If you utilize GOOGLE today, you may notice that the logo resembles "gobbledy google". I recognized the scribbles and googled Jackson Pollock--lo & behold...today is JP's birthday. Review the information below to learn about him and decide for yourself, was he an artistic genius or an early BS master?Early life
Pollock was born in
Cody, Wyoming in 1912, the youngest of five sons. His father was a farmer and later a land surveyor for the government. He grew up in
Arizona and
Chico, California, studying at Los Angeles'
Manual Arts High School. During his early life, he experienced
Native American culture while on surveying trips with his father. In 1930, following his brother Charles, he moved to New York City, where they both studied under
Thomas Hart Benton at the
Art Students League of New York. Benton's rural American subject matter shaped Pollock's work only fleetingly, but his rhythmic use of paint and his fierce independence were more lasting influences. From 1935 to 1943, Pollock worked for the WPA
Federal Art Project.
The Springs period and the unique technique
No. 5, 1948In October 1945, Pollock married another important American painter,
Lee Krasner, and in November they moved to what is now known as the
Pollock-Krasner House and Studio in
Springs on
Long Island, New York.
Peggy Guggenheim loaned them the down payment for the wood-frame house with a nearby barn that Pollock made into a studio. It was there that he perfected the technique of working spontaneously with liquid paint.
Pollock was introduced to the use of liquid paint in 1936, at an experimental workshop operated in New York City by the Mexican muralist
David Alfaro Siqueiros. He later used paint pouring as one of several techniques in canvases of the early 1940s, such as "Male and Female" and "Composition with Pouring I." After his move to Springs, he began painting with his canvases laid out on the studio floor, and developed what was later called his "drip" technique. The drip technique required paint with a fluid viscosity so Pollock turned to then new synthetic resin-based paints, called alkyd enamels. Pollock described this use of household paints, instead of artist’s paints, as "a natural growth out of a need". He used hardened brushes, sticks and even basting syringes as paint applicators. Pollock's technique of pouring and dripping paint is thought to be one of the origins of the term
action painting. With this technique, Pollock was able to achieve a more immediate means of creating art, the paint now literally flowing from his chosen tool onto the canvas. By defying the conventional way of painting on an upright surface, he added a new dimension, literally, by being able to view and apply paint to his canvases from all directions.
In the process of making paintings in this way he moved away from figurative representation, and challenged the Western tradition of using easel and brush, as well as moving away from use only of the hand and wrist; as he used his whole body to paint. In 1956
Time magazine dubbed Pollock "Jack the Dripper" as a result of his unique painting style.
“
My painting does not come from the easel. I prefer to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting.
”
“
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., because the painting has a life of its own. 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.
”
Pollock's One: Number 31, 1950 occupies an entire wall by itself at the
Museum of Modern Art,
New York CityPollock observed
Indian sandpainting demonstrations in the 1940s. Other influences on his dripping technique include the Mexican
muralists and also
Surrealist automatism. Pollock denied "the accident"; he usually had an idea of how he wanted a particular piece to appear. It was about the movement of his body, over which he had control, mixed with the viscous flow of paint, the force of gravity, and the way paint was absorbed into the canvas. The mix of the uncontrollable and the controllable. Flinging, dripping, pouring, spattering, he would energetically move around the canvas, almost as if in a dance, and would not stop until he saw what he wanted to see. Studies by Taylor, Micolich and Jonas have explored the nature of Pollock's technique and have determined that some of these works display the properties of mathematical
fractals; and that the works become more fractal-like chronologically through Pollock's career. They even go on to speculate that on some level, Pollock may have been aware of the nature of
chaotic motion, and was attempting to form what he perceived as a perfect representation of mathematical chaos - more than ten years before
Chaos Theory itself was discovered. Even though some experts have pointed to the possibility that he (Pollock) could have simply been imitating popular theories of the time in order to give his paintings a depth not previously seen.
In 1950
Hans Namuth, a young photographer, wanted to photograph and film Pollock at work. 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's comment upon entering 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.'
”
“
Pollock’s finest paintings… reveal that his all-over line does not give rise to positive or negative areas: we are not made to feel that one part of the canvas demands to be read as figure, whether abstract or representational, against another part of the canvas read as ground. 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.(Karmel 132)
”
Pollock's Studio in
Springs, New York.
The 1950s and beyond
Pollock's most famous paintings were during the "drip period" between 1947 and 1950. He rocketed to popular status following an August 8, 1949 four-page spread in
Life Magazine that asked, "Is he the greatest living painter in the United States?" At the peak of his fame, Pollock abruptly abandoned the drip style.
