Word: pollocks
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Dates: during 1980-1989
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...modernists retain the power to startle. Picasso's cubist women stare out from the canvas with the faces of monsters in Les Demoiselles d'Avignon; Le Corbusier's Villa Savoye belongs more to tomorrow than today, as it has for the past half-century. Jackson Pollock is still a puzzle to many people, who appreciate only the fancy prices his paintings now fetch. That lack of understanding is what makes this eight-part BBC series on 20th century art so valuable: it does not tell us where we are going, but it does tell us where...
...years from 1950 to 1954. His interest was music, and he frequented the concert halls. Her interest was art, and she spent her evenings in The Club in Greenwich Village and other haunts of the then avant-garde New York School of painting. At the nearby Cedar Bar, Jackson Pollock caroused, Robert Motherwell discoursed, Willem de Kooning waxed disputatious. Her hair was blond, her figure svelte, her age happily indeterminate (actually mid-30s) and her artistic commitment impeccable. She was on their wave length. Franz Kline, who was perfecting a slashing, black-and-white action painting style, took her with...
...some money: not big money but enough. And so she bought -not for high prices, but still important money in those days to those artists. She bought a painting that her friend Pollock called simply Number 28, for $3,000 (it is now worth $3 million). She paid de Kooning $2,700 for his 1949 canvas Attic (now worth up to $1.5 million). She bought Motherwells and Klines, as well as gentle canvases by Jack Tworkov, a Polish immigrant who had switched from figurative painting to abstract expressionism influenced by de Kooning. She bought Calders and Giacomettis, a Henry Moore...
...recent article in Artforum magazine, critic Ronny H. Cohen describes a contemporary trend in art that is similarly aggressive, one that may have evolved from Dada by way of Pollock and the Abstract Expressionists of the 1950s. Cohen dubs the work of the artists "Energism" and states that Energist works have the ability to "flash out pictorial/emotive expression with such force that the impact freezes us." What the works fear most "is the possibility of coming across as boring." Significant in Cohen's analysis is that Energism (like Dada) is defined not by a set of formal criteria...
...screams, animal noises that seem to emanate from hell's zoo. The camera muscles into the action, peering from above, from below, from the combatant's point of view, panning 360° as a doomed fighter spins toward the canvas. Smoke, sweat, flesh and blood become Jackson Pollock abstractions as they pound home the essential blood lust of those sweet sciences, prizefighting and moviemaking...