Word: pollock
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...color field emphasizes the flatness which is a formal condition of painting, but does so while at the same time allowing itself to be interpreted as infinite depth in the same way as Pollock's canvases, and employing the most romantic and expressive of colors...
...exhibit suggests what contemporary abstract painting has learned from the Indian: a series of high pitched colors and color oppositions, for instance, which are now considered "American" and found in color field painting. Other debts are not visible: Pollock's drip paintings are derived in part not only from the technique of Navaho sand paintings but also from their assigning a role of spiritual expression to the process of painting itself...
...forays have taken the formalists to task. Harold Rosenberg's The De-Definition of Art attacks the whole notion of a unified New York School in general and the minimal aesthetic of Frank Stella and others specifically. Its author was one of the original champions of "action painting"--of Pollock and the early abstract expressionists. And Leo Steinberg, perhaps the most academically respected critic now writing about contemporary art, has advanced in a major series of essays called Other Criteria a set of alternative values to the formalist criticism of the sixties...
...addition, a number of major New York shows last year helped bring about the restoration of painters who had survived from the hey-day of abstract expressionism but been neglected during the sixties, including such figures as Joan Mitchell and Sam Francis. James Brooks, a close friend of Pollock's and the first to seize upon his innovations, has been subjecting his work to constant refinement in the years since his and Pollock's first drip-paintings in the late forties. His recent show earned him long-deserved critical acclaim for a style that continues the expressionist tradition...
...process of a painter painting is easily the most interesting of the film, but it hints at a kind of fatal demystification to which modern methods of working are particularly subject. The process of painting no longer seems like that of an artist creating from sheer, inner self. With Pollock there came the negation of the easel and, for the most part, the brush. De Kooning spent almost as much time scraping rejected versions of his Women off the canvas as painting them onto it. Here, Larry Poons--who looks like a football lineman but, the film tells us, actually...