Word: pollocks
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Dates: during 1970-1979
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...Ernst continues, and he eludes the categories. Five years before Pollock, he dripped paint on a canvas from a swinging can. Long after Surrealism died as a movement, he preserved the fresh poetry of the Surrealist dialogue between images. He is the master of invoked accident and controlled chance, and he still paints as if the world could be directed-if not quite controlled-by a nudge of complicity...
...really good. It has a kind of depth of soul of absurdity." The form of her later pieces-ragged sheets of latex, irregular fiber-glass cylinders strewn at random on the floor, tangled webs of rubbery cord hanging from the ceiling like a three-dimensional version of Pollock drips-is partly an effort to give sculpture the fluidity of abstract-expressionist painting and partly a direct celebration of incongruity. Decoration, she believed, was "the only art sin." It was not a peccadillo she ever committed: ugly, difficult and raw though Eva Hesse's work is, it constitutes...
Andrew Wyke (Laurence Olivier) is a wealthy member of the English gentry. He is also the author of a dozen novels about the aristocratic investigator St. John Lord Merridew and an obsessive games player whose home looks like a cross between Pollock's Toy Museum and a penny arcade. Milo Tindle (Michael Caine), a London hairdresser whose parents were Italian and-worse yet-Jewish, is the lover of Wyke's estranged wife. He comes by Wyke's stately home one afternoon to discuss a divorce. Wyke instead presses him into an intricate plot to defraud an insurance...
...obscurity of Thomas Pollock Anshutz (1851-1912) does not, even now, seem a great injustice of art history. He lived in Philadelphia and was Thomas Eakins' teaching assistant. Though a number of his students developed into remarkable painters (Marin and Sloan among them). Anshutz did not, and Steelworkers -Noontime (1880-82) is the one painting by which he is known: a solidly composed, tight, rather dry performance, closely observed, small in scale (17 in. by 24 in.). It is a terse comment on the nature of work, and. by implication, on the artist's role as a worker...
...speak of a "comeback" by an artist as conspicuous as Motherwell may seem odd, but it has a certain point. At 57, he is one of the last charter members of the New York School of the 1940s to remain alive and painting. Pollock, Gorky, Rothko, Kline, David Smith, Hofmann, Newman and Reinhardt are all dead, and their work has been so long discussed, labeled, ticketed and run through the meat grinder of mass art education that it has already assumed the air of an august period style-the last "heroic" American art. The absurd consequence has been that...