Word: pollock
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Dates: during 1990-1999
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...owner who had sunk all his money into one Thoroughbred," says assistant managing editor Christopher Porterfield, who oversaw the project. Happily for us, Hughes never pulled up lame. His insight and his vigorous prose perfectly frame the lavish illustrations, which range from a 17th century Puritan headstone to Jackson Pollock's energetic Abstract Expressionism...
...work, particularly the figure paintings, verged on kitsch, but that only made him seem more like another American visionary, Edgar Allan Poe--so overwrought, yet so influential. Though Ryder was never (in his own view) a Modernist, a succession of American artists from Marsden Hartley to Jackson Pollock and beyond would look up to him as an emblem of aesthetic purity, a holy sage...
...large extent the product of this deeply implanted instinct for the spiritual and the visionary. Sometimes it was drenched in a yearning for nature as a source of metaphor, as in the pantheistic paintings of Arshile Gorky; sometimes its sources lay hidden in the unconscious, as with Pollock. Except for de Kooning and Franz Kline, most of the Abexers--Gorky, Pollock, Mark Rothko, Robert Motherwell, William Baziotes, Barnett Newman, Adolph Gottlieb, Clyfford Still--saw the socially grounded activist art of the 1930s, whether Nativist like the Regionalism of Grant Wood and Thomas Hart Benton or left-wing Social Realist...
...most radical departure in postwar American art was undoubtedly Jackson Pollock's drip painting--those skeins and lashes of pigment falling on the canvas with uncanny grace and energy. But his fellow Abstract Expressionist Willem de Kooning (1904-97) brought into painting a new sense of the contradictions of American culture and made erotic poetry out of them. De Kooning, the "slipping glimpser," as he called himself, was open to a constant stream of momentary impressions: smiles from Camel ads, shoulders from Ingres, pinups and Raphael--high and low, everywhere. In this way he became a bridge to a younger...
...Thinking back to your comments on Pollock as a historically benighted subject, I'm interested to know about your new work on Picasso. In your essay "In the Name of Picasso," you're obviously very concerned with that overly biographical, benighted subject approach...