Cache Health

US$22.95<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n
\n
ABOUT THE BOOK<\/strong><\/div>\n
<\/div>\n
Jackson Pollock (1912\u20131956) led the vanguard of post-World War II American art with his pioneering method of painting, which broke with tradition in both subject matter and technique. Engaging viscerally with emotions, thoughts and other intangibles, he used fluid pigment poured directly onto the canvas. His liquid medium, applied with sweeping gestures, proved to be the ideal vehicle for the \u00a0mercurial content that he sought to communicate: \u201cenergy and motion made visible \u2013 memories arrested in space.\u201d Charting the course of his life and career, from his early training in figurative painting to his position as the most critically acclaimed proponent of Abstract Expressionism, this book sets Pollock\u2019s artistic development in the context of his volatile personal life and his wide-ranging artistic influences, including Mexican murals and Native American art, as well as European modernism. Pollock\u2019s extraordinary impact became evident when his patron Peggy Guggenheim declared him to be \u201cthe greatest painter since Picasso.\u201d<\/div>\n
\n
<\/p>\n
ACKNOWLEDGMENTS<\/strong><\/p>\n
As the director of the Pollock-Krasner House and Study Center, I have been privileged to work with several of the most prominent Pollock scholars. Foremost among them is Francis V. O\u2019Connor, whose advice and encouragement throughout my career have been invaluable. I have relied heavily on his pioneering chronological and documentary research. I am thankful to him, and to Eugene V. Thaw, his co-editor of the Jackson Pollock catalogue raisonn\u00e9 and the Pollock-Krasner Foundation\u2019s president emeritus, for their comments and suggestions. The foundation’s exemplary stewardship of Pollock and Krasner’s legacy, and the cooperation of its board and staff, including permission to reproduce Pollock’s work, are sincerely appreciated.<\/p>\n
Steven Naifeh and the late Gregory White Smith, co-authors of the Pulitzer Prize-winning biography, Jackson Pollock: An American Saga, <\/i>kindly let me read their wealth of interview transcripts in the early stages of my research, and granted me permission to quote from unpublished material. I also wish to thank Lillian Meyer Emanuel, Joan Mendenhall Schreder and Howard Zucker, M.D. for contributing previously unknown information about Pollock, and the estates of Rebecca Tarwater Hicks and Tony Smith for allowing the publication of recently discovered works by Pollock.<\/p>\n<\/div>\n
\n
I am grateful to Kim Scott, the project editor at Phaidon Press, for her expert guidance in shaping\u00a0this book. It was David Anfam, Phaidon\u2019s commissioning editor and a respected scholar of\u00a0Abstract Expressionism, who recommended that I write it and contributed significantly to its\u00a0development. I appreciate his confidence in me, and trust that my efforts live up to his high\u00a0standards.<\/p>\n
This book is lovingly dedicated to my husband, Roy Nicholson, whose help in ways large and small was essential.<\/p>\n
SOURCES CITED IN THE TEXT<\/strong><\/p>\n
All extracts of letters are from copies in the Jackson Pollock Catalogue Raisonn\u00e9 Archives, Pollock-Krasner Study Center, Stony Brook Southampton, Southampton, New York. Excerpts from Pollock\u2019s correspondence were published in Francis V. O\u2019Connor and Eugene V. Thaw, eds., Jackson Pollock: A Catalogue Raisonn\u00e9 of Paintings, Drawings, and Other Works <\/i>(New Haven: Yale University Press, 1978), Vol. 4: Chronology. Letters to his parents and brothers are collected in American Letters 1927-1947: Jackson Pollock and Family <\/i>(Cambridge: Polity, 2011).<\/p>\n
