Word: pollocks
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Dates: during 1990-1999
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...soft sculptures involving found objects -- soiled, discarded stuffed toys, from teddy bears and bunnies to green plush snakes, which he sews together into teeming clumps or exhibits, in solitary pathos, on mats on the floor. You can cite a host of precedents for this, from Claes Oldenburg to Jackson Pollock, but the effect really depends on the nakedness with which Kelley presents the toys as elements in a free-form psychodrama about threat and vulnerability; they're like the dolls that witch- hunting lawyers use to elicit the evidence of children in abuse prosecutions. The most successful thing...
...Lichtenstein for not living up to Sophocles. Tragic elevation -- or at least the version of it promoted by the rhetoric of late Abstract Expressionism -- was exactly what he reacted against when he started out during the early '60s. Was real American art loaded with signs of commitment and authenticity -- Pollock drips, De Kooning stripes? Then Lichtenstein would go to the opposite extreme and paint thin copies of the least arty things within reach: romance and adventure comic strips...
Fogg Art Museum. "American Painting at Mid-Century: Highlights from a Private Collection" considers tht vital moment in the history of avant-garde painting in New York by artists such as Andy Warhol, Jackson Pollock, Jasper Johns, Willem de Kooning, Cy Twombly, Frank Stella, Roy Lichtenstein and Barnett Newman. Through...
...case in point is Jackson Pollock's early Mural, 1943, that magnificent wall of writhing protofigures, its passionate wristy drawing inspired by 1930s Picasso yet unmistakably leading to Pollock's mature style. But at the Royal Academy, it doesn't connect to a major "allover" painting by Pollock, because none could be borrowed. This problem repeats itself with other artists. Robert Rauschenberg's Canyon, 1959 -- that unforgettably poignant assemblage featuring a real, stuffed, blackened American eagle spreading its wings but equipped with a pillow in case it fails -- needed backing up with more powerful work than this show could obtain...
...kind of historical shorthand, a rhetoric of innovations and "decisive breakthroughs." The curators go on at length about wanting to show those moments when the ball was first put in the cannon. Rosenthal even claims that a new American art experienced "parthenogenesis" -- virgin birth, without a father -- with Pollock's 1943 paintings...