Jackson Pollock

#43. Alan Gouk writes on Abstract Expressionism at the RA

Jackson Pollock, "Mural", 1943

Jackson Pollock, “Mural”, 1943

The prevailing trend in London to mount such exhibitions in gloomy half-light may serve to enhance Rothko, but it casts a pall of premature burial over many of the rooms, the first especially. However sensible this may be from a conservationist perspective, one wants to see these pictures survive in the light in which they were painted, and not in a reverential aura of profundity seeking historicism. The excessive use of the dimmer switch means that one is in the dark in one room, in half-light the next, and only in daylight for the “late works”.

This piece should be read as a pendant to my Letter from New York, 2011, on abstractcritical, which discusses many of these painters, and David Smith from the collection of MOMA, NY. in 2010, which was shown in daylight, and led to quite a different impression.

There is really only a little to add to the earlier piece. The more examples of Still’s work one sees, the more suspect the claims made for him become. These grandiloquent canyons of black endeavour to overawe by sheer size, sheer height. They are artistically somewhat inert, inexpressive, their handling cack-handed at worst, habitually clumsy and over emphatic, devoid of any of the subtleties of touch one would expect of a major sensibility. The sensibility, such as it is, is adamantine in a negative way, (in contrast to Mondrian’s positive). The only picture in his Black and Tan abstract vein which has some subtly artistic qualities is the smallest and earliest in that mode (1946?).

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#31. Ken Carpenter writes on Three New York Shows: Burri, Pollock, Stella

Alberto Burri, “Rosso plastica (Red plastic)”, 1962, plastic (PVC), acrylic and burns on black cloth, 65 x 100 cm, private collection, © Fondazione Palazzo Albizzini Collezione Burri, Città di Castello / VG Bild-Kunst, Bonn 2016 / SIAE, Rome Photo: © Kunstsammlung NRW

Alberto Burri, “Rosso plastica (Red plastic)”, 1962, plastic (PVC), acrylic and burns on black cloth, 65 x 100 cm, private collection, © Fondazione PalazzoAlbizzini Collezione Burri, Città di Castello / VG Bild-Kunst, Bonn 2016 / SIAE, Rome. Photo: © Kunstsammlung NRW

Alberto Burri: The Trauma of Painting was at the Solomon R. Guggenheim Museum in New York from Oct. 9, 2015, to Jan. 6, 2016, and is at the Kunstsammlung Nordrhein-Westfalen in Düsseldorf from March 5 to July 3, 2016.

Jackson Pollock: A Collection Survey, 1935-1954 is on at the Museum of Modern Art through May 1, 2016.

Frank Stella, A Retrospective was at the Whitney Museum of American Art in New York from Oct. 30, 2015, to March 7, 2016. It will be at the Modern Art Museum of Fort Worth in Texas from Apr. 17 to Sept. 4 and the De Young Museum in San Francisco from Nov. 5 to Feb. 26, 201

NEW YORK: BURRI, POLLOCK, STELLA.

Alberto Burri was one of the giants of European matériel painting. The enormous exhibition, Alberti Burri, The Trauma of Painting, which at first occupied almost all of the Solomon R. Guggenheim Museum and is now at the  Kunstsammlung Nordrhein-Westfalen in Düsseldorf, presented numerous works from not quite a dozen series in the artist’s richly varied career. The exhibition was accompanied by a thoroughly researched catalogue of 279 pages. It argues persuasively that Burri’s artistic vocabulary emerged directly from his life experience.

Take for instance the “laborious sewing… stitching” and folding of Burri’s Sacchi (sackcloth paintings). Burri lived in Città di Castello, a mere half-hour’s bike ride away from Piero della Francesca’s Madonna del Parto in Monterchi, with, as Burri’s friend Sandra Blow recalls, its “mobile folds” of drapery “scrunched and tucked by laces.” The artist’s extensive military experience in Ethiopia, Yugoslavia and Tunisia, much of it as a doctor in the medical corps, required him not only to suture battle wounds but also to sew repairs in his own uniform. The exhibition curator Emily Braun writes, “Burri undoubtedly had images of combat wounds seared into his mind, not to mention the muscle memory of suturing actions.”

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#18. David Sweet writes on “Palaces, Pollock and Pixar”.

Jackson Pollock, "Out of the Web", 1949

Jackson Pollock, “Out of the Web”, 1949

Palaces, Pollock and Pixar

Inside Out, the recent Pixar movie, contains a scene I found overwhelmingly, hysterically funny. The action is set mainly inside the mind of Riley, an eleven year old girl, which is occupied by five figures personifying her emotions – ‘Joy’, ‘Anger’, ‘Sadness’, ‘Disgust’ and ‘Fear’. In the scene, two characters, Joy and Riley’s ‘Imaginary Friend’, take a short cut through a region called ‘Abstract Thought’, despite clear warnings that they are entering a dangerous zone. As they travel through it, the processes of visual abstraction transform them. First their anatomy is fragmented and re-organised in a non-naturalistic formation, they lose volume and depth, their outline is simplified, they become flatter and flatter. Just at the point of extinction they reach the exit and their figurative integrity is restored.

The scene is a highly edited and compressed account of pictorial abstraction’s evolution, familiar from university art history modules on the subject. What’s interesting is the panic that overtakes the two characters as they approach pure abstraction, and the relief they feel when they return to their familiar pixel-based environment. Even as an abstract painter, I felt it difficult not to share this sense of relief.

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#13. John Bunker writes on Jackson Pollock at Tate Liverpool

'Jackson Pollock: Blind Spots', on display at Tate Liverpool, © Tate Liverpool, Roger Sinek

‘Jackson Pollock: Blind Spots’, on display at Tate Liverpool, © Tate Liverpool, Roger Sinek

Jackson Pollock: Blind Spots at Tate Liverpool, 30 June – 18 October 2015

‘I don’t paint nature, I am nature’ is only a couple of stops up the art historical track from ‘It’s art because I say it is’ and only a few more stops down from ‘Pollock blew the picture to hell’1. But what if we get off this particularly well ridden bandwagon of art-speak clichés? We are used to those grindingly repetitive narratives of courageous innovation leading to a numbing bubble of celebrity, crippling self doubt and full-blown self destruction. I was hoping this show might help in beating a new path toward fresh and original ways to apprehend Pollock’s later art.

Jackson Pollock: Blind Spots at Tate Liverpool did not start with a painting but with a small photograph. We are told it’s an image of a mother and child. Areas of the two entwined bodies are blotted out by the artist with black ink. Other areas of the grainy creases of skin, limbs, hands and eyes are left exposed. The image has at once been destroyed and remade, obscured and revealed. And it is interesting that our ideas of Pollock, the person and the artist, are so utterly entwined with photographs and film. These famous images have indeed created peculiar ‘Blind Spots’ of their own. They introduced a wider public and fellow painters to a new and emphasised exploration of an artist’s processes and materials. They de-mystified the way the artist worked while at the same time re-enforcing the myth of ‘Jack the Dripper’. Pollock and his art were transformed into a series of consumable images and a lifestyle package (‘flawed genius’ having its own particularly enduring history).

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