Word: pollocks
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...interior has two great faults. The main galleries, with their rhetorically high ceilings and towering walls of bushhammered concrete ("soaring" is the requisite adjective here), completely dwarf the paintings, turning Jackson Pollock's Blue Poles into a little silvery postage stamp. Worse, no role is played by Canberra's one architectural asset, natural daylight. Without it, the paintings look embalmed. This accords with the programmatic opinions of one of the gallery's early advisers, the former American museum director James Johnson Sweeney, but it is a grave mistake...
Welliver's kind of realism could have matured only in the past 25 years A.P.-After Pollock. His paintings are saturated with the ideas about surface and space that abstract paintings put into currency in America. They have less to do with locating a set of objects in the illusion of a void than with creating a continuous pelt of shapes that fills the surface from edge to edge, top to bottom. With 19th century landscapists like Bierstadt or Corot, one is softly inducted into the illusion. Welliver points out, 'You can really just enter into...
...zanne, in a phrase that spoke volumes about the classical ambitions of early modern art, said that he wanted to do Poussin over again from nature. Welliver's ambition, at least in part, is to do the same with Pollock. Such landscapes are "allover" paintings, slices taken from a boundless field of pictorial incident. The apparent disorder of the view, that energetic chaos of sticks and rocks, is formalist to the last square inch...
...weekly sister publication originated the technique, now widely imitated by general-interest dailies, of scrutinizing the box-office record of a film in its all-important opening days in order to forecast its ultimate success. But the price of that insider knowledge can be excessive coziness. Entertainment Reporter Dale Pollock of the Los Angeles Times says he was sternly reprimanded in a former job at Variety for picking up the tab for lunch with industry executives. He explains: "The paper said that being taken to lunch was part of my salary...
...that way, a victim of orthodox modernist thinking-which tended^ to suppose that his art had not "evolved" beyond its representational purposes, toward abstraction. In the late 1950s, when Avery was 70 and at the peak of his talent, his prices were about one-tenth of Pollock's. (They still are, but Pollock's now cost millions...