the trick above. The photo above is upside down. The painting is hung at MoMA as shown below. I am sure the curator got it right. Or did she?
One: Number 31, 1950 (1950) |
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