Pollock's work after 1951 was darker in color, including a collection in black on unprimed canvases, followed by a return to color and he reintroduced figurative elements. During this period Pollock had moved to a more commercial gallery and there was great demand from collectors for new paintings. In response to this pressure, along with personal frustration, his
alcoholism deepened.
From naming to numbering
Pollock wanted an end to the viewer's search for representational elements in his paintings, thus he abandoned naming them and started numbering them instead. Of this, Pollock commented: "...look passively and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for." Pollock's wife,
Lee Krasner, said Pollock "used to give his pictures conventional titles... but now he simply numbers them. Numbers are neutral. They make people look at a picture for what it is - pure painting."
Death
Jackson Pollock's grave in the rear with Lee Krasner's grave in front in the
Green River Cemetery.
Pollock did not paint at all in 1955. After struggling with alcoholism his whole life, Pollock's career was cut short when he died in an alcohol-related, single car crash in his
Oldsmobile convertible, less than a mile from his home in Springs,
New York on August 11, 1956 (10 p.m.) at the age of 44. One of his passengers, Edith Metzger, died, while the other passenger, Pollock's girlfriend
Ruth Kligman, survived. After his death, Pollock's wife, Lee Krasner, managed his estate and ensured that Pollock's reputation remained strong in spite of changing art-world trends. They are buried in
Green River Cemetery in
Springs with a large boulder marking his grave and a smaller one marking hers.
Pollock in Pop Culture & News
In 2000, the biographical film
Pollock was released.
Marcia Gay Harden won the
Academy Award for Best Supporting Actress for her portrayal of Lee Krasner. The movie was the project of
Ed Harris who portrayed Pollock and directed it. He was nominated for
Academy Award for Best Actor.
In 1960,
Ornette Coleman's album "Free Jazz" featured a Pollock painting as its cover artwork.
In 1973,
Blue Poles (Blue Poles: Number 11, 1952), was purchased by the Australian
Whitlam Government for the
National Gallery of Australia for US$2 million (A$1.3 million at the time of payment). At the time, this was the highest price ever paid for a modern painting. In the conservative climate of the time, the purchase created a political and media scandal.
The painting is now one of the most popular exhibits in the gallery, and now is thought to be worth between $100 and $150 million, according to the latest news. It was a centerpiece of the
Museum of Modern Art's 1998 retrospective in New York, the first time the painting had returned to America since its purchase.
In November 2006 Pollock's "
No. 5, 1948" became the world's most expensive painting, when it was sold privately to an undisclosed buyer for the sum of $140,000,000. The previous owner was film and music-producer
David Geffen. It is rumored that the current owner is a German businessman and art collector.
An ongoing debate rages over whether 24 paintings and drawings found in a
Wainscott, New York locker in 2003 are Pollock originals. Physicists have argued over whether
fractals can be used to authenticate the paintings. Analysis of the pigments shows some were not yet patented at the time of Pollock's death. The debate is still inconclusive.
In 2006 a documentary,
Who the Fuck Is Jackson Pollock?, was released which featured a truck driver named Teri Horton who bought what may be a Pollock painting worth millions at a thrift store for five dollars.
Relationship to Native American art
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.”
Critical debate
Pollock's work has always polarized critics and has been the focus of many important critical debates.
In a famous 1952 article in ARTnews,
Harold Rosenberg coined the term "action painting," and wrote that "what was to go on the canvas was not a picture but an event. 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." Many people assumed that he had modeled his "action painter" paradigm on Pollock.
Clement Greenberg supported Pollock's work on formalistic grounds. It fit well with Greenberg's view of art history as being about the progressive purification in form and elimination of historical content. He therefore saw Pollock's work as the best painting of its day and the culmination of the Western tradition going back via
Cubism and
Cézanne to
Manet.
Posthumous exhibitions of Pollock's work had been sponsored by the
Congress for Cultural Freedom, an organization to promote American culture and values backed by the
CIA. Certain left wing scholars, most prominently
Eva Cockcroft, argue that the U.S. government and wealthy elite embraced Pollock and abstract expressionism in order to place the United States firmly in the forefront of global art and devalue
socialist realism. In the words of Cockcroft, Pollock became a "weapon of the
Cold War".
Painter
Norman Rockwell's work Connoisseur also appears to make a commentary on the Pollock style. The painting features what seems to be a rather upright man in a suit standing before a Jackson Pollock-like spatter painting.
Others such as artist, critic, and satirist
Craig Brown, have been "astonished that decorative 'wallpaper', essentially brainless, could gain such a position in art history alongside
Giotto,
Titian, and
Velázquez."
Reynolds News in a 1959 headline said, "This is not art — it's a joke in bad taste."
..and I will hold my breath and keep my eyes closed while riding with her! 
