NEY- FINAL - 1 Rebecca Ney Quesiton 1 Pollock...

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Rebecca Ney Quesiton 1: Pollock, Autumn Rhythm 1950 Rothko, Brown on Blue 1953 Dubuffet, Metafisyx 1950 Burri, Sacco 1954 Shiraga, Challenging Mud 1955 A . Jackson Pollock was born in Wyoming and eventually moved to New York City to save the art world as part of the Abstract Expressionist movement. He studied under Thomas Hart Benton at the Art Students League; even though he claimed to work against Benton, he was clearly influenced by works like Sower 1939 with its high contrast and intensity. Pollock was further influenced by David Sisquieros, Orzoco, and other Mexican muralists through their flat and dramatic compositions. His work began with imagery in Mason Pasiphae with a mythological, collective-unconscious image of the she-wolf. After the worsening situation in Europe, artists congregated in NYC, and the object was to let art transform itself. Pollock accomplished this with his Autumn Rhythm in 1950 as he manipulated chaos into form. Through his art, he was trying to make sense of world by forming connections and creating adequate ways to express current experiences after WWII. His organized chaos records his deliberate experience through sweeping and emotive gestures as visible within this drip painting. He painted with a wooden stick that he dipped into open canvasses surrounding his horizontally positioned canvas. His fluid and haphazard movements became an iconographic image captured in videos and photographs of him painting. With his fluid syntax in Autumn Rhythm, he created a new vocabulary with his improvised drips. We can never share his experience, whereas with Picasso’s Ma Jolie, 1
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we can reconstruct the woman that Picasso deconstructed. With the horizontal positioning of his canvas in this piece, he was engaging in a radical re-thinking of picture making, tools, and materials that would solve the crisis of post war art. Autumn Rhythm maintains an even distribution of paint through its eternal movement. After seeing the damage and destruction that humanity was capable of in WWII, wildness was now recorded as freedom as he attacked form, beauty, uprightness by resisting the vertical world of civilization. Greenberg asserted that he had moved beyond the aesthetics of easel- painting and supported Pollock’s work through his conceptions of formalism as he appreciated his art for the spatial compression of its surface that expanded as his paintings were important for their inherent qualities. Rosenberg’s description of action painting was derived from Pollock’s ‘arena in which to act’ in that art is life and there is no real distinction. B. Rothko’s was expressing basic human emotions of tragedy, ecstasy, and doom that have been repeatedly discussed in class as his work evokes these emotions as part of the Abstract Expressionist movement. He was a Russian immigrant, raised as a Jew, and for related reasons Rothko too moved away from distorted images such as those of Dubuffet. He moved away from imagery and he set aside the motif with his Entombment
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This note was uploaded on 10/16/2011 for the course ARTH 109 taught by Professor Staff during the Spring '08 term at UPenn.

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NEY- FINAL - 1 Rebecca Ney Quesiton 1 Pollock...

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