An extensive Jackson Pollock bibliography is available at http:\/\/research.moma.org\/jpbib\/<\/a><\/p>\n
<\/p>\n
\u2018ENERGY AND MOTION MADE VISIBLE\u2019<\/strong><\/p>\n
energy and motion made visible \u2013 memories arrested in space <\/b>Jackson Pollock, handwritten statement, ca. 1950, pasted to the back of a photograph of Pollock by Hans Namuth. Jackson Pollock-Lee Krasner Papers, Archives of American Art, Smithsonian Institution. Box 6, folder 11, frame 9.\u00a0http:\/\/www.aaa.si.edu\/collections\/container\/viewer\/Portraits-of-Jackson-Pollock-by-Hans-Namuth–286107<\/a><\/p>\n
new needs need new techniques <\/b>Jackson Pollock interviewed by William Wright, late 1950, for broadcast on WERI Radio, Westerly, Rhode Island. First published in Francis V. O\u2019Connor, Jackson Pollock <\/i>(New York: The Museum of Modern Art, 1967), pp. 79-81. An audio recording is included in Two Dialogues, <\/i>Sooj Records, Inc., 1996.<\/p>\n
\u201cvolcanic\u201d talent <\/b>James Johnson Sweeney, \u201cJackson Pollock,\u201d Jackson Pollock: First Exhibition \/ Drawings and Paintings. <\/i>Exhibition brochure.New York: Art of This Century, 9-27 November 1943.<\/p>\n
the greatest painter since Picasso <\/b>Peggy Guggenheim, Out of This Century: Confessions of an Art Addict <\/i>(London: Andr\u00e9 Deutsch Ltd., 1980), p. 315.<\/p>\n
Jackson broke the ice <\/b>B.H. Friedman, Jackson Pollock: Energy Made Visible <\/i>(New York: McGraw-Hill Book Company, 1972), p. 253.<\/p>\n
<\/p>\n
SELF-DISCOVERY<\/strong><\/p>\n
to reassert the picture plane\u2026 not his way<\/strong> \u201cLetter to the Editor,\u201d The New York Times,\u00a0<\/em>13 June 1943, Sect. 2 p. 9.<\/p>\n
painting is self-discovery <\/b>Selden Rodman, Conversations with Artists <\/i>(New York: The Devin-Adair Co., 1957), p. 82.<\/p>\n
gloried in the fact <\/b>Transcribed audiotaped interview with Elizabeth Pollock, Jackson Pollock: An American Saga <\/i>archives, Aiken, South Carolina. Book 17:791\/1<\/p>\n
Sculptoring I think tho is my medium <\/b>Jackson Pollock to LeRoy Pollock, February 1932.<\/p>\n
In his analytical work<\/b> Transcribed audiotaped interview with Thomas Hart Benton, Saga <\/i>archives. Book 16:751\/1.<\/p>\n
This was a series of murals\u2026school\u2019s drab walls.<\/strong> Written statement by Joan Mendenhall\u00a0Schreder, 4 October 2006. Pollock-Krasner Study Center archives, Stony Brook Southampton,\u00a0Southampton, New York.<\/p>\n
a strong personality<\/strong> Narration read by Pollock in Hans Namuth and Paul Falkenberg,\u00a0Jackson Pollock.\u00a0<\/em>16 mm color film, released 1951.<\/p>\n
things experienced in America <\/b>Matthew Baigell, Thomas Hart Benton <\/i>(New York: Harry N. Abrams, Inc., 1975), p. 78.<\/p>\n
[Benton] has lifted art <\/b>Jackson Pollock to LeRoy Pollock, 3 February 1933.<\/p>\n
