Word: pollocks
(lookup in dictionary)
(lookup stats)
Dates: during 1980-1989
Sort By: most recent first
(reverse)
...artistic director, Glen Eytchison, 27, is an intense veteran of Southern California repertory theater, whose appointment four years ago stirred premonitions that he would emphasize avant-garde art, even (Pollock forbid!) abstract expressionists. Not to worry. "You have to understand the people of Laguna," Eytchison allows. "I am concerned with retaining their tradition. Of course, the show has to be bigger and better every year, but you can only stretch so far." This year's edition stretches to 24 tableaux, each of which is shown for about 90 seconds. They range from classics like Degas' Dancers Practicing...
...language, "testing" characters in the equivalent of cultural revolutions; in his vision of the poet as legislator and the legislator as unsung poet. In the last essay of the book. "Gesturing with Materials," he sees in revolutionary political movements an analogue to the "action painting" of Jackson Pollock and his ilk, who record their moments of artistry not as aesthetic phenomena but as something, anything, "never before seen...
...know what they're talking about, where they're headed, and the harder they try, the more they exhaust your interest. Penn forces the audience into active participation to keep track of characters and motivations, and consequently loses all control. Four Friends is the celluloid equivalent of a Jackson Pollock painting, splashing everything about the sixties--sex, drugs, rock, JFK, the moon shot, draftcard burnings, racial tension, etc--into one amorphous mass, demanding more emotion and extracting more then it's worth. Penn and screen writer Steve (Breaking Away) Tesich drape images of America--idealistic immigrants, the national anthem...
These were woven around a sense of his own modernity as an American living in the mid-20th century, the heir but not the colonized admirer of Picasso and Miró. It seems now that Pollock was eager to wind so many elements together in his work, not out of some empty eclecticism (which is what our "expressionists" give us today) but in the belief that cultural synthesis might redeem us all. How can one follow this show, from its first choked and turbulent exercises, through the grapplings with chosen masters (Picasso, Masson, Miró, Orozco) in the "totemic...
...does Pollock no service to idolize him. This point is that he grasped his limitations and refused to mannerize them. Thus he was by no means a natural draftsman, and his best paintings of the early '40s, like the She-Wolf or Male and Female, are set down with terrible earnest ness but with no graphic facility. When he set up a repeated frieze of drawn motifs, as in the mural he did for Peggy Guggenheim in 1943, the result-as drawing-was rather monotonous. But when he found he could throw lines of paint...