| Artist: | Pollock, Jackson |
|
|---|---|---|
| Title: | Blue Poles: Number 11, 1952 | |
| Date: | 1953 | |
| Nationality: | American | |
| Context: | Post WWII, NY School | |
| Movement: | Abstract Expressionism | |
| Materials: | oil, enamel & aluminum paint, glass on canvas | |
| Subject: the creative process, the spirit of myth, the existential expression of inner being. Style: wholistic, decentered web; structured chaos; action painting; all-over field painting; mural size. Radical break from easel painting. The gesture: mark making becomes independent of description and representation; no longer painting from the wrist (the embodied gesture). Space without beginning or end; directionless; wide open expanse of the west, the Sublime. Context: existentialism ("existence precedes essence"); alone in the void (alienation); the Cold War: post-Hiroshima; the Soviet Union gets the bomb in 1949; the 50's beat generation (pushing to the edge of one's consciousness.) Jungian analysis (the collective unconscious; the archetype; mythic structures embedded in everyone's unconscious). Inspired by jazz improvisation; listened to records by Charlie Parker while he painted. Also influenced by Native American sand painting and the idea that painting could be ritualistic, a rites of passage. | ||