In 1933 he watched Rivera<\/strong> Written statement by Lillian Meyer Emanuel, undated (Spring\u00a02001), Pollock-Krasner Study Center archives, courtesy of her daughter Madeleine Maxwell. \u201cJackson and I would walk hand in hand all over\u00a0Greenwich Village,\u201d she recalled, \u201csilently looking at buildings and birds flying up above.\u00a0Sometimes he would take me to exhibits. I remember seeing Diego Riviera [sic<\/em>] and Marc [sic<\/em>]\u00a0Rothko\u2019s work.\u201d (Rivera painted the New Workers School portable frescoes from July \u2013\u00a0December 1933. See Bertram D. Wolfe,\u00a0Portrait of America by Diego Rivera<\/em>\u00a0<\/i>[New York: Covici,\u00a0Friede, Inc., 1934], p. 31.) Pollock painted a watercolor portrait of her, which she gave away.\u00a0Their relationship failed due in part to his drinking. \u201cI remember him well,\u201d she wrote, \u201cwith a\u00a0cigarette dangling from his lower lip. He was a western man and I was an easterner from\u00a0Brooklyn. He did attract and fascinate me.”<\/p>\n
frescoed a wall of the clay room <\/b>Transcribed audiotaped interview with Nathaniel Kaz (aka Katz), Saga <\/i>archives, Book 16:731\/6. Although remnants of the frescos are still extant, it is not known which portions may be by Pollock.<\/p>\n
a laboratory for experiment <\/b>Laurance P. Hurlburt, \u201cThe Siqueiros Experimental Workshop: New York, 1936,\u201d Art Journal<\/i> XXXV\/3 (Spring 1976), p. 239.<\/p>\n
We\u2026 embedded wood\u2026 \u2018controlled accidents\u2019 <\/b>Hurlburt, pp. 241-242.<\/p>\n
a key experience\u2026 mature painting style<\/b> J\u00fcrgen Harten, Siqueiros \/ Pollock:Pollock \/ Siqueiros <\/i>(D\u00fcsseldorf: Kunsthalle D\u00fcsseldorf\/DuMont, 1995), p. 47, quoting a letter from Charles Pollock to Francis V. O\u2019Connor, footnoted in O\u2019Connor\u2019s article, \u201cThe Genesis of Jackson Pollock, 1912-1943,\u201d Artforum <\/i>5:2 (1967), p. 23.<\/p>\n
FOCUS 1: Untitled (Self-Portrait), ca. 1930-33<\/strong><\/p>\n
only three known self-portraits <\/b>The other two are a sketchbook drawing, ca. 1933-38, and the right side of Portrait and a Dream, <\/i>1953. See Ruth Kligman, Love Affair: A Memoir of Jackson Pollock <\/i>(New York: 1974), p. 104.<\/p>\n
painting and sculpturing is life it self <\/b>Jackson Pollock to Stella Pollock, May 1932.<\/p>\n
the only American master <\/b>Questionnaire, Arts & Architecture <\/i>(February 1944), p. 14.<\/p>\n
Orozco is the <\/b>real<\/b><\/i> artist<\/b> Steven Naifeh and Gregory White Smith, Jackson Pollock: An American Saga <\/i>(New York: Clarkson N. Potter, 1989), p. 143.<\/p>\n
interpretation of the constructive \u2026 spiritual bondage <\/b>Albert I. Dickerson, ed. Orozco Frescoes at Dartmouth <\/i>(Hanover, NH: Trustees of Dartmouth College, 1962), p 5.<\/p>\n
FOCUS 2:\u00a0The Flame, <\/em>ca. 1936-38<\/strong><\/p>\n
legendary self-sacrifice <\/b>See the entry on Collective Suicide <\/i>at http:\/\/www.moma.org\/collection\/object.php?object_id=79146<\/a><\/p>\n
the vitality of this exhibition <\/b>A. Hyatt Mayor, \u201cThe Artists for Victory Exhibition,\u201d The Metropolitan Museum of Art Bulletin, <\/i>New Series, Vol. 1, No. 4 (Dec., 1942), p. 141.<\/p>\n
<\/p>\n
FINDING THE WAY<\/strong><\/p>\n
they have to eat <\/b>Francis V. O\u2019Connor, Federal Support for the Visual Arts: The New Deal and Now <\/i>(Greenwich, CT: New York Graphic Society, 1968), p. 17. The project began in August 1935 and after several reorganizations was terminated in January 1943.<\/p>\n
You\u2019ve got the stuff <\/b>Thomas Hart Benton to Jackson Pollock, undated (Friday) [ca. 1937].<\/p>\n
Rebecca Tarwater <\/b>Their relationship is described in Naifeh and Smith, Saga<\/i>,pp. 303-306.<\/p>\n
Every great experience <\/b>Jolande Jacobi, ed., Psychological Reflections: An Anthology of the Writings of C.G. Jung <\/i>(New York: Pantheon Books\/Bollingen Foundation, 1953), p. 38.<\/p>\n
