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.

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Pollock’s canvases, wrote Kaprow, were so huge and all-embracing that “they ceased to become paintings and became environments”, paving the way for a new form of art in which “action” predominated over “painting”. Reversing the above procedure, the painting is continued out into the room. This was his conscious artistry at work, and it makes him a part of the traditional community of painters. 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.

Inin an article on Abstract Expressionism qllan The Legacy of Jackson Pollock, Kaprow first suggested that the concept of “action painting” could be developed to include the action as a work of art in itself. He was, for me, amazingly qllan, capable of becoming involved in the stuff of his art as a group of concrete facts seen for the first time. Tuesday 01 January The four sides of the painting are thus an abrupt leaving off of the activity, which our imaginations continue outward indefinitely, as though refusing to accept the artificiality of an “ending.

The space of these creations is not clearly palpable as such.

Explosion! The Legacy of Jackson Pollock | Abstract Critical

But even so, this space is an allusion far more vague than even the few inches of space-reading a Cubist work affords.

They will discover out of ordinary things the meaning kaporw ordinariness. Pollock’s tragedy was more subtle than his death: With Pollock, however, the so-called dance of dripping.


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If we examine a few of the llegacy mentioned above, it may be possible to see why this is so. But I used the words “almost absolute” when I spoke of the diaristic gesture as distinct from the process of judging each move upon the canvas. Notes Jackson Pollock, untitled, ca. What we felt then was genuine enough, but our tribute, if it was that at all, was a limited one.

But he also destroyed painting.

THE LEGACY OF JACKSON POLLOCK by Stephanie Carlo on Prezi

It may be that our need to identify with the process, the making of kqprow whole affair, prevents a concentration on the specifics of before and behind so important in a more traditional art.

Hence, although up on the wall, these marks surround us as they did the painter at work, so strict is the correspondence achieved between his impulse and the resultant art. Yet the distance between the relatively self-contained works of the Europeans and the seemingly chaotic, sprawling works of the American indicates at best a tenuous connection to “paintings.

Hardly automatic, at that.

Polock had divided the space into three rooms with clear plastic walls. 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 short, part-to-whole or part-to-part relationships, no matter how strained, were a good 50 percent of the making of a picture most of legscy time they were a lot more, maybe 90 percent. But what do we do now? This by itself would be enough to teach us something.

Explosion! The Legacy of Jackson Pollock

This installation, which consisted of two furnished rooms that could be rearranged by visitors, inspired a number of older women attending the show to indulge in some housework. Surrealism attracted Pollock as an attitude rather than as a collection of artistic examples. jac,son


And if we object to the difficulty of complete comprehension, we are asking too little of the art. I choose to consider the second element the important one.

The exhibition presents the Japanese artist group Gutaiwhich operated in radical ways in the borderland between painting and performance, anticipating many later artistic practices and strategies jacksoj as conceptualism, land art and installation.

Before a painting, our size as spectators, in relation to the size of the picture, profoundly influences how much we are willing to give up consciousness of our temporal existence while experiencing it. 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. 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.

To “die at the top” for being his kind of modern artist was to many, I think, implicit in the work before he died. In retrospect, most of the Surrealist painters appear to have derived from a psychology book or from each other: In fact, only the writers among them—and only in a few instances—enjoyed any success in this way. After the term “happening” became almost universal, Kaprow stopped creating his large public events, choosing instead to arrange “activities”, more intimate artistic experiments involving people breathing into each other’s mouths, sweeping the street or going shopping.

You can read more here. He created some magnificent paintings. Although the term has now come to be associated with a loose and spontaneous artistic occurrence, 18 Happenings was a highly-rehearsed production.