Word: pollocks
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Instantly recognizable and brightly welcoming, the washes and stripes of Morris Louis expand the Fogg's inner courtyard space. Stepping to meet you next to the Louis canvases, the tangled intricacies of Jackson Pollock's thrown paint--a metaphor for the paradoxes of the '60s--evoke memories of time only recently lost. The paintings on the side walls are less immediately accessible. One is an early work of a major living artists, whose expanding and developing talent has not yet been completely disse ted by critics and historians; the other a work by a painter whose stature does not warrant...
...wanted to have color be the origin of the painting," Noland said in 1969. "I was trying to neutralize the layout, the shape, the composition in order to get at the color. Pollock had indicated getting away from drawing. I wanted to make color the generating force." On this proposition, and the paintings that flowed from it, a palace of exegesis was raised-an academy so pervasive hi its effect during the '60s that hundreds of younger artists from New York to Sydney could see no way past it. The polished assurance of Noland's style, its clear...
...Preston Pollock recognizes the paradox inherent in "New Boston." "The Christian Science Center is a combination of pompousass architecture and corporate necessity," snaps Pollack, an architect at Professional Designs Incorporated. The Christian Science Church and its world headquarters, Boston's answer to the Vatican, focus the contradiction between collective needs and private purpose: a corporate monument rising symbolically above the decaying tenements of the poor and turning its back on the human needs of urban working people unable to buy a decent human environment. Pollock is an architect who must deal with contradictions like that--his firm is employed...
...both establishing a single monolithic image that will attract both prestige and clients and providing viable working space for the employees. He claims a third and often ignored purpose is to relate the building to street activity and other buildings at its base. In his work with E.F. Hutton, Pollock struggles, often fruitlessly, to design an environment beneficial for workers and feels that his responsibility as an architect is to urge corporations to break from the practice of caring only for the "big fellow" at the top. The struggle is ultimately with those who make the final decisions...
...collective memory of the New York art world, the decade 1955-64 has an almost magical air: a bath of transformations. Rauschenberg entered it as a frog and emerged a certified prince holding the first prize of the 1964 Venice Biennale. By 1955 the achievement of the abstract expressionists?Pollock, Gorky, de Kooning, Still, Rothko, Kline, Motherwell?was recognized across the Atlantic, and the aesthetic colonization of Europe by New York art began in earnest. In this momentous shift of taste, energy and locus, a younger generation of American artists would be the legatees. Its symbolic twins, its Castor...