to overcome Picasso <\/b>Clement Greenberg, \u201cAmerican-Type Painting,\u201d reprinted in Art and Culture: Critical Essays <\/i>(Boston: Beacon Press, 1971), p. 210.<\/p>\n
going into a total rage <\/b>Lee Krasner, interview with Emily Wasserman, 9 January 1968. http:\/\/www.aaa.si.edu\/collections\/container\/viewer\/Emily-Wasserman-Interview–286258<\/a><\/p>\n
I simply paint the life\u00a0<\/strong>www.moma.org\/collection\/object.php?object_id=80681(Orozco).\u00a0<\/a><\/p>\n<\/div>\n
\n
FOCUS 3:\u00a0Birth,\u00a0<\/em>ca. 1941<\/strong><\/p>\n
You have an interest<\/b> Transcribed interview with Reuben Kadish, Saga <\/i>archives, Book 15:681\/3.<\/p>\n
I have always been impressed\u2026 memories and enthusiasms<\/b> Questionnaire, Arts & Architecture<\/i>.<\/p>\n
<\/p>\n
COMING OF AGE<\/strong><\/p>\n
pure psychic automatism\u2026 play of thought <\/b>Translated in William S. Rubin, Dada, Surrealism, and Their Heritage <\/i>(New York: The Museum of Modern Art, 1968), p 64.<\/p>\n
exciting as all hell <\/b>Jackson Pollock to Charles Pollock, 29 July 1943.<\/p>\n
When I first exhibited Pollock <\/b>Guggenheim, Art Addict, <\/i>p. 315.<\/p>\n
obscurantism <\/b>Edward Alden Jewell, The New York Times, <\/i>14 November 1943, Sec. 2, p. 6.<\/p>\n
mud abounds <\/b>Clement Greenberg, \u201cArt,\u201d The Nation, <\/i>27 November 1943, p. 621.<\/p>\n<\/div>\n
\n
childishly scribbled <\/b>Eleanor Jewett, \u201cContrast Sharp in Art Club\u2019s 2 New Exhibits,\u201d Chicago Daily Tribune, <\/i>6 March 1945.<\/p>\n
pother of paint <\/b>Howard Devree, \u201cAmong the New Exhibitions,\u201d The New York Times, <\/i>25 March 1945, Sec. 2, p. 8.<\/p>\n
in Jackson Pollock\u2019s abstract <\/b>Robert M. Coates, \u201cThe Art Galleries: From Moscow to Harlem,\u201d The New Yorker, <\/i>29 May 1943, p. 49.<\/p>\n
going in too many directions\u2026 by an American <\/b> Greenberg, The Nation, <\/i>ibid.<\/p>\n
bowled over<\/strong> \u201cJackson Pollock: Portrait,\u201d Strokes of Genius.<\/em> Los Angeles: Direct Cinema Ltd.,\u00a01984.<\/p>\n
extravagantly\u2026 romantic<\/b> Jewell, ibid.<\/p>\n
good European moderns\u2026 the unconscious <\/b>Questionnaire, Arts & Architecture<\/i>.<\/p>\n
FOCUS 4:\u00a0Mural,\u00a0<\/em>1943<\/strong><\/p>\n
corralled [the stampede\u2019s] energy <\/b>Francis V. O\u2019Connor, \u201cJackson Pollock\u2019s Mural <\/i>for Peggy Guggenheim: Its Legend, Documentation, and Redefinition of Wall Painting,\u201d in Susan Davidson and Philip Rylands, eds., Peggy Guggenheim & Frederick Kiesler: The Story of Art of This Century <\/i>(New York: Guggenheim Museum Publications, 2004), p. 163.<\/p>\n
A colourful legend<\/b> Davidson and Rylands, Story, <\/i>pp. 151ff. See also Carol C. Mancusi-Ungaro\u2019s discussion of the mural\u2019s facture in Kirk Varnedoe and Pepe Karmel, eds., Jackson Pollock: New Approaches <\/i>(New York: The Museum of Modern Art, 1999), pp. 117-118. Additional technical analysis confirming these conclusions was carried out in 2012-14 by the Getty Conservation Institute. See Yvonne Szafran, et. al.,\u00a0Jackson Pollock’s Mural: The Transitional Moment.\u00a0<\/em>Los Angeles: J. Paul Getty Museum, 2014.<\/p>\n
FOCUS 5:\u00a0Stenographic Figure,\u00a0<\/em>ca. 1942<\/strong><\/p>\n
improvisational scanning <\/b>William S. Rubin, \u201cPollock as Jungian Illustrator: The Limits of Psychological Criticism,\u201d Art in America, <\/i>Vol. 67 (1979), reprinted in Pepe Karmel, ed., Jackson Pollock: Interviews, Articles, and Reviews <\/i>(New York: The Museum of Modern Art, 1999), pp. 248-249. Rubin convincingly refutes interpretations of the painting that identify two figures, the female on the left facing a male standing on the right. He points out that \u201cStenographic Figure <\/i>contains but one protagonist (female and animalistic),\u201d and argues against \u201cforced readings\u201d of Pollock\u2019s numerological symbolism.<\/p>\n
noughts-and-crosses grid <\/strong>This is the British term for tic-tac-toe. Phaidon Press, a London-based publisher, has also changed various words (e.g. color, fiberboard, favorite, program) to British spellings, except in the title of Harbor and Lighthouse<\/em>.<\/p>\n
<\/p>\n
A NEW BEGINNING<\/strong><\/p>\n
Praising the exhibition <\/b>Clement Greenberg, \u201cArt,\u201d The Nation, <\/i>1 February 1947, p. 139.<\/p>\n
Pollock\u2019s aim in painting<\/strong> Manny Farber, \u201cJackson Pollock,\u201d The New Republic <\/em>112:6 (25 June\u00a01945), p. 871.<\/p>\n
I want to express my feelings<\/b> Wright interview.<\/p>\n
the resistance of a hard surface<\/b> Jackson Pollock, \u201cMy painting,\u201d problems of contemporary art:possibilities 1 <\/i>(Winter 1947\/8), p. 79.<\/p>\n
The floor is right for me<\/b> Helen A. Harrison, ed., Such Desperate Joy: Imagining Jackson Pollock <\/i>(New York: Thunder\u2019s Mouth Press, 2000), p. 92. Quotes from this source are from Jeffrey Potter\u2019s notes of conversations with Pollock.<\/p>\n
A hallmark of this new approach\u00a0<\/strong>For an in-depth analysis of this phenomenon, see Francis V. O’Connor, “Jackson Pollock’s Monumentality: The Small Poured Works, 1943 to 1950,” in\u00a0Jackson Pollock: Small Poured Works 1943-1950\u00a0<\/em>(exhib. cat.), Pollock-Krasner House and Study Center, 2006, pp. 1-24.<\/p>\n
organic intensity <\/b>Handwritten statement, ca. 1950.<\/p>\n
FOCUS 6:\u00a0Alchemy,\u00a0<\/em>1947<\/strong><\/p>\n
Ralph Manheim <\/b>Friedman, Energy Made Visible, <\/i>pp. 119-120.<\/p>\n
magic number<\/b> Judith Wolfe, \u201cJungian Aspects of Jackson Pollock\u2019s Imagery,\u201d Artforum <\/i>XI:3 (November 1972), p. 71.<\/p>\n
<\/p>\n
MEMORIES ARRESTED IN SPACE<\/strong><\/p>\n
memories arrested in space <\/b>Handwritten statement, ca. 1950.<\/p>\n
The thing that interests me\u2026 arriving at a statement<\/b> Wright interview.<\/p>\n
a mop of tangled hair<\/b> Emily Genauer, \u201cThis Week in Art,\u201d New York World-Telegram, <\/i>7 February 1949, p. 19.<\/p>\n
a child\u2019s contour map <\/b>[Alexander Eliot], \u201cArt: Words,\u201d Time, <\/i>7 February 1949, p. 51.<\/p>\n
an advanced stage <\/b>Sam Hunter, \u201cAmong the New Shows,\u201d The New York Times, <\/i>30 January 1949, Sec. 2, p. 9. Like Parker Tyler, who wrote in \u201cNature and Madness among the Younger Painters\u201d (View <\/i>V, May 1945)that \u201cPollock does not seem to be especially talented, there being too much of an air of baked-macaroni about some of his patterns,\u201d Hunter would later reverse himself on the merits of Pollock\u2019s work. Tyler\u2019s \u201cJackson Pollock: The Infinite Labyrinth\u201d (Magazine of Art, <\/i>March 1950), describes the poured paintings as \u201cbeautiful and subtle patterns of pure form,\u201d while Hunter\u2019s 1956 catalogue essay for the Museum of Modern Art\u2019s memorial exhibition concludes that they \u201ctestify to a fresh birth in the realm of contemporary art\u201d and display \u201ca deep and moving lyricism.\u201d Sam Hunter, \u201cJackson Pollock,\u201d The Museum of Art Bulletin,<\/i> vol. XXIV, no. 2 (1956-57).<\/p>\n
filled the part of a famous artist <\/b>Marvin Jay Pollock to Frank Pollock, 3 December 1950.<\/p>\n
I decided to stop<\/b> Berton Rouech\u00e9, \u201cUnframed Space,\u201d The New Yorker <\/i>(5 August 1950), p.16.<\/p>\n
Hans Namuth <\/b>For an account of their meeting and the subsequent photography and filming session, see Hans Namuth, \u201cPhotographing Pollock,\u201d in Barbara Rose et. al., Pollock Painting <\/i>(New York: Agrinde Publications Ltd., 1978), n.p.<\/p>\n
FOCUS 7:\u00a0Number 1, 1949<\/em><\/strong><\/p>\n
distinguished critics\u2026 in this country<\/b> \u201cA Life Round Table on Modern Art,\u201d Life <\/i>(11 October 1948), pp. 56-62.<\/p>\n
Two of Holmes\u2019s pictures<\/b> [George Hunt], \u201cJackson Pollock: Is he the greatest living painter in the United States?\u201d Life <\/i>(8 August 1949), pp. 42, 45. Although Dorothy Seiberling is usually credited with having written this article, she was in fact a staff researcher who contributed background material, including the interview with Pollock, to Hunt’s article. Seiberling later became Life magazine’s art editor.<\/p>\n
FOCUS 8:\u00a0Number 29, 1950<\/em><\/strong><\/p>\n
I wanted to show<\/strong> Namuth, \u201cPhotographing Pollock.\u201d<\/p>\n
<\/p>\n
IMAGES COMING THROUGH<\/strong><\/p>\n
I\u2019ve had a period of drawing <\/b>Jackson Pollock to Alfonso Ossorio, 7 June 1951.<\/p>\n
images full of the compulsion<\/b> Alfonso Ossorio, Jackson Pollock 1951. <\/i>Exhibition brochure. New York: Betty Parsons Gallery, 26 November – 15 December 1951.<\/p>\n
When you\u2019re painting<\/b> Rodman, Conversations<\/i>, p. 82.<\/p>\n
a dead end<\/b> O\u2019Connor, Jackson Pollock, <\/i>p. 63.<\/p>\n
life and work are one <\/b>Harrison, Such Desperate Joy, <\/i>p. 92.<\/p>\n
they\u2019re an impractical size<\/b> Wright interview.<\/p>\n
If Pollock were a Frenchman <\/b>Clement Greenberg, \u201cArt Chronicle: Feeling Is All,\u201d Partisan Review<\/i> 19:1 (January\u2013February 1952), p. 97.<\/p>\n
Recognized immediately\u2026 such energy!<\/b> Jeffrey Potter, To a Violent Grave: An Oral Biography of Jackson Pollock <\/i>(New York: G.P. Putnam\u2019s Sons, 1985), \u00a0 \u00a0p. 125.<\/p>\n
With me it\u2019s only my chemistry <\/b>Harrison, Such Desperate Joy, <\/i>p. 90.<\/p>\n
“caressed” the canvas\u00a0<\/strong>Interview,\u00a0\u201cJackson Pollock: Portrait,\u201d\u00a0Strokes of Genius.<\/em>\u00a0The video mistakenly illustrates\u00a0Lavender Mist,\u00a0<\/em>which also features Pollock’s hand prints but was painted two years after\u00a0Mercedes Matter observed him at work. In conversation during the 1990s, she confirmed that the painting to which she referred is\u00a0Number 1A, 1948.<\/em><\/p>\n
FOCUS 9:\u00a0Number 8, 1951 \/ “Black Flowing”<\/em><\/strong><\/p>\n
so remote as to be undefined<\/b> Michel Tapi\u00e9, \u201cJackson Pollock avec nous,\u201d Jackson Pollock. <\/i>Exhibition brochure. Paris: Studio Paul Facchetti, 7 – 31 March 1952.<\/p>\n
a very bad substitute <\/b>Lee Krasner interviewed by Dorothy G. Seckler for the Archives of American Art, 2 November 1964. Transcription at http:\/\/www.aaa.si.edu\/collections\/interviews\/oral-history-interview-lee-krasner-12507<\/a><\/p>\n
FOCUS 10:\u00a0Blue Poles: Number 11, 1952<\/em><\/strong><\/p>\n
failed picture<\/b> Anthony White, ed., Jackson Pollock\u2019s Blue Poles <\/i>(Canberra: National Gallery of Australia, 2002), p. 39, n. 48.<\/p>\n
claims that Pollock\u2019s colleagues <\/b>Stanley P. Friedman, \u201cLoopholes in \u2018Blue Poles\u2019,\u201d New York,<\/i> 29 October 1973, pp. 48-51.<\/p>\n
just kept saying<\/b> Barbara Rose, \u201cJackson Pollock at Work: An Interview with Lee Krasner,\u201d Partisan Review <\/i>XLVII:1 (1980), p. 89.<\/p>\n
<\/p>\n
END GAME<\/strong><\/p>\n
diagnosed with an enlarged liver <\/b>Interview (19 September 2006) by the author with Howard Zucker, M.D., who conducted Pollock\u2019s physical examination during treatment for alcoholism in early 1951. Under the care of Ruth Fox, a psychiatrist who specialized in treating alcoholics (see Naifeh and Smith, Saga, <\/i>pp. 660-661), Pollock was briefly admitted to a private clinic in New York City. Dr. Zucker, who was training under Dr. Fox, questioned Pollock about his medical history and discussed his successful treatment by Edwin Heller, M.D., an East Hampton general practitioner, who had kept Pollock sober for two years, from late 1948 until late 1950, with a combination of straight talk and tranquilizers. In addition to diagnosing Pollock\u2019s cirrhotic liver, Dr. Zucker noted hardened lumps below both of his kneecaps. When he asked Pollock about them, the artist answered, \u201cI paint on my knees.\u201d<\/p>\n
Alcohol frees the unconscious <\/b>Harrison, Such Desperate Joy, <\/i>p. 90.<\/p>\n
painting is self-discovery <\/b>Rodman, Conversations, <\/i>p. 82.<\/p>\n
periods of prolonged inactivity <\/b>Hunter, Bulletin, <\/i>pp. 5-6.<\/p>\n
for three or four years <\/b>Jackson Pollock to LeRoy Pollock, 3 February 1933.<\/p>\n
two small plaster pieces <\/b>Both are illustrated and discussed in Jackson Pollock & Tony Smith Sculpture. <\/i>Exhibition catalogue. New York: Matthew Marks Gallery, 7 September \u2013 27 October 2012.<\/p>\n
pieces of\u00a0<\/b>Pollock\u2026 painter of the past<\/b> Bruno Alfieri, \u201c\u2018Guatzabulli\u2019 di Jackson Pollock,\u201d Jackson Pollock. <\/i>Exhibition catalogue. Museo Correr, July-August 1950 (Venice: Le Tre Mani), p. 8. Reprinted as \u201cPiccolo discorso sui quadri di Jackson Pollock,\u201d L\u2019Arte Moderna, <\/i>Venice (8 June 1950),translated in Karmel, Interviews, Articles, and Reviews<\/i>, p. 69.<\/p>\n
The young artist of today <\/b>Allan Kaprow, \u201cThe Legacy of Jackson Pollock,\u201d Art News <\/i>57:6 (October 1958), p. 57.<\/p>\n
<\/p>\n<\/div>\n
<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"My Jackson Pollock monograph was published in September 2014. SPECIFICATIONS Hardback English 245 x 172 mm, 9 5\/8 x 6 3\/4 in 144 pp 92 colour illustrations, 24 black and white illustrations ISBN-13: 9780714861500 ISBN-10: 0714861502 US$22.95 ABOUT THE BOOK Jackson Pollock (1912\u20131956) led the vanguard of post-World War II American art with his pioneering … Continue reading Phaidon Focus: Jackson Pollock–Acknowledgments and Sources<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-382","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/pages\/382","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/helenharrison.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=382"}],"version-history":[{"count":50,"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/pages\/382\/revisions"}],"predecessor-version":[{"id":524,"href":"https:\/\/helenharrison.net\/index.php?rest_route=\/wp\/v2\/pages\/382\/revisions\/524"}],"wp:attachment":[{"href":"https:\/\/helenharrison.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}