spective “exhibition” of Allan Kaprow’s Happenings, called Preced- ings, that I .. “The Legacy of Jackson Pollock” remains for some Kaprow’s sem- inal essay. ALLAN. E.S’J/f’15 0/11 TNt: I’ of A”j t1Nl> LIFE (fi”EI(K£L £. C Ul:’F c-ltLIFafl- NIA f’fi:ES..J’/ 😉 /- t. The Legacy of Jackson Pollock () The tragic news of . Allan Kaprow – The Legacy of Jackson Pollock – Download as PDF File .pdf), Text File .txt) or read online.
We felt not only a sadness over the death of a great figure, but also a deep loss, as if something of ourselves had died too. Rather than releasing the freedom that it at first promised, it caused not only a loss of power and possible disillusionment for Pollock but also that the jig was up. University of California Press,pp. He created some magnificent paintings.
Jackson Pollock, untitled, ca. And this leads me to my final point: Proud and mercurial Dutch football star who developed a fast-moving and leggacy style of play. Reversing the above procedure, the painting is continued out into the room. With Pollock, however, the so-called dance of dripping.
Probably many good “near-paintings” can be done varying this esthetic of Pollock’s without departing from it or going further. It was surely a manifestly human reaction on the part of those of us who were devoted to the most advanced artists around us and who felt the shock of being thrown out on our own. This strange combination of extreme individuality and selflessness makes the work remarkably potent but also indicates a probably larger frame of psychological reference.
THE LEGACY OF JACKSON POLLOCK by Stephanie Carlo on Prezi
But now it was our time, and a man some of us knew. Pollock, as I see him, left us at the point where we must become preoccupied with and even dazzled by the space and objects of our everyday life, either our bodies, clothes, rooms, or, if need be, the vastness of Forty-second Street.
Strokes, smears, lines, dots became less and less. Yves Klein, Anthropometry, Princess Helena, We can become entangled in the web to some extent and by moving in and out of the skein of lines and splash-ings can experience ov kind of spatial extension.
I choose to consider the second element the plolock one. The four sides of the painting are thus an abrupt leaving off of the activity, which our imaginations continue outward indefinitely, javkson though refusing to accept the artificiality of an “ending. And the i the fifties connection, rather than being climactic, was, in a way, inglorious. At any rate, for now we may consider that, except for rare instances, Western art tends to need many more indirections in achieving itself, placing more or less equal emphasis upon “things” and the relations between them.
The progression to the “happening” was due in part to the influence of Kaprow’s former teacher, the avant-garde composer John Cage.
Anywhere is everywhere, mackson we dip in and out when and where we can. If the end had to come, it came at the wrong time. Calling himself an “un-artist”, Kaprow and others began staging further “happenings” in car parks, lofts, classrooms, shops and other unusual locations.
Pf the last seventy-five years the random play of the hand upon the canvas or paper has become increasingly important.
What we have, then, is art that tends to lose itself out of bounds, tends to fill our world with itself, art that in meaning, looks, impulse seems to break fairly sharply poloock the traditions of painters back to at least the Greeks.
After the Second World War, many artists wanted to start from scratch by attacking painting, which was seen to represent artistic conventionality. This by itself would be enough to teach us something.
Allan Kaprow, The Legacy of Jackson Pollock () – Belgium is Happening
But this form allows us equal pleasure in participating in oollock delirium, a deadening of the reasoning faculties, a loss of “self” in the Western sense of the term.
Photograph by Hans Namuth. If so, it is an exceedingly important step and in its superior way offers a solution to the complaints of those who would have us put a bit of life into art. We could not avoid seeing that during the last five years of his life his strength had weakened, and during the last three he had hardly worked at all. Janine Antoni, Loving Care, Performance.
But he also destroyed painting. But even so, this space is an allusion far more vague than even the few inches of space-reading a Cubist work affords. Pollock’s choice of great sizes resulted in our being confronted, assaulted, sucked in. Not all the roads of this modern art lead to ideas of finality. The innovations are accepted. And those of us still resistant jacksson this truth would end the same way, hardly at the top.
But given the proper polllock, a medium-sized exhibition space with the walls totally covered by Pollocks offers the most complete and meaningful sense of his art possible. An odor of crushed strawberries, a letter from a friend, or a billboard selling Drano; three taps on the front door, a scratch, a sigh, or a voice lecturing endlessly, a blinding staccato flash, a bowler hat—all will become materials for this new concrete art.
In retrospect, most of the Surrealist painters appear to have derived from a psychology book or from each other: The tragic news of Pollock’s death two summers ago was kaptow depressing to many of us. The painterly aspects of his contemporaries, such as Motherwell, Hofmann, de Kooning, Rothko, and even Still, point up at one moment a deficiency in him and at another moment a liberating feature.
This was his conscious artistry at work, and it makes him a part of the traditional community of painters. I hazard the guess that Pollock may have vaguely sensed this but was unable, because of illness or for other reasons, to do anything about it.