Word: pollock
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Dates: during 1990-1999
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...when Andy Warhol remarked, "I think everybody should be a machine," in witty response to Jackson Pollock's proclamation, 21 years before, that "I am nature," the distance between artistic generations couldn't have been clearer. Here was the age-old struggle of the sacred and the profane updated; here was the earnestness of inner spirit vs. the irony of outer cool...
...part two of a yearlong survey, on view through Feb. 13. The first installment of the retrospective, covering 1900 to 1950, was all about American artists striving to find their identity in the shadow of European masters--and finally making the leap with the figure-breaking canvases of Pollock. The sequel shows the rampantly imaginative shattering of that identity from Pollock onward, shuttling at high speed between the spiritually sublime and the subversively crude, with a whole lot of stops along...
...Whitney's rooms and corridors crammed with pieces dating from AbEx to those practically yanked off the walls of today's downtown galleries. Yet nowhere is the primal battle pitted so bluntly as in the opening salvos on the top two floors of the show. First is Pollock's Number 27 (1950), its swooping marks scraping away the recognizable shapes of the world, implying in the skeins of paint a web of pure energy, limitless and deep. Its yellows and pinks, its muted greens and blacks are autumnal; a pure buzz of nature's prodigious, generative force. And then, just...
...after J.F.K.'s murder, and his tabloid pictures of cars crashed and suicides, replaced dignity with glitz, marrying starstruck glamour to grisly death. Nothing since has seemed so electric and shallow, so perfect a mirror of what was happening to the state of America's spirit. The soulfulness of Pollock and the other Abstract Expressionists never stood a chance after Warhol--and no radical art movement has ever been bought up so quickly as Pop was by the public...
...Rembrandt.) Other exhibitions worth noting: "The Art of Identity: African Sculpture from the Teel Collection," (a stunning collection of masks from Western and Central Africa), "Sublimation: Art and Sensuality I the 19th century" (most importantly two Gustave Moreau canvases), "America: Art After 1950" (including a Frank Stella and Jackson Pollock), and "Timeless Beauty: Representing the Ideal in Neoclassical Drawing." Upcoming exhibitions include: Oct. 30-Jan. 23, 2000: "Lifeworld: Portrait and Landscape in Netherlandish Prints, 1550-1650," and Nov. 27-March 26: "The Shape of Content: The Stephen Lee Taller Ben Shahn Archive at Harvard." In addition to the